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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.
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.
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.
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.
A highly visual, graphic analysis of film in terms of architecture, cinematic spaces and production design. Architectural floor plan drawings are presented alongside short, critical discussions of key twentieth and twenty-first-century films which help the reader to evaluate architectural spaces in film and think about the stories they tell.
Philosophers on the art of cinema mainly remain silent about architecture. Discussing cinema as ‘mass art’, they tend to forget that architecture, before cinema, was the only existing ‘mass art’. In this work author Nadir Lahiji proposes that the philosophical understanding of the collective human sensorium in the apparatus of perception must once again find its true training ground in architecture. Building art puts the collective mass in the position of an ‘expert critic’ who identifies themselves with the technical apparatus of architecture. Only then can architecture regain its status as ‘mass art’ and, as the book contends, only then can it resume its function as the only ‘artform’ that is designed for the political pedagogy of masses, which originally belonged to it in the period of modernity before the invention of cinema.
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.
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.
Cinematic Aided Design: An Everyday Life Approach to Architecture provides architects, planners, designer practitioners, politicians and decision makers with a new awareness of the practice of everyday life through the medium of film. This novel approach will also appeal to film scholars and film practitioners with an interest in spatial and architectural issues, as well as researchers from cultural studies in the field of everyday life. The everyday life is one of the hardest things to uncover since by its very nature it remains overlooked and ignored. However, cinema has over the last 120 years represented, interpreted and portrayed hundreds of thousands of everyday life situations taking place in a wide range of dwellings, streets and cities. Film constitutes the most comprehensive lived in building data in existence. Cinema created a comprehensive encyclopedia of architectural spaces and building elements. It has exposed large fragments of our everyday life and everyday environment that this book is aiming to reveal and restitute.
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