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An examination of the ways in which architecture and architects are treated on screen and how these depictions filter and shape the ways we understand the built environment. There are essays from contributors from a range of disciplines and interviews of those working behind the scenes.
Catalog of an exhibition held at the David Winton Bell Gallery, Brown University, Providence, R.I., Dec. 8, 1995-Jan. 21, 1996, and at other museums and galleries through Sept. 1996.
Films use architecture as visual shorthand to tell viewers everything they need to know about the characters in a short amount of time. Illustrated by a diverse range of films from different eras and cultures, this book investigates the reciprocity between film and architecture. Using a phenomenological approach, it describes how we, the viewers, can learn how to read architecture and design in film in order to see the many inherent messages. Architecture’s representational capacity contributes to the plausibility or 'reality' possible in film. The book provides an ontological understanding that clarifies and stabilizes the reciprocity of the actual world and a filmic world of illusion and human imagination, thereby shedding light on both film and architecture.
The home is one of our most enduring human paradoxes and is brought to light tellingly in science-fiction (SF) writing and film. However, while similarities and crossovers between architecture and SF have proliferated throughout the past century, the home is often overshadowed by the spectacle of 'otherness'. The study of the familiar (home) within the alien (SF) creates a unique cultural lens through which to reflect on our current architectural condition. SF has always been linked with alienation; however, the conditions of such alienation, and hence notions of home, have evidently changed. There is often a perceived comprehension of the familiar that atrophies the inquisitive and interpretive processes commonly activated when confronting the unfamiliar. Thus, by utilizing the estranging qualities of SF to look at a concept inherently linked to its perceived opposite - the home - a unique critical analysis with particular relevance for contemporary architecture is made possible.
Summary: "Film Architecture and the Transnational Imagination presents for the first time a comparative study of European film set design in the late 1920s and 1930s; based on a wealth of designers ʼ drawings, film stills and archival documents, the book offers a new insight into the development and significance of trans-national artistic collaboration during this period. European cinema from the late 1920s to the late 1930s is famous for its attention to detail in terms of set design and visual effect. Focusing on developments in Britain, France, and Germany, Film Architecture and the Transnational Imagination: Set Design in 1930s European Cinema provides a comprehensive analysis of the practices, styles, and function of cinematic production design during this period, and its influence on subsequent filmmaking patterns."--Publisher description.
Atlas of Emotion is a highly original endeavour to map a cultural history of spatio-visual arts. In an evocative montage of words and pictures, emphasises that "sight" and "site" but also "motion" and "emotion" are irrevocably connected. In so doing, Giuliana Bruno touches on the art of Gerhard Richter and Annette Message, the film making of Peter Greenaway and Michelangelo Antonioni, the origins of the movie palace and its precursors, and her own journeys to her native Naples. Visually luscious and daring in conception, Bruno opens new vistas and understandings at every turn.
Architecture plays an important role In the films of Alfred Hitchcock. Steven Jacobs devotes lengthy discussion to a series of domestic buildings with the help of a number of reconstructed floor plans made specially for this book.
This book investigates the ways in which architectural researchers, teachers of architecture, their students and practising architects, filmmakers and artists are using filmmaking uniquely in their practice.
For the first time, this book brings the insights, methodologies and visions of film to the practice of architecture. Walls Have Feelings poses unanswered questions from our immediate past, crucial for the future of the city: what was the cultural mindset leading to the triumph of Brutalism? What is the urban and domestic impact of large scale office building? Are there alternatives to the planners' city of object? and, Why does your flat leak? This book uniquely brings to bear questions of urgent cultural relevance on critical design decisions. As such, it is of as much importance to architects, planners and students of design, as to students of cultural history, geography and all enthusiasts of cities and of film.