false perspective 133, 136
Figgis, Mike 7, 181, 287, 289, 292–295, 298–304, 314
Filmic space; Filmic architecture 5, 123–127, 133, 138, 163, 288, 314
“filming style” 5, 58–60, 163, 169, 171, 179–180, 185–186, 253, 273–274
Flashback 45, 65–66, 287, 299
Flashforward 299
Folds, Bodies and Blobs: Collected Essays 302
Fondazione Querini Stampalia 47
Ford Coppola, Francis 77
Foregrounded; foregrounding;
Foreground 47, 102, 104, 165–169, 182, 205, 243–251, 271
Foreign Office Architects 303
Foro Italico 89
Foucault, Michel 23–24, 99
Frame; Framing x, 46, 48, 79, 81, 83, 88, 105, 112, 126, 148–149, 164, 178–179, 182–183, 204–205, 221, 224, 231, 244, 251–259, 274
Frampton, Kenneth 222
Fuller, Buckminster 36
G
Godard, Jean Luc 11–18, 99
Gelenter, Mark 59
Genius Loci 270
Gestalt 272, 313
Giedion, Sigfreid 63, 68–71, 221
Gilbert, Lewis 5, 33, 35, 40
Glass, Philip 77–78
Goldfinger 35
Gordon, Douglas 211, 288
Grande Illusion, La x, 6, 241–250, 260
Graham, Dan 5, 123–124
Greenaway, Peter 5, 85, 87–93, 314
Guggenheim Museum Proposal, 80–81
H
Harbison, Robert 59
Haus Immendorff Project 300–301
Heraclites 277
Herrera, Aurora 5, 157–158, 188
Hiroshima 45–46, 157
Hiroshima mon amour 4, 43–50, 55, 89
Hirschbiegel, Oliver 5, 21, 23, 26–28
Holl, Steven 270
Hollywood 13–14, 23, 164–166, 259, 289–290
House of Cards 293
Husserl, Edmund 269–273
Hybrid Artworks 5, 121, 171
Hyperreality 14, 16
I
Inception 155, 313
Incidental Legacy (performance) 126–127, 131, 135, 138
Indeterminate Façade 17
Institute of the Arab World 81
Interior design 37, 104
Intertextuality 14–15, 17, 246
J
Jacobs, Jane 112–113
Jackson,. J.B. 112–113, 116
Jencks, Charles 113
Jet Lag (performance) 143–145
Johnson, Philip 27
Jump Cuts (installation) 27–28, 146
K
Kino Eye 3
Koolhaas, Rem 5, 63, 69–71
Koyaanisqatsi 75–83
Krauss, Rosalind 293
L
La Défense 101
Lagrange, Jacques 5, 100–102, 105, 155
Las Vegas 113–115
Last Year in Marienbad 4, 53–60, 89
Learning from Las Vegas 113, 115
Ledoux, Claude Nicolas 90
Lefebvre, Henri 97–104, 270
Lighting x, 14, 46–47, 49, 135, 137, 164–165, 177–180, 182–183
Line of action 165–167, 187
Loophole (installation) 145–147, 149
Los Angeles ix, 70, 111, 113–115
Los Angeles Plays Itself 155
Louis David, Jacques 88
Lucas, George 77
Lumière, Louis and Auguste 3, 314
Lynch, Kevin ix, 114–116
Lynn, Greg 7, 287, 302–303
Lucerne 39
M
Madrid 157, 200–201, 212
Malevich, Kasimir 225, 272
Manhattan Transcripts 295–298
Manovich, Lev 312
Matrix, The 313
Mayne, Thom 7, 287, 303–304
Méliès, Georges 3, 314
Memories (performance) 132–135
Merleau-Ponty, Maurice 6, 239, 269–276, 279, 294
Metropolis 155
MGM 111
Miramax 77
mise-en-scène 4–5, 57
Mitchell, William 312
Modern Movement ix, 6, 16, 18, 97, 101, 104, 221, 229, 232, 240, 293
Modernism ix, 18, 68, 90, 100, 250, 260
MOMA 26–27, 143, 146
Montage 3, 6, 13, 66, 71, 156, 226, 228, 250, 287, 290, 300, 311
Morphosis 69, 303
Mourenx 99–100
Mr Hulot’s Holiday 99
Multi-media 125, 132, 200
Mumford, Eric 100
Munich 55, 197, 201, 203–204, 214
Munsterberg, Hugo 314
Murphey, Richard 47
Museo di Castelvecchio 47–48
MvRdV 303
My Uncle 99
N
Naqoyqatsi 77
Narrascape 156
Nauman, Bruce 5, 123, 314
Navarrenx 99
Neorealism 16
Neumann, Dietrich 155
New Objectivity 313
New Wave 11, 13, 16, 18, 45, 304
