Prospectus: The Framed Image as a Plastic Space Megan Fitzgerald Fall 2012
|
|
- Samuel Morrison
- 5 years ago
- Views:
Transcription
1 Prospectus: The Framed Image as a Plastic Space Megan Fitzgerald Fall 2012
2
3 ABSTRACT
4 Table of Contents Research Essay Methedology Frame 1: Program Frame 2: Site Design Probe Bibliography 1
5 Acknowledgments 2
6 Research Paper Architecture and film have long since been celebrated for their depictions and representations of space and time. Film moves the observer through a narrative of framed images depicting time and space. The use of architecture in film allows an expressive form to become a means of describing the depth and movement of a space. Film s ability to use architecture as a framing mechanism provides an insight into what is to come and what has passed. Architecture also uses these cues to narrate a movement through space using frames. The experience of space, as a narrative of movement, is meant to heighten our awareness of the built form as well as the environment. In addition to film, narrative is evident in the work of Alvaro Siza. Alvaro Siza s work does not become expressive through ostentatious aesthetics but through the experience from site to form and back again. He provides this provocative narrative through a movement of space and by arousing our senses. This process of movement is also evident in film; it reinforces our awareness of place and the episodic framework of the images presented. The cinematic effect of framing can be applied to a built form in order to achieve a visual and emotional association with the physical surroundings.
7 The relationship between film and architecture developed during the period of the modernist movement. During this period, Elie Faure derived the concept of cineplastics, 1 to describe architecture on film as, express[ing] form at rest and in movement. 2 Film is typically experienced as a flat medium but is a plastic space to be molded, 3 and defined to create space. Both architecture and film provide a conscious expression of space, revealed through movement, giving life to space. 4 Architecture s participation in film helps orient the viewers understanding of the space by taking on characteristics distinct to specific programs; architecture becomes a character in the film. The Cabinet of Dr. Caligari utilizes this technique to personalize and affect the emotion of the moment. This 1920 silent film tells the dark tale of a murder by a somnambulist fortuneteller, Cesare, in an obscure attic space. Although this space is out of place, the attic could be any interior space, but resonates as a dark elevated space with reveals of tight spaces lit by narrow gashes of light from a small, elevated opening. The application of cineplastics is evident in The Cabinet of Dr. Caligari for its manipulation of a space by overcoming the forms of 1 Vidler, Anthony. The Explosion of Space: Architecture and the Filmic Imaginary. Cambridge: The MIT Press, p46 2 ibid 3 ibid 4 Vidler p47
8 the outer world [ ] by adjusting the events to the forms of the inner world, namely, attention, memory, imagination and emotion. 5 The attic is a common space utilized by the film. The action of the murder and attempted murder take place in this subdued atmosphere. The attic utilizes varying shapes of light to disorient the time of the place; [the] attic is out of time, but in space. The roof chimneys of another world arise and scowl through the splintered window-pane. 6 Film has the ability to mold space, as a flat medium, to allow built forms to express a narrative of events that resonate an emotional connection to the spectator. These, events, on screen, are seen in continuous movement, and yet the pictures break up the movement into a rapid succession of instantaneous impressions. 7 Events on screen utilize architecture to mold a flat space to impress upon the viewer real world associations, providing narrative within a single image. 8 The movement of images in an organized succession influences the viewer s association to the space on screen. 9 Ian Wiblin is interested in the ability of images, with 5 Vidler p50 6 Vidler p48 7 ibid 8 Vidler p46 9 Vidler p47
9
10 no definite story, to recollect moments that have passed, and what is to come, through formed spaces. 10 The narrative of film influences the use of architecture to define space and is evident in the work of Michaelangelo Antonioni. Antonioni s interest in the image utilizes the absence of the narrative to define space; space forms what is not said or explicit. 11 Ultimately, architecture [has the] potential to express human experience and emotion, by asserting its presence in moving images, or still, to imply the absence of the narrative. 12 In the film Rear Window, a film by Alfred Hitchcock, inserts the viewer into an interior courtyard of a city block in New York City. Our crippled hero, L. B. Jefferies, resides in his apartment peering on his neighbors as they carry out their daily routines. As he peers into their lives he must interpret what the context of the conversation and activities is based on cut and framed moments of the interactions beyond. His line of sight only provides him access to fragmented moments of the narrative. Beyond the obvious use of the literal frame as a means of viewing, the architecture dictates how much and how long we experience the actions taking place. The glimpse of moments effects the viewer s emotion and connection by imposing the possibilities of the events occurring; the lack of clarity effects the emotion of the viewer. 10 Wiblin, Ian. "The Space Between: Photography, Architecture and the Presence of Absence." In Cinema and Architecture, p Wiblin p Wiblin p111
