McGill School of Architecture, student's project: A Film Approach in Design

McGill School of Architecture
MArch
Design and Research Methodology

The McGill School of Architecture's professional M. Arch. (I) program involves a thesis project that challenges students to contribute to the broader discourse of architectural ideas under the guidance of an appointed thesis advisor. Design Research and Methodology is a required course in this program, and its purpose is to investigate and structure the research activities that will support and inform the thesis project.

Design and research methodology
student's project:

A Film Approach in Design by
Sagi Dar Ali
Rami Bebawi

excerpt:


Architecture and Film

Architecture is immobile, but the architectural experience is more of movement, like standing in a space and looking around, or walking along a corridor. "From the 1920's and after, film and architecture were, in a fundamental sense, entirely different media utilizing their respective technologies, the one to simulate space, the other to build it, now, by contrast, the increasing digitilization of our world has rendered them if not the same, at least coterminous". As an example, Michelangelo Antonioni uses architecture in his films to depict the state of mind of his characters, or perhaps as a stage to end the conflict between them. In his film L'avventura, old building ruins can be seen in the background when the two main characters appear tired and exhausted after they have finally realized their mistakes (sample movie). Similarly in real life, and outside of film, a young couple sit on the steps of a Greek temple, so full of youth, watching the noisy street and people go by, and yet only the calm and quiet structure that sillouetes behind them exists in their mind, only them and the architecture (see analytique for theme on two cities). Sergei Eisenstein, a pioneer in architecturally stimulated films, developed a comprehensive theory of what he called "space constructions" that found new meaning in the romantic formulation of architecture as "frozen music":

At the basis of the composition of [architectural] ensemble, at the basis of the harmony of its conglomerating masses, in the establishment of the melody of the future overflow of its forms, and in the execution of its rhythmic parts, giving harmony to the relief of its ensemble, lies that same "dance" that is also at the basis of the creation of music, painting, and cenamatic montage.-- Sergei Eisenstein

Spatial Experience in Film

Film captures movement and change in time, and contrary to the other arts, it is able to project movement onto a two dimensional screen, collapsing the space and time inside a frame. This is different than photographs and drawings, which capture the architecture by freezing a moment in time. With a photograph one takes ample time to look at it and read the message within, while in film, images translate into a spatial experience through an interplay of camera movements, dollying, tracking, and zooming. At the same time, film is based on a plot, or story, which suggests a beginning (of a process) and an ending (a resolution). Contrary to common belief, this is not a linear process, because film can be disoriented with respect to time and space.

Architecture and film can be looked at from different perspectives.


Architecture can be used cinematically in two different ways, according to Vincent Kling:

Expressionist films. When the technology was highly expensive and limited to black-and-white and no sound, symbolic movements of characters and canvas drawings of buildings and landscapes were used in order to bring the action, as in Fritz Lang's Metropolis (sample movie).
Realistic films, both in contemporary architecture that we see in Antonioni's films, and in surrealistic (artificial) films like sci-fi or horror, as in Ridley Scott's Blade Runner.

In either case of the above, the intent is to create an experience derived from film by using the filming techniques in an interplay between architecture and the characters.

Film in Architecture

Film is finding its own seats in the architectural room with the advent and affordability of technology. In the "Architect As A Film Maker," Vincent Kling says that films do not have to be very technologically advanced and sophiticated in order to make a successful presentation. For architects, film is a very powerful medium because it allows them to walk through a virtual model or a small mock-up of the building while the client is watching, and enables them also to demonstrate the design ideas as if the building was explored by the eyes of the visitors. In addition, Film can be used academically to help explore (see) and document the effects of buildings on society, and the urban setting.


External Perspective

If we were to stand away and compare film and architecture, we would find that the design process is the same in each in a way that both require a team of designers collaborating together. It also can be seen in the way that both try to demonstrate certain values to society in order that they can be critiqued by the public. To demonstrate, if one first looks at the basic elements of screenwriting in film, the writer is required to have a clear premise before beginning to write the script, which must be described in one sentence.

What is the premise of King Lair? "Blind trust leads to destruction."

What is the premise of Macbeth? "Ambition leads to its own destruction."

The writer should ask himself what he is trying to say. Is it worth saying? Is it freshly said? Is it a significant statement that an audience will care about? Is it about life, death, love, suicide, or is it simply about a character worrying about getting a date? Blacker

Similarly, architecture takes on a challenge, to create a thesis, in order to introduce a concept for analysis and critique.