New York 26–27, 68–70, 143–148
Norberg Schulz, Christian 270
Notch Project 17
Nouvel, Jean 4, 6, 33, 39–40, 75, 79–83, 267–278
Novak, Marcos 312
Nymphenburg, Palace 55, 59
O
O’Herily, Lorcan 5, 156, 159, 188
OMA 69–71
On-screen 4, 46, 69, 78, 93, 138, 156, 170, 177, 207, 210–211, 244, 253, 255, 278, 312
Owen Moss, Eric 289
Ozu, Yasujiro x, 6, 163–164, 179, 237, 241–242, 250–261
P
Panopticon 24–25
Pantheon 86
Para–Site (installation) 26–27, 146–147
Parc de La Villette 70, 291–293, 296–298
París 70, 80, 81, 90, 100, 101, 228, 267, 275, 291, 296
Parreno, Philippe 211, 288
Passenger, The 111
Paul, R.W. 314
Peeling Project, The 17
Penz, François ix–xi, 5, 147, 156, 158, 188
Performance art 5, 26, 134, 143
Perspective 56–59, 133, 136, 178, 182–183, 185, 239–250, 256, 261, 312–313
Phenomenology 6, 267, 269–278
Phenomenology and the Crisis of Philosophy 270
Phenomenology of Perception 294
Phenomenology; Transcendental; Existential 270
physical space 125, 127, 133–138, 163, 171, 315
Piranesi 35, 88
Playtime ix, 97–105, 155
plot construction 127
Powaaqatsi 77
Production of Space, The 99
Psychogeography 101
Punchdrunk Theatre Company 125
R
Raphael 88
Realism 58, 239, 241, 243–244, 250, 261, 273, 313
Red Mullet 289–290
Reed, Carol 187
Reggio, Godfrey 75–82
Rehearsal 131–136
Renfro, Charles 26, 31, 321
Renoir, Jean x, 6, 58, 163–164, 185–186, 237–250, 260–262, 273
Resnais, Alain 4, 43–46, 48, 50, 53–58
Riefenstahl, Leni 67, 344, 197, 205
Robbe-Grillet, Alain 55
Rococo 55, 59
Rockefeller Centre 68–69
Rome 87, 89, 197
Rossellini, Roberto 14
Rumsfeld, Donald 37–38
Run Lola Run 63–72, 287–288, 303–304
Russian Ark 181, 287–288, 303–304
Ruttmann, Walter 67, 69, 71
S
Sartre, Jean Paul 23, 99, 269
Scarpa. Carlo 4, 43, 47–50
Schöning, Pascal 5, 157–158, 188, 315
School of Athens 88
Scofidio, Ricardo 21, 26–29, 143–150, 155, 314
Scott Brown, Denise 113
Seagram Building 27, 148
set design 3, 5, 35, 37, 40, 60, 100, 105, 156–157
Shadows (pe
rformance) 131–133
Shields, Rob 107, 270
shot–counter shot sequence 165–166, 187, 294
shot: medium; medium-long; long 39–40, 46, 78, 79, 88, 103, 112, 116, 167, 184, 249, 273, 274, 279, 314
SITE Architects 11–17
Situationists 16, 97, 99, 101, 103–104
Slow House, The 147–149
SMPTE timecoding 289
S, M, L, XL 70
Sokurov, Alexander 181, 185, 288, 303, 314
Soundtrack 56, 60, 66, 78, 116, 210
Soviet Union 35, 225, 227, 274
Space, 180 degree; 360 degree 164, 166, 181, 186, 208, 314
Space, Time and Architecture: the Growth of a New Tradition 68–70, 221, 240
spatio-temporal 66, 221, 250, 287–288, 299–300, 304
Spuybroek, Lars 287, 303–304
Spy Who Loved Me, The 35
Stanford Experiment 23
static camera 79, 114, 169, 187, 251, 261
Station House Opera 125
Storyboard 177–182, 221
“strategy of direct incorporation” 183
“strategy of analogy” 183–184
surveillance 21, 24, 26–29, 146–147, 149
T
Tafuri, Manfredo 293
Takahasi, Michio 45–46
Tati, Jacques ix, 5, 97–105
Tativille 100–101, 103
Tatlin, Vladimir 3, 225
Theatre 15, 90, 125, 132, 134, 225, 249
Third Man, The 187
Thunderball 35
Timecode 7, 287, 289–302
Tokyo 80–81
Tokyo Story x, 6, 240, 250–260
Truncated Cone Shaped Tower 90
Tschumi, Bernard 7, 69–70, 287, 289, 291–300, 304
TV 27, 135, 145, 182, 195, 197, 200
Tywker, Tom 5, 65, 67, 71, 288, 303, 314
U
