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Atmosphere, Cinema, Architecture: Thematic Reflections on Ambiance and Place explores cinema and architecture as ambient and affective settings or circumstances that can enable the emergence of atmosphere. This book is an interdisciplinary reading of cinematographic practice which develops useful implications for spatial composition in art and architectural design. The way a film is set up, directed, composed, framed, and technically constructed can provide parallels, analogies and metaphors for the spatial organisation of cities, landscapes and buildings. Likewise, the way a built setting is conceived and devised can inform approaches to framing and spatial organisation in cinematography. The book begins on a personal note with a series of recollected atmospheric experiences, leading to an investigation of ambiguity and consilient discrepancy as circumstantial conditions necessary for the production of atmosphere. The mood of melancholia is explored to show the pivotal role that ambiguity, discrepancy and irresolution play in its distinctive ambiance. Atmosphere is then defined as an emergent condition arising between an ambient, affective circumstance and a mooded human being. The book then moves to analyse the inherent conditions in the setup of filmic and architectural settings that render them atmospheric. Reference is made to the cinema of Bresson, Resnais, Lynch, Tarr, Malik and Campion, and to Romanesque tympanae, the architectonic scenography of Franz Kafka’s novel The Castle and the work of Spanish architects Flores Prats. The concluding section, Anatomy of Atmosphere, is a lexicon of concepts, themes and tactics around atmosphere that might usefully inform creative practice.
Atmosphere, Cinema, Architecture: Thematic Reflections on Ambiance and Place explores cinema and architecture as ambient and affective settings or circumstances that can enable the emergence of atmosphere. This book is an interdisciplinary reading of cinematographic practice which develops useful implications for spatial composition in art and architectural design. The way a film is set up, directed, composed, framed, and technically constructed can provide parallels, analogies and metaphors for the spatial organisation of cities, landscapes and buildings. Likewise, the way a built setting is conceived and devised can inform approaches to framing and spatial organisation in cinematography. The book begins on a personal note with a series of recollected atmospheric experiences, leading to an investigation of ambiguity and consilient discrepancy as circumstantial conditions necessary for the production of atmosphere. The mood of melancholia is explored to show the pivotal role that ambiguity, discrepancy and irresolution play in its distinctive ambiance. Atmosphere is then defined as an emergent condition arising between an ambient, affective circumstance and a mooded human being. The book then moves to analyse the inherent conditions in the setup of filmic and architectural settings that render them atmospheric. Reference is made to the cinema of Bresson, Resnais, Lynch, Tarr, Malik and Campion, and to Romanesque tympanae, the architectonic scenography of Franz Kafka's novel The Castle and the work of Spanish architects Flores Prats. The concluding section, Anatomy of Atmosphere, is a lexicon of concepts, themes and tactics around atmosphere that might usefully inform creative practice. Michael Tawa is an architect and Professor of Architecture in the School of Architecture, Design and Planning at the University of Sydney, Australia. He is the author of Agencies of the Frame: Tectonic Strategies in Cinema and Architecture and Theorising the Project: A Thematic Approach to Architectural Design. .
Architecture is increasingly understood to be a sensual, spatial experience, which means that the experience of buildings and spatial constellations is also a perception of atmospheres that are rated as positive or negative. Architects, planners, investors, and politicians must produce effects such as these according to intersubjective and communicable criteria, and not intuitively or randomly. Architectural Atmospheres addresses the growing awareness of the atmospheric dimension of architecture and provides a current, programmatic discussion of this topic. What possibilities does this approach open to architecture, what value does this knowledge have? Three essays and a conversation lead a cross-discipline discussion on the impact of architecture, and contribute to the debate first initiated by Peter Zumthor. The texts are accompanied by thirty-five color images that capture architectural moods in a variety of ways. Gernot Böhme is Professor Emeritus of Philosophy at Darmstadt Technical University and Director of the Institute for Practical Philosophy, e.V., Ipph, in Darmstadt, Germany. Christian Borch is Professor of Political Sociology at the Department of Management, Politics, and Philosophy, Copenhagen Business School, Denmark. Olafur Eliasson is a Danish-Icelandic artist. Eliasson incessantly explores our modes of perceiving. His work spans photography, installation, sculpture, and film. Juhani Pallasmaa is one of Finland's most distinguished architects and architectural thinkers.
What is an “Atmosphere”? As part of the book series “Atmospheric Spaces”, this volume analyses a new phenomenological and aesthetic paradigm based on the notion of the “Atmosphere”, conceived as a feeling spread out into the external space rather than as a private mood. The idea of “Atmosphere” is here explored from different perspectives and disciplines, in the context of a full valorization of the so-called “affective turn” in Humanities.