11
12 Antonioni s film L eclisse utilizes the movement of images of built forms to narrate what has not been explicitly expressed. The film uses series of framed spaces to narrate a sequence of emotions and associations. Similar to Caligari s use of programmatic spaces to emphasize the emotions of an image, L eclisse uses succession and movement to narrate emotion and time. 13 These spaces are easily comprehended, within the context of the narrative, due to commonly understood forms. This images follow the disolution of the relationship of the main characters. This image of a floating object may seem insignificant among the lengthy final sequence but it holds emotion and memory of past events. It is presented quickly but the viewer reflects on the moment when our heroine abandoned it in the bucket of water. As the scene goes on the object moves to the bottom as the water leaves its container. This moment is representative of events past and symbolic in its own entity. Movement, on screen, allows a succession of spaces to enhance our experience of a narrative. Architecture also provides movement as a passage of space to narrate a transition from place; a procession from the exterior to the interior built world still provides a visual association to the place one started out from. This narration through a physical realm is expressed in the work of Alvaro Siza. Rafael Moneo critically examines 13 Wiblin p112
13
14 Siza s work as architecture at its purest, 14 to provide an experiential space. In particular Siza s swimming pool in Leca da Palmeira allows the environment of the building to be captured and emphasized. 15 He uses the building as a control to express important moments of the site context. 16 The building does not overtake the site but rather becomes a transition of place from the busy city to the water. The simple form exists in the landscape to guide and move inhabitants through space of enclosure and openness. We move through space unaware of moments that are expressive of a place. Architecture can allow these moments to be held stagnant to evoke the atmosphere of a place. Movement is paused, each pause framing moments of importance to express a collective narrative of place. The pool provides an awareness of place with a procession from one realm to another without a hint of destination but rather with reveals of the site which one moves through unconsciously. Cinema, on the contrary, utilizes movement to be expressive of a situation; movement narrates the sequence of space. Absence in an image is expressed through the formation of space and the movement of the images in an ordered narrative. Although space is formed to narrate a story, it is the belief of author Walter Benjamin, that 14 Moneo, Jose Rafael. "Alvaro Siza." In Theoretical Anxiety and Design Strategies, in the work of eight contemporary architects, Barcelona: Harvard University Graduate School of Desing, p ibid ibid 203
15 the images we view have transitioned film from a plastic medium 17 to a [collective] mode of distraction. 18 Benjamin s outlook on film, as a collection of distraction, is expressed in Mark Lamster s Architecture and Film. Distraction is a means of expressing moments sporadically to describe how we experience a space, in comparison to art as a prescribed method of viewing. 19 Benjamin suggests that both film and architecture provide movement to our perception through distracting images, enhancing our experience. Jacques Tati s film Playtime emphasizes the ability of film to provide a narrative of a, dialect of attention and distraction. 20 The film utilizes techniques in the framing of space to prohibit the audience from a state of complete absorption. Architecture is manipulated using cinematic devices, such as the manipulation of our peripheral view, to activate our sense of space and, counteract the illusion of depth. 21 In some instances the film includes, minor disturbances and comic business occurring simultaneously in various planes within the frame counteract[ing] the illusion of depth, creating a curious spatial effect akin to entrances and exits Vidler, Anthony. The Explosion of Space: Architecture and the Filmic Imaginary. Cambridge: The MIT Press, p46 18 Lamster, Mark. Architecture and Film. New York, NY: Princeton Architectural Press, p ibid 20 Lamster p Lamster p ibid