Unitary Urbanism 101
urban design; urban planning; urbanism ix–x, 29, 67–71, 100–101, 112–116, 156, 188
Urban Cinematics 156
V
Van de Rohe, Mies 27, 148
View from the Road, The 114
Venice Biennale 80, 157
Venturi, Robert ix, 109–116
Vertov, Dziga 3, 225, 291, 298, 314
Vesnin brothers 3
Video; video installation x, 4–5, 24–28, 46, 65–66, 121–127, 131–138, 143–148, 155–158, 180, 207, 213, 288–289, 311, 314
Vierny, Sacha 45–46, 50, 55, 58, 89–92
Villa Adriana 88–89
Villa Savoye x, 6, 221, 228–231
Viola, Bill 123
Virilio, Paul 6, 143, 145, 149, 209, 212–213, 269, 312
Visconti, Luchino 14
“visioning technologies” 26, 28, 143–145, 147–150, 209, 311–313
“visual language” x, 3–4, 7, 78–79, 81–82, 158, 163, 225, 239, 261, 269, 274, 311–314
voice-in-off 46, 56, 60
W
Welles, Orson x, 164–165, 167
wide angle lens 26, 165
Wilson, Jane and Louise 5, 124, 314
Workshop 156–158, 171, 175–183, 185–188
Y
Yokohama Port Authority building 303
You Only Live Twice 33–40
Z
Zabriskie Point ix–10, 109–116
Zaera, Alejandro 82
Zimbardo, Philip 23
Zoom 26, 116, 187, 207, 212, 288, 314
Index of Images
Part I: Film reviews
Les Carabiniers. 1962.
Figs. 1–3. Film stills: Rome-Paris Films. Les Films Marceau. Cocinor. (France). Laetitia Films. (Italy).
Figs. 4–5. James Wines, Arquitectura de arquitectos SITE. A+U extra edition, SITE A+U Publishing Co., Tokyo, 1986.
Das Experiment. 2000.
Fig. 1. Jeremy Bentham, Panopticon. Drawn by Willey Reveley, 1791.
Figs. 2, 3: Film stills: Typhoon Films. (Germany).
Fig. 4. Diller and Scofidio, Jump Cuts.
You Only Live Twice. 1967.
Figs. 1, 3–7: Film still: United Artists. (UK).
Fig. 2. David Hume Kennerley, “El señor de la guerra”, El País, Madrid, No1.382.
Hiroshima mon amour. 1959.
Figs 1–3: Film stills: Argos Films. Como Films. Pathe Overseas. (France). Daiei Motion Pictures. (Japan).
Figs. 4–5. Licisco Magagnato, Carlo Scarpa a Castelvecchio, Edizioni di comunità, Milan, 1982.
Figs. 6–7. Mildred Friedman, Carlo Scarpa Architect: Intervening with History 1953–78, Monacelli Press, New York, 1999. Photograph by Jean-Fred Bédard.
Last Year in Marienbad, 1960.
Figs. 1–5: Film stills: Pierre Courau – Raymond Froment. (France).
Run Lola Run. 1998.
Figs 1–3: Film stills: X Filme Creative Pool. (Germany).
Fig. 4. Berlin: Symphony of a Great City, 1928. Film still. Fox Film Corporation.
Fig. 5. Sigfreid Giedion, Space, Time and Architecture: The Growth of a New Tradition, Harvard University Press, New York, 1941.
Fig. 6. Mark Owens, “Seattle Public Library”.
Fig. 7. OMA/AMO, Content, front cover.
Koyaanisqatsi, 1983.
Figs. 1–5: Film stills: Institute for Regional Education. (USA).
Fig. 6. Alejandro Zaera (ed), El Croquis 112/113: Jean Nouvel 1994–2002, El Croquis Editorial, Madrid, 2002.
Fig. 7. Conway Lloyd Morgan, Jean Nouvel: The Elements of Architecture, Thames & Hudson, New York, 1998.
Fig. 8. Alejandro Zaera (ed), El Croquis 112/113: Jean Nouvel 1994–2002, El Croquis Editorial, Madrid, 2002.
The Belly of an Architect, 1987.
Figs. 1, 2, 4, 5: Film stills: Tangram Film/Mondial. (UK).
Fig. 3. Etienne-Louis Boullée, Newton’s Cenotaph, exterior by night. Ink and wash, 1784.
Playtime, 1968.
Fig. 1. Production shot. Panoramic/Specta-CEPEC.
Figs. 2–5: Film stills: Specta Films. (France).
Zabriskie Point, 1970.