This book sets out to explore the creation of interior atmosphere as seen through the lens of mise-en-scène. You will learn how this film theory informs the concept of 'staged space' translated through the narrative and expressive qualities of a particular scene. Jean Whitehead quickly takes this concept beyond the screen and considers its application to the interior 'setting'. By learning to use the ingredients that inform an 'interior' mise-en-scène such as its backdrop, choice of props, use of special effects alongside the application of colour, pattern, graphics, light and shadow, an immersive atmospheric experience can be created. Packed with inspiring examples and case studies, ranging from cinematic interiors and art installations, to the work of notable interior designers, stylists and architects with an interior interest, this book broadens current thinking around the design of the decorated interior. It will help you to embrace the concepts that underpin an interior mise-en- scène through the use of softer decorative techniques and concerns.
In Architecture in Cinema, more than 40 architects, writers, thinkers, and academicians examine the magnificent works of cinema that contribute to the art of architecture and bring them to the attention of the architectural community. The contributors have compiled essays on fifty masterpieces of classic and contemporary cinema, including films such as The Cabinet of Dr. Caligari, Ben Hurr, The Lord of The Rings trilogy, Nomadland and more. The book aims to stimulate the imagination of readers and offer approaches to understanding fantasy, sociological concepts, ecological problems, and political ideas. The contributors also focus on the elements of creativity, such as utopian or dystopian themes, aesthetics and artistry. Architecture in Cinema is an informative reference for anyone interested in how architecture is featured in the cinematic medium. Scholars of architecture, urban planning, fine arts, humanities, social sciences, and various design disciplines, will also find the book refreshing.
What really constitutes an architectural atmosphere," Peter Zumthor says, is this singular density and mood, this feeling of presence, well-being, harmony, beauty ... under whose spell I experience what I otherwise would not experience in precisely this way." Zumthor's passion is the creation of buildings that produce this kind of effect, but how can one actually set out to achieve it? In nine short, illustrated chapters framed as a process of self-observation, Peter Zumthor describes what he has on his mind as he sets about creating the atmosphere of his houses. Images of spaces and buildings that affect him are every bit as important as particular pieces of music or books that inspire him. From the composition and presence" of the materials to the handling of proportions and the effect of light, this poetics of architecture enables the reader to recapitulate what really matters in the process of house design.
As suggested in the title, Slicing Spaces: Performance of Architecture in Cinema, this project slices through the multifaceted layers of film space. The text investigates how architecture performs as an altruist, proving that environed space is not merely a backdrop in film scenes, but an active performing character. The performance of architecture varies depending on what the filmmakers wish the viewer to feel, whether it is fear, compassion or joy. Considerations take an interdisciplinary approach, not solely observing film and architecture but also studying the likes of urbanism, politics, philosophy, history, psychology, art and design. The substantial spectrum of opinions from contributing authors allows the reader to absorb the diverse relationships of architecture in cinema, inviting the reader to form their own opinions on the topic and inspiring a new way of thinking. Slicing Spaces explores the interconnected relationship between architecture and film via distinct approaches to spaces of the city, confinement, actuality, the psyche and the imagination. Diverse views on cinematic architecture are probed, such as the psychological ramifications of film architecture, the portrayals of the city as a character and the potentials of exploring fantastic places in film. Overall, the book focuses on the authoritative contribution of architecture to the realm of filmmaking. It uncovers a path to look at lived spaces of architectural design from an alternative perspective, be it interiors, buildings or cities. Utilising the architectural ingenuity of drawings and graphics, the collection takes the reader on a visual journey as well as one through narratives.
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.
How do cinematic portrayals of the weather reflect and affect our experience of the world? While weatherly predictability and surprise can impact our daily experience, the history of cinema attests to the stylistic and narrative significance of snow, rain, wind, sunshine, clouds, and skies. Through analysis of films ranging from The Wizard of Oz to The Umbrellas of Cherbourg, from Citizen Kane to In the Mood for Love, Kristi McKim calls our attention to the ways that we read our atmospheres both within and beyond the movies. Building upon meteorological definitions of weather's dynamism and volatility, this book shows how film weather can reveal character interiority, accelerate plot development, inspire stylistic innovation, comprise a momentary attraction, convey the passage of time, and idealize the world at its greatest meaning-making capacity (unlike our weather, film weather always happens on time, whether for tumultuous, romantic, violent, suspenseful, or melodramatic ends). Akin to cinema's structuring of ephemera, cinematic weather suggests aesthetic control over what is fleeting, contingent, wildly environmental, and beyond human capacity to tame. This first book-length study of such a meteorological and cinematic affinity casts film weather as a means of artfully and mechanically conquering contingency through contingency, of taming weather through a medium itself ephemeral and enduring. Using film theory, history, formalist/phenomenological analysis, and eco-criticism, this book casts cinema as weather, insofar as our skies and screens become readable through our interpretation of changing phenomena.