16 Jacques Tati s character, Hulot, is the distracted spectator through exaggerated comic relief. His comic movement directs the audience to follow along within a chaotic environment. He holds the viewer within a space of depth and distraction manipulated by the activity in our peripherals. These sporadic movements on and off screen narrate transitions in place that further alter our perception through space. Architecture also manipulates our perception of place through an episodic narrative derived from individual movement and experience. Architecture does not absorb, or remove, the inhabitant from the context of place but rather utilizes sporadically framed moments to orient and describe one s association to the environment of the built form. Movement is also subjective based on the inhabitant, changing the order of the narrative. Siza s work holds true to this experience stating, each of my designs seek to capture, with the utmost rigour, a single concrete moment of a fleeting image, in all its nuance. To the extent to which one manages to capture that fleeting quality of reality, the design will emerge more or less clearly, and the more precise it is the more
17
18 vulnerable it will be. 23 Siza s architecture is enhanced and momentous due to the framed moments of the fleeting image. Siza utilizes framed moments as one passes through space to emphasize a moment beyond. This narrow gash highlights a point in time that allows the inhabitant to orient their position and dramatize the narrative of place. The relationship between architecture and film has primarily been focused on architecture s presence on film to define and manipulate space. Additionally, architecture began as part of the story of the film but the relationship between film and architecture extends beyond the story; through the methodologies of creating a narrative these two visual mediums utilizes similar techniques to manipulate ones perception. The relationship between these two mediums also goes beyond depiction; the effects evident in film used to alter perception and influence emotional connections can also be applied in the experience of architecture. Film s ability to move and move us is a vital element in the crafting of space. 24 Martin Seel investigates the formation of space, in both architecture and film, and our experience through perception, emotional and visual 23 Moneo p203
19
20 associations. A relationship of spaces, interior passages, and interior and exterior connections, opens the inhabitant to the surroundings that define the narrative. 25 The narrative of film or architecture can only be understood through movement. Film is a moving space [while] architecture is a space of physical movement, 26. Although these spatial forms of art utilize movement differently, they both provide a narrative to provide a deeper, and complete, understanding of the intent and plot. Movement gives rise to the scenes in which their stories take place [ ] we dwell with our senses, without really being in the world. 27 Without movement the experience set before us by the transition of framed spaces would be lost. The movement we provide then effects us visually, emotionally and sensory. Film provides a stable, ordered movement that is, independent of the position of the viewer. 28 The inhabitant determines movement in architecture; it can vary or be similar to that of another. Further, the movement that is implied, or experienced, evokes emotion determined by the framed moments that capture the environment or setting. The use of movement provides an understood relationship between interior and exterior spaces. 24 Seel, Martin. "Film as Architecture." In Paradozes of Appearing: Essays on Art, Architecture and Philosophy, edited by Henrik Oxvig and Michael Asgaard Andersen, Baden: Lars Muller Publishers, p ibid 26 Seel p Seel p Seel p116
21
22 One of the most prominent scenes, in film, utilizing an openness and connectivity to space is the final scene of John Ford s film, The Searchers. 29 Shot from the interior of the house, the viewer is inserted into the frame looking out onto the vast landscape that exists as the background for John Wayne. The interior is framed by darkness but quickly fills the void of the exterior world. This scene is a composition of framing in which the events of the story are subjected. Our perception of the space is manipulated by the expanse of the landscape being ordered into a framed image. The landscape continues beyond but only being provided a systematic decision to hold the viewers attention halts the movement. The frame insinuates the landscape as a space to move towards but it is the frame that holds what is happening in the space; the absence of movement is the action in the moment on screen. Image depicts our visual perception of a space. The expression of image as a narrative device has commonly been used in the work of film. Using architecture in film to mold space is a means of bringing awareness to the events of the story. Film also utilizes architecture to mobilize the viewer through a series of events. Film s use of movement enhances our experience of the narrative. Image is captured and represented through the cinematic device of framing. Framing a space influences the events of a place and moves the viewer, 29 Seel p118
23
24 physically and visually. Architecture also embodies this technique in order to orient the inhabitant within the built form. This becomes evident in the work of Siza; he emphasizes moments that are quickly passed in movement and pauses these instances. The use of framing in architecture acknowledges the environment providing distinct narratives to the inhabitants that move though the space. Utilizing this cinematic effect a visual and emotional connection is established to enhance the experience of place.
