SPATIAL EXPERIENCE, NARRATIVE & ARCHITECTURE - BYERA HADLEY REPORT 143.0 PRACTITIONERS OF THE IN-BETWEEN3.0PRACTITIONERS OF THE IN-BETWEEN3.1 Film + <strong>Architecture</strong>: Spatial IntelligenceA series of interviews were conducted withArchitectural/Academic professionals from London<strong>and</strong> Berlin, who straddle the professional worldsof <strong>architecture</strong>, film <strong>and</strong> art. The conversationshighlighted particular concepts such as <strong>spatial</strong>intelligence, memory, temporality <strong>and</strong> <strong>narrative</strong>.These concepts have been used in the followingchapter to frame the link between film + <strong>architecture</strong>.Christophe Gérard is the founding director of‘Criticalspace’, an academic specialist on the subjectof film+<strong>architecture</strong> (having co-ordinated <strong>and</strong> taughtprograms at The Bartlett UCL, UK), an Architect, afilmmaker <strong>and</strong> highly <strong>experience</strong>d scenographer. 13Chistophe Gerard described ‘Film + <strong>Architecture</strong>’ “asa discipline between two disciplines <strong>and</strong> a disciplineof the in-between. It deals with the pollution, thecontamination of each discipline, film <strong>and</strong><strong>architecture</strong>, by the other. It looks at the wayarchitectural-space <strong>and</strong> film-space collide, inform <strong>and</strong>reconfigure one another.” 14Baudrillard reminds us that <strong>architecture</strong> is notwhat fills the space but what generates it. 15 Whenconsidering the link between architectural space<strong>and</strong> film space, one must consider that space isultimately generated in our mind: it is a combinationof our perception, our <strong>experience</strong> of space, altered orpondered by such things as our personal knowledge,memory <strong>and</strong> our state of mind. Gerard suggests,the real space, like the filmic space you reconfigure inyour mind from irreconcilable snippets, <strong>and</strong> differentpoints of view, is ultimately a mental space. Hesuggests that is where film <strong>and</strong> <strong>architecture</strong> meet up,where film in generating space, in a sense, becomes<strong>architecture</strong>, <strong>and</strong> again why as architects we have tolook into films.“Film provides a very rich representation of<strong>architecture</strong>” (Gerard). 16 Gerard stated in our interviewSeptember 2010, that “film as a medium developsthe conception (both the mental picture <strong>and</strong> the actof conceiving) of <strong>architecture</strong>.” He elaborated on thistopic by describing how the filmic space confrontsus with specific aspects of physical space that asarchitects we are contributing to (<strong>and</strong> physical spacehas to be taken here in its broadest meaning: thesensorial space, the social space… etc). In film,space is <strong>experience</strong>d through sounds, motions<strong>and</strong> e-motions, <strong>and</strong> we comprehend its invisibleboundaries. Film is therefore a good material ofstudy to exp<strong>and</strong> our underst<strong>and</strong>ing of <strong>architecture</strong><strong>and</strong> change the way we go about making it.PICTURED‘The Rise’Exhibition view,Stedelijk Museum BureauAmsterdam, 2007Image source:http://fischerelsani.net/
SPATIAL EXPERIENCE, NARRATIVE & ARCHITECTURE - BYERA HADLEY REPORT 153.0 PRACTITIONERS OF THE IN-BETWEENBerlin based artists Nina Fischer <strong>and</strong> Maroanel Sani focus on transitory spaces <strong>and</strong> vacuumsituations in urban environments, collective memory<strong>and</strong> vision in various media such as film, video,installation <strong>and</strong> photography. 17 They use their workto discuss the relationship between buildings <strong>and</strong>their psychological effect. The films by these twoartists are frequently concerned with visualisingurban architectural settings in order to address theparameters of a discourse on space that has shapedthe 20th century. In the installation work ‘The Rise’they explore “the complex relationship betweenthe visual language of a building, its psychologicaleffects <strong>and</strong> the political-economic reality in which itfunctions.” 18This work examines the architectural reality of aneighbourhood in Amsterdam undergoing radicalchange. In conversation with the artists, they referredto the work of Anthony Vidler ‘The ArchitecturalUncanny: Essays in the Modern Unhomely’. Byrepeatedly using cinema to approach architecturalspaces of particular significance, they constantlyraise questions about the production of meaning inthat place. 19 There are many films also that are basedon this effect, like Hitchcock’s Vertigo, <strong>and</strong> alsorecent films that play in the modern environment ofempty office cities by night. The house, which usuallyshould be shelter, often becomes a frightening place,like a prison.PICTURED‘The Rise’Film stillsHD / 35 mm, 16:9,17 min.,loop,colour,Dolby Digital, 2007Image source:http://fischerelsani.net/
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