A Search for Architectonic Spatial Structures in Narrative Film: Case Study of “Russian Ark” (original) (raw)
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Journal of Architecture and Building Science - Transactions of AIJ (Architectural Institute of Japan), 2011
In this paper, narrative film is defined according to structuralist semio-linguistics, and then its units of significance are laid out in a preliminary model of elementary units. Then, by applying this definition and segmentation process on the case study film of "Russian Ark", it was found that all its significant elements and organizational structures are dependent on, and function of, the denoted architectonic elements of the actual State Hermitage Museum, St Petersburg, where it was filmed. This dependency of the filmic structures on architectonic elements allowed the preliminary conclusions that their similarities with architectonic spatial structures are as follows: 1) architectural spatial units are similar to segments and syntagmas, 2) their organizational structure is similar to the diegetic spatial structure, and 3) architectonic programmatic and functional organizations are similar to the narrative organizational structures, or syuzhet.
In the search for ways to overcome the negative connotations of applying characteristically traditional practice methods in the current regulation of spatio-visual parameters of the urban environment, we are moving towards discussing alternative 'architecture of relations'. The paper elucidates how film may offer an alternative position in architecture, where urban spaces are thought and designed in closer relation to the potentials of film to manipulate reality, change the mode of perception, provide vision and reconstruct unconscious impulses of the metropolis. The experimental designs show how resonating records of space, time and movement through space may simulate the mapping impulse that inspires an alternative approach to designing spaces. My approach relies upon various knowledge production platforms to detect temporal filiation between cinematic and real space. They are indicated here in the context of postmodern discussions to uncover a new interaction point between cinema and architecture, in order to support time-based modes of reception of architectural and urban ideas.
Bagh-e Nazar Journal, 2023
Problem statement: There are certain historical and social ties between architecture and cinema, the seventh art, which is the outcome of other arts, including literature, painting, and architecture. Among them, architecture plays a more active role in cinema. Cinema granted the man’s ability to experience a new world from a fresh view and a fresh landscape. This possibility that movies (cinema) could reveal a direct experience of the relived space is an issue that is worth being examined from the point of architecture. The medium of cinema especially autobiographical movies for representing the living space and the memory of experiencing that space from the view of the director to understanding the mechanism of spatial memory in the mind of addresses (viewers) and architecture attaches great importance. Andrei Tarkovsky’s movies, have been based on the biography of the director and express the poem of his existence; Nostalgia Movie, have been put forward as a case study. The query of the research is how the meaning and spatial memory have been transferred through the medium (movie as a visual representation of the place of life) of the autobiographical movie of Andrei Tarkovsky. Research objective: This study attempts to investigate the meaning and spatial memory and living spaces in the Nostalgia autobiographical movie from the phenomenological view. Research method: The method of research is qualitative and also descriptive-analytical and phenomenological. Phenomenology deals with the animation of cinematic films rather than interviews. The present study of films is based on studying “descriptive-visual phenomenology” of the experience of the space. Conclusion: The studies show that from the point of phenomenological, architecture through the medium of cinema in Andrei Tarkovsky’s autobiographical movie, when the producer has a deep understanding of space and architecture, and the space of movie is the outcome of his life, these meanings would be understood, decodified, and experienced by the addressee. The subject of the Nostalgia movie is homesickness and eagerness for a childhood home. The house is the first place that contributes to experience in the first years of life and stays in human spatial memory. The way of evaluating other spaces somehow depends upon this early view. With a glance at this movie, Tarkovsky’s shining pure poetical architectural images are a solution to the stammering language of architecture in contemporary era, which ignores the expansive man’s emotions.
Journal of Architecture and Planning (Transactions of AIJ), 2011
In this paper, the definitions of film syntagmas and segments are reintroduced, and the notions of narrative Existents and Events are introduced based on Seymour Chatman's theories as they are central elements in the analytical process used here. After extracting the segmental structure of the case study film Short Cuts, a 30mins section is considered for in-depth analysis where 5 types of Inter-Segmental Connections and 3 types of Intra-Segmental Relations are retrieved. The relevance of these Connections and Relations to the Existents and Events further develops the film to architecture analogies and further completes the contents of their corresponding Table elaborated in earlier works.