25 Methedology The process of framing a thesis allows one to orient their methodologies. Frames can begin to answer why with explorations of design solutions. The juxtaposition of methodologies provides a deeper understanding of a broad exploration. The uses of program and site have been vital in understanding the relationship of film and architecture.
26
27 Frame 1: Program Narrative and Images: As a preliminary approach to developing an appropriate program, the exploration of an episodic experience through framed moments was developed. To avoid applying a program to solve the thesis, an abstract experiential approach initiated a written narrative of the intent of place: A familiar site announces its presence. She moves through thick and thin to discover a transition in place. Sound is transformed and an overwhelming sense of insecurity sets in. Desire to discover draws her further through this narrow passage, pronounced by a quick decent. Guided by a bend, lit by a narrow gash, she is inserted into a moment in time. A brief pause defined by edges is broken by an untouchable landscape beyond. Her decision to move forward leaves no question. Darkness is momentary as she finds escape through a sensory passage of changing tones. Warmth. Light. Reflection. Once again her path is set like a stage waiting to be given life. She provides character to the stagnant domain set by an eclipsed backdrop of the familiar setting. Light breaks the enclosed form, trickling down like the start of rain. She finds her passage out, still obscured by an overhanging guide. At last! Like the crescendo of an overture she emerges into an unforeseen world. Her discovery, like the answer to a mystery, is a pleasant awakening. She reflects on her journey and attempts to trace the change from the familiar world above of chaos to this decadent escape adorned by light, a vast sense of space and moments of peace. Coupled with this narrative, images were created to visually represent distinct moments within the text that hold the essence of the inhabitable form.
28
29 Perception: As one moves through space perception of place, in relation to the overall site, is altered and varied. Each individual who inhabits a space has the potential to have a unique narrative as they move from exterior to interior, and back again. The transition of place also manipulates what is viewed and hidden and what guides the individual to move from uncertainty to clarity. This model manipulates the perception of what is visible and the remnants that remind the viewer of the original image beyond. With the movable pieces, each interaction with the model alters the narrative of visibility and clarity.
30
31 Storyboard: Through the technique of a film storyboard, an abstraction of framed moments narrates the experience of a frame and defines the potential of the frame. Although this study does not apply the depth that film utilizes, it clarified the need to introduce time, association, orientation, and movement. The potential in the frame lays in its ability to reveal a moment, hint at what is to come, and guide the inhabitant.
32
33 Narrative Transitions: Film s use of a frame is enhanced with a transition from one framed moment to another, initiating what is in the foreground, middle ground and background, as well as what is in view or beyond. The movement of frames guides the inhabitant with glimpses to the site and built form to narrate movement. The views and movements are sometimes seamless and others are cuts but easily understood as transitions. Ensembles of spaces crafts a space for spaces by forming transitions and passageways [ ] views to the outside and views into the inside. In this way the locations it creates corresponds to one another-not only internally, but also externally [ ]. In short a building corresponds to everything that constitutes the surroundings to where it opens itself. (Moneo)
34
35 Frame 2: Site Framing Site: Clarity, of the possibility of the effect of the frame, initiated the introduction of site. Eliminating the abstract and providing a location introduced a new layer to the narrative one experiences. Narrating a transition in place reminds the inhabitant of their journey, unique to each. The varying site conditions provide depth of place and the journey is interchangeable.
