Sectional Transcript
Flow of disciplines and moments of exchange.
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UFA CINE-CITY
Could we imagine a new kind of exchange between urbanism and film – as engaged in a larger collective project on the cultural production of space? Could we further explore the conceptual and physical paradoxes of space that is distorted and modified by how it is represented in cinematic montage and transcript vs mappings and projections? My project explores an endless loop of exchange between the two disciplines throughout various stages in the non-linear production process, and develops a fluid infrastructure for a continuously revised cine-city. This allows me to reimagine a cultural institution as a new art form of cinema where filmic and architectural production collapse.
The exchange includes not only the production of stage-sets or digital contexts or final consumption of cinema, but also various pre-filmic and post-filmic stages when directors and architects collaborate and also engage with public and educational programmes. The exchange process becomes both cultural and physical – which I explore through my key programmatic and formal elements. My main architectural elements – ‘cutters’ - are transfers and bridges, apertures and portals which multiply the moments of exchange across production ‘bands’. Working in combination and in sequence along my spatial ‘transcripts’, they induce programmatic relationships at different stages of the production process.
This process subverts how we perceive the cultural products of the collaborating discipliners. The urban-filmic experience is constructed and edited not only in the mental space but also in the physical space, framed by the matter architecture; while architecture of the city offers us cinematic qualities and first-hand experience of paradoxes, collapses, and distortions. The cine-city maintains continuous construction and re-construction of space - dynamic and static, conflicted and coherent, imaginary and concrete – and opens up the possibility for a broader cultural project on the city.
Flow of disciplines and moments of exchange.
Experiential vs Spatial
To show how different user groups will move through the project.
To explain how different architectural elements, the 'Cutters', can facilitate the processes of the endless loop of exchange across disciplines.
To show the transverse moments of exchange across the wall. The cutters will induce new programmatic relationships across the bands.
My main architectural elements – ‘cutters’ - are transfers and bridges, apertures and portals which multiply the moments of exchange across production ‘bands’. They are my key programmatic and formal elements, ranging from optical/trajectory devices to functional spaces. Working in combination and in sequence along my spatial ‘transcripts’, they induce programmatic relationships at different stages of the production process.
The live action from filmic production program will then be combined with virtual spaces which are generated by architects ,who are as the expert in producing spaces through computation.
This is a combination of programmatic and spatial transcript. Programs unfold along one filmic band (the 'Wings of Desire' production band) according to different stages in the film production process.
Filmic transcripts of 'Wings of Desire', 'Germany Year 0', and 'M for Murder', unfolding all the filmic spaces and events along the movies.
The film explains the effect and concept of the my architectural cutter elements.