90 Algunas prácticas recientes han reconocido que el proceso de diseño arquitectónico proporciona una fuente de nuevas prácticas de dibujo contextualizando nuestra experiencia cenestésica del espacio. Podemos plantear la hipótesis de que sobre una visión renovada del diseño arquitectónico en el mundo del cine, enriquecerá el valor del diseño arquitectónico en el poder de la invención sobre los procesos artísticos. En consecuencia, podemos obtener resultados que son un síntoma de progresión temporal basado no en cronología o sucesión, sino más bien en una topología entrelazada o serialización superpuesta, rasgo característico del cine. Some of the recent art practices have recognized that architectural design process can provide a source of new drawing practices while contextualizing our kinaesthetic experience of space. We can hypothesize that a renewed attention to film in drawing architecture can only enrich architecture's claim to the power of invention from artistic processes. In consequence, we may achieve results that are a symptom of temporal progression based not in chronology or succession but rather in an interlocking topology or overlapping seriality, characteristic to film.
Master Thesis, 2018
Perception of the architectural space in the phenomenal world is through different senses. However, in the films, this perception is through the faculty of vision only and in the order of the vision of the director and the cinematographer. These artists control the spatial observation of spectators with the control of the camera. Despite the differences in the space understanding of films and architecture, they are also parallel conceptually and practically as the number of architects involved in the design of the spatial organization of the films imply. Hence thesis starts with a theoretical study to understand the common ground in both fields regarding space. The Room - the smallest unit of architectural space- is also the most basic component of the complex spatial organization in the films. However, some narrative films are shot predominantly in just one single room. This thesis focuses on such movies created in existing or imaginary setups. The thesis categorizes such stage sets as Scenographic, which are created by the architects, decorators and/or set designers for the action of the spectatorial reality. Whereas actual architectural interior spaces i.e. buildings, in which films took place are categorized as Tectonic spaces. In many cases, such tectonic spaces are also manipulated and such redesigned spaces are named as Hybrid. With the advent of the digital technologies, alterations of the real spaces or creation of totally fictitious spaces are becoming more commonplace. This thesis focuses mostly on the single space films of the pre-digital era. Trying to understand the motives of the economy of space in these films, the thesis makes a classification of narrative films based on the role and the design of the spaces. Spatial representations in these films are studied in depth to comprehend the viewpoints of the directors, set-designers and architects.
Bagh-e Nazar, 2021
Statement of the problem: In recent years, the increasing closeness between architecture and cinema disciplines the characteristics and mutual effects of which have been fully understood, has become a serious academic subject. As a popular media and influential expressive tool, cinema plays a significant role in creating meaning, establishing an emotional relationship with the audience, narrating, and characterizing by the representation of the architectural space. However, what has been neglected in the Iranian cinema is the accurate theorization of the interdisciplinary interaction between these two areas and the solutions to apply the effect of the capacities of architecture in order to the manifestation of the meaning in the movie space. Research objective: The current study aims to analyze the dramatic function of architectural spaces' elements and physique in Asghar Farhadi's cinema, especially "The Salesman", and discover the latent and manifest concepts of the screenplay signs. Research method: This research is a descriptive-analytical research based on the qualitative content analysis and Saussure's semiotics framework. Conclusion: The results obtained from the studies indicate that in Farhadi's cinema, the architectural structure of space, not only as of the background of the story but also as a factor involved in the process of films, is consistent with the behavior of the characters and the theme of the works. Also, it indicates the feelings and even perception of specific meanings of each film. Also, each element and factor of architectural space is represented based on semantic purposes and particular semiotics. The results also show that in "The Salesman", a great volume of signs is applied intangibility and purposive in various spatial and physical elements of architecture, such as a house, color, light, texture, opening, and objects, for the dramatic narration of the story, conveyance of its latent meanings, the definition of function and moods of characters, and stimulation of the audience's feelings.
Journal of Architecture and Building Science - Transactions of AIJ (Architectural Institute of Japan), 2012
In this paper, a preliminary report is given on an architectural workshop entitled " Extended Cinematics: A Design Process Based on Architectural Interpretations of Narrative Film Structures " that was organized as a design experimentation platform for transforming film into architecture. Then based on structuralist semio-linguistic approaches to film analysis, and using the architectural designs resulted from the experiment, a mapping process that includes Design Derivation Diagrams surveying the transformation of narrative into architecture is introduced. Finally, using data from the latter diagrams, film-specific properties are identified to influence these transformation processes more than the design topics assigned to the participants.