36
37 Site Criteria and Exploration: As a secondary investigation, in the development of the relationship of film and architecture, site criteria evolved supplementary to determining the experience of program. The site criteria desired for applying the experience are: a historically and culturally prominent urban location, with consideration to the development of architecture and film, a green landscape with changing topography to sectionally enhance the space, a visual connection to the city skyline, a relationship to water, and a location with changing seasons. These conditions can improve the experience of a frame and provide changes in visual and audible connections, manipulating the narrative one experiences when approaching the built form and when moving through the built form. With these criteria in place, the process of elimination, to determine location and place, became clear. Sites: Jamaica Pond vs. McConnell Park Jamaica Pond and McConnell Park provide a green escape for recreation and leisure for the dense urban surroundings. These successful spaces have similar qualities but differ in their relationship to the city of Boston. Both green spaces boarder the city of Boston and provide topography changes with a relationship to a body of water. Although the key site criteria elements are evident Jamaica Pond provides seclusion to the city while McConnell Park brings the city to the site with a clear visual connection. McConnell Park does not remove the inhabitant but brings awareness to the entrance to the city with its connection to a main interstate, 93, and the commuter rail. These busy passages of circulation and the activities of the yacht club and surrounding community enhance the experience of the narrative.
38 Jamaica Pond McConnell Park
Prospectus: The Framed Image as a Plastic Space Megan Fitzgerald Fall 2012
Prospectus: The Framed Image as a Plastic Space Megan Fitzgerald Fall 2012 ABSTRACT Table of Contents Research Question Definitions Research Essay Methedology Frame 1: Program Frame 2: Site Design Probe
More informationCHAPTER SIX. Habitation, structure, meaning
CHAPTER SIX Habitation, structure, meaning In the last chapter of the book three fundamental terms, habitation, structure, and meaning, become the focus of the investigation. The way that the three terms
More informationModernization. Isolation. Connection. (Iftin Abshir Critical Comment #2)
Modernization. Isolation. Connection. (Iftin Abshir Critical Comment #2) Filmed in 70mm in an entirely manufactured set, Play Time s Tati-ville set is a continuation of Tati s idea of modernization that
More informationThe Classical Narrative Model. vs. The Art film (Modernist) Model
The Classical Narrative Model vs. The Art film (Modernist) Model Classical vs. Modernist Narrative Strategies Key Film Esthetics Concepts Realism Formalism Montage Mise-en-scene Modernism REALISM Style
More informationThe Illusion of Sight: Analyzing the Optics of La Jetée. Harrison Stone. The David Fleisher Memorial Award
1 The Illusion of Sight: Analyzing the Optics of La Jetée Harrison Stone The David Fleisher Memorial Award 2 The Illusion of Sight: Analyzing the Optics of La Jetée The theme of the eye in cinema has dominated
More informationNew Hollywood. Scorsese & Mean Streets
New Hollywood Scorsese & Mean Streets http://www.afi.com/100years/handv.aspx Metteurs-en-scene Martin Scorsese: Author of Mean Streets? Film as collaborative process? Andre Bazin Jean Luc Godard
More informationThe Existential Act- Interview with Juhani Pallasmaa
Volume 7 Absence Article 11 1-1-2016 The Existential Act- Interview with Juhani Pallasmaa Datum Follow this and additional works at: http://lib.dr.iastate.edu/datum Part of the Architecture Commons Recommended
More informationFILM + MUSIC. Despite the fact that music, or sound, was not part of the creation of cinema, it was
Kleidonopoulos 1 FILM + MUSIC music for silent films VS music for sound films Despite the fact that music, or sound, was not part of the creation of cinema, it was nevertheless an integral part of the
More informationLooking at Movies. From the text by Richard Barsam. In this presentation: Beginning to think about what Looking at Movies in a new way means.
