Theory seminar S7 | creative cluster | fall 2009

 

Cinematic Space - Architectural Space

28. September - 2. October 2009

Organization and Direction:

Doris Agotai (Dr., Architect ETH, Film-Expert),

Tim Kammasch (Dr., Prof. of a-theory, JMA),

Stanislas Zimmermann (Head of JMA Burgdorf, Prof., Architect ETH)

Support: Annette Spindler (Architect, Scientific collaborator JMA)

Guests: Pablo Valbuena (Artist, Madrid),
Mirjam Krakenberger (Filmeditor, Zurich)


Information about the students' preparation for the Joint Master Theory Seminar S 7

The theory seminar S7 Creative Cluster will be held during the calendar week 40 from September 28 to October 2, 2009 in Burgdorf and Bern-City. As there will be mandatory evening events (see program enclosed) we recommend that you spend the nights in Bern and organize hotel accommodation in due time.


As suggested by its title and due to the declared wish of many of the participants of our last theory seminar, Cinematic Space – Architectural Space, the first theory seminar of the fall semester of 09/10 will deal with the cinematic and architectural space. The focus is on the scenographic potential of architecture. The performance of the actor always also draws attention to the architecture, for example when Grace Kelly makes a gallant appearance, when James Stewart holds his ground as a clumsy hero, or when Jack Nicholson gives the audience a re al scare playing a psychopath. Cinematic space is being created in front of the camera, with the camera, as well as behind the camera (cut).

In the seminar, we will analyze the creative strategies that create the spatial atmosphere on all three levels and test how they may be used for the creation of an architectural space. Additionally, there will be experts answering questions related to film theory and design. The students will analyze movements in space, time, and plot dealing with Kafka’s novel The Trial (First published in German: Der Process, 1925) by means of collages, storyboards, and scene models. Furthermore, they will design a scene architecturally, film on the model, and rework it (editing). What has been read in space-related theory texts will be put to the test in film analyses. For this purpose, four evenings at the Bern Film Museum are planned, during which the students will comment on these theoretical texts and on the screenings.
 


Preproduction I (first part of the obligatory task)

what Students are asked for to be prepared for the seminar



In order to prepare for the seminar, each student is required in an informal initial phase to acquire and completely read the novel titled The Trial by Franz Kafka (the book is available as a soft cover in English, German, French, Italian, and many other languages).

 In addition, the introductory theoretical text 'Lived Space in Architecture and Cinema' about architecture and film should be read.
At the beginning of the fall semester 09/10, further and more detailed information as well as additional references will be sent out for the preparation of the theory seminar S7 Creative Cluster.


We wish everyone interesting reading matters and an educationally enriching recess period.



The Burgdorf-JMA-Team





 

Pallasmaa, Juhani (2001), "Lived Space in Architecture and Cinema",
in: id., The Architecture of Image. Existential Space in Cinema, Hämeenlinna, pp. 11–37.
 
As regards architecture and film, this text deals with the relationship between space and perception. How does the film manage to translate the geometrically measurable, Euclidean space into a space language consisting of inner sensitivities, emotions, and memories? The Finnish Professor of Architecture, Juhani Pallasmaa, examines in the present introduction to his book titled The Architecture of Image. Lived Space in Cinema how the film designs perceptions of space that trace our personal spatial concepts and experiences. In addition, Pallasmaa describes how these perceptions of space give evidence of the compositional instruments that underlie for example Hitchcock’s suspense or Tarkowskij’s enigmatic landscapes.
In his broad survey, Pallasmaa seizes on stages of film history, where intentions regarding stage-management penetrate into architectural history. He shows the phenomenological neighborhood of film and architecture. To illustrate this, he gives the floor to architects such as Jean Nouvel, who describes the experience of movement of the built space in analogy to film as a series of cuts, sections, and openings.

 

Agenda: Theory_seminar_S7_Agenda.pdf