Figs. 1, 2, 4: Film stills: United International Pictures S.L. (USA).
Fig. 3. Robert Venturi, Aprendiendo de Las Vegas, Editorial Gustavo Gili, Barcelona, 1978.
Part II: Applying film to architecture
Hybrid Artworks. Film and video stills, 1999.
Simon Arnold, Hybrid Artworks. Plans and computer generated visuals, 2012 (from originals by Graham Cairns).
Elizabeth Diller and Ricardo Scofidio, Jet Lag, 1999. Loophole, 1992. The Slow House, 1989.
Citizen Kane, 1941. Film stills: RKO radio Pictures Incorporated.
The Battleship Potemkin, 1925. Film still: Goskino.
Drawings and film stills from various students at design workshops ran by Graham Cairns, Universidad San Pablo, CEU, Madrid, 2001.
Figs.13–23. Simon Arnold, drawings reworked for publication, 2012 (from original sketches from various students, 2001).
Part III: Conceptual essays
The hybridization of sight in the hybrid architecture of sport: The effects of television on stadia and spectatorship
Fig. 1. Leni Riefenstahl, Olympia, 1936.
Fig. 2. David Allen, Munich Olympic Stadium, 1972.
Fig. 3. Simon Bunty, “A vuelo de pájaro”. Aunario 92, Barcelona, Planeta, 1993.
Fig. 4. Tom Jenkins, “Wembley Stadium”, 2009.
Fig. 5. Douglas Gordon and Philippe Parreno, Zidane: A Twenty First Century Portrait, 2001.
Cinematic movement in the work of Le Corbusier and Sergei Eisenstein
Fig. 1. Le Courbusier, Nature morte à la pile d’assiettes, 1920, Le Corbusier Foundation, Paris.
Fig. 2. The Villa La Roche, hall and staircase seen from hall, as presented in photographic sequence. Almanach d’architecture moderne, Paris, 1926. Photograph by Lynn Rosenthal.
Fig. 3. Tim Benton, The Villas of Le Corbusier, Yale University Press, New Haven, 1987.
Fig. 4. Anthony Dore, La Villa Savoye.
> Fig. 5. Film Still, 1989, from L´Architecture d´aujourd´hui, 1929, in Beatriz Colomina, Privacy and Publicity: Modern Architecture as Mass Media, Cambridge, MIT Press, 1996.
The historical construction of cinematic space: An architectural perspective on the films of Jean Renoir and Yasujiro Ozu.
La Grande Ilusion. 1937. Film stills: Réalisation d´art cinématographique. (France).
Tokyo Story, 1953. Film stills: Shochiku Films. (Japan).
Fig. 3. Pietro della Francesca, The Flagellation of Christ, 1455–1460. Galleria Nazionale delle Marche, Urbino.
Fig. 5. Antonello da Messina, Saint Jerome in His Study, 1479. National Gallery, London.
Figs. 13, 15. Heinrich Engel, The Japanese House: A Tradition for Contemporary Architecture, Charles E. Tuttle Company, Tokyo, 1964.
Fig. 14. Kitagawa Utamaro (), 1753–1806, Women Restrain a Young Man Who Has Struck Down an Older Rival, A Parody Of the First Scene in Chushingura, no date, ca. 1795/95. Graphic Arts Collection. Princeton University Library.
Cinematic phenomenology in architecture: The Cartier Foundation, Paris, Jean Nouvel.
Figs. 1–2. Alejandro Zaera (ed), El Croquis 112/113: Jean Nouvel 1994–2002, El Croquis Editorial, Madrid, 2002.
Fig. 3. Conway Lloyd Morgan, Jean Nouvel: The Elements of Architecture, Thames & Hudson, New York, 1998.
Fig. 4. Olivier Boissiere, Jean Nouvel, Birkhäuser, Verlag für Architektur, Basel, 1996.
Fig. 5. Hélène Picard
Cinematic space and time: The morphing of a theory in film and architecture
Fig. 1. Timecode, 1999. Film Still: Red Mullett Productions. (USA).
Figs. 2, 5. Bernard Tschumi, “Parc de la Villette, Paris” in: A. Papadakis, C. Cooke and A. Benjamin (eds), Deconstruction Omnibus, Rizzoli, New York, 1989.
Fig. 3. Peter Eisenman, “House IV” in House of Cards, Oxford University Press, Oxford, 1987.
Fig. 4. Bernard Tschumi, Manhattan Transcripts, Academy Editions, London. 1981.
Figs. 6–7. Peter Eisenman, “Haus Immendorff Project”, “Church of the Year 2000” in El Croquis: Peter Eisenman 1990–1997, El Croquis Editorial, Madrid, 1997.
The Architecture of the Screen Page 40