Looking at Movies From the text by Richard Barsam. In this presentation: Beginning to think about what Looking at Movies in a new way means. 1 Cinematic Language The visual vocabulary of film Composed
More informationBreathe Life Into Your Conducting Dr. Erica Neidlinger DePaul University. Breathing as a Player vs. Breathing as a Conductor
Breathe Life Into Your Conducting Dr. Erica Neidlinger DePaul University Breathing as a Player vs. Breathing as a Conductor 1. Breathing as a player is different than breathing as a conductor. Wind players
More informationThe French New Wave: Challenging Traditional Hollywood Cinema. The French New Wave cinema movement was put into motion as a rebellion
Ollila 1 Bernard Ollila December 10, 2008 The French New Wave: Challenging Traditional Hollywood Cinema The French New Wave cinema movement was put into motion as a rebellion against the traditional Hollywood
More information[Sur] face: The Subjectivity of Space
COL FAY [Sur] face: The Subjectivity of Space Figure 1. col Fay, [Sur] face (2011). Interior view of exhibition capturing the atmospheric condition of light, space and form. Photograph: Emily Hlavac-Green.
More informationSequential Storyboards introduces the storyboard as visual narrative that captures key ideas as a sequence of frames unfolding over time
Section 4 Snapshots in Time: The Visual Narrative What makes interaction design unique is that it imagines a person s behavior as they interact with a system over time. Storyboards capture this element
More informationTheatrical Narrative Sequence Project
Theatrical Narrative Sequence Project Name: Theatrical - Marked by exaggerated self-display and unnatural behavior; affectedly dramatic. Stage performance especially by amateurs. Theatricals Affectedly
More informationHumanities as Narrative: Why Experiential Knowledge Counts
Humanities as Narrative: Why Experiential Knowledge Counts Natalie Gulsrud Global Climate Change and Society 9 August 2002 In an essay titled Landscape and Narrative, writer Barry Lopez reflects on the
More informationCase Study: Richard Neutra s Lovell Health House. Space is an extremely broad term that encompasses a number of
Case Study: Richard Neutra s Lovell Health House Space Space is an extremely broad term that encompasses a number of understandings. It is an essential component of architecture: it is what we deal with.
More informationGothic Literature and Wuthering Heights
Gothic Literature and Wuthering Heights What makes Gothic Literature Gothic? A castle, ruined or in tack, haunted or not ruined buildings which are sinister or which arouse a pleasing melancholy, dungeons,
More informationChapter two. Research Proposal
Chapter two Research Proposal 020 021 2.1 Introduction the event. Opera festivals are an innovative means to give opera the new life that it is longing for. Such festivals create communities. In order
More informationA Viewer s Position as an. Roman Floor Mosaics
A Viewer s Position as an Integral Part in Understanding Roman Floor Mosaics Elena Belenkova Elena Belenkova is pursuing her BFA in Art History at Concordia University (Montreal). Her interest in dialogical
More informationCharacterization Imaginary Body and Center. Inspired Acting. Body Psycho-physical Exercises
Characterization Imaginary Body and Center Atmosphere Composition Focal Point Objective Psychological Gesture Style Truth Ensemble Improvisation Jewelry Radiating Receiving Imagination Inspired Acting
More informationJay Moskowitz Integrative Project Written Thesis. Creature Feature
Jay Moskowitz Integrative Project Written Thesis Creature Feature Introduction The guiding questions for this artwork have changed several times throughout its execution. This essay will narrate the trajectory
More informationA Short Guide to Writing about Film
GLOBAL EDITION A Short Guide to Writing about Film NINTH EDITION Timothy Corrigan 62 ChaPTer 3 analyzing and WriTing about films Figure 3.04 Stanley Kubrick s Full Metal Jacket (1987) presents characters
More informationLene Bodker. Seven questions for
Seven questions for Lene Bodker Resting, 2009, 57 x 19 x 17,5 cm When I visited Lene Bødker s studio for the first time in 2002, I was completely fascinated by these simple glass forms with such a strong
More information3RD GRADE 4TH GRADE 5TH GRADE
OBSERVATION DECK 3RD GRADE 1.3 Identify and describe how foreground, middleground, and background are used to create the illusion of space. 2.1 Explore ideas for art in a personal sketchbook. 2.3 Paint
More informationCondensed tips based on Brad Bird on How to Compose Shots and Storyboarding the Simpson s Way
Storyboard Week 3 Condensed tips based on Brad Bird on How to Compose Shots and Storyboarding the Simpson s Way 1. Adjust down on the action. Avoid empty space above heads Lower the horizon 2. Make the
More informationFilm Analysis Essay Suggested Length: 4 to 5 pages Writers Workshop (Intermediate) Rode 2010
Film Analysis Essay Suggested Length: 4 to 5 pages Writers Workshop (Intermediate) Rode 2010 Alfred Hitchcock s Rear Window (1954) Director Dirctor Alfred Hitchcock Director of Photography Robert Burks
More informationSeven remarks on artistic research. Per Zetterfalk Moving Image Production, Högskolan Dalarna, Falun, Sweden
Seven remarks on artistic research Per Zetterfalk Moving Image Production, Högskolan Dalarna, Falun, Sweden 11 th ELIA Biennial Conference Nantes 2010 Seven remarks on artistic research Creativity is similar
More informationA General Theory of Dramatic Structure for Interactive 3D Environments. Tamiko Thiel
A General Theory of Dramatic Structure for Interactive 3D Environments Tamiko Thiel tamiko@alum.mit.edu www.tamikothiel.com Traditional narrative theory You need characters in order to have drama. Create
More informationThe Glass Menagerie. Teaching Unit. Individual Learning Packet. by Tennessee Williams. ISBN Reorder No
Individual Learning Packet Teaching Unit by Tennessee Williams Copyright 1991 by Prestwick House Inc., P.O. Box 658, Clayton, DE 19938. 1-800-932-4593. www.prestwickhouse.com Permission to copy this unit
More informationBetween Concept and Form: Learning from Case Studies
Between Concept and Form: Learning from Case Studies Associate Professor, Department of Architecture, National Taiwan University of Science and Technology, Taiwan R.O.C. Abstract Case studies have been
More informationDisclaimer: The following notes were taken by a student during the Fall 2006 term; they are not Prof. Thorburn s own notes.
21L.011, The Film Experience Prof. David Thorburn Lecture Notes Lecture 6 - German film I. German film and Expressionism Lotte Eisner, The Haunted Screen (1969) The Cabinet of Dr. Caligari (Robert Weine,
More informationRELATING THEORY AND DESIGN (or applying theory to design and vice versa)
RELATING THEORY AND DESIGN (or applying theory to design and vice versa) CATEGORIES OF THEORY CATEGORIES OF THEORY 1) Explanatory Theory: The general or abstract principles of a body of facts in order
More informationEnglish 1310 Lesson Plan Wednesday, October 14 th Theme: Tone/Style/Diction/Cohesion Assigned Reading: The Phantom Tollbooth Ch.
English 1310 Lesson Plan Wednesday, October 14 th Theme: Tone/Style/Diction/Cohesion Assigned Reading: The Phantom Tollbooth Ch. 3 & 4 Dukes Instructional Goal Students will be able to Identify tone, style,
More informationGenerally in English, Chema plays verbal and visual elements off against each other eg Everything Flies (1992) where the word History reads as Hearsay
Chema Cobo born in 1952, has been painting for the last 40 years and has travelled and exhibited worldwide.. He initial studied linguistics and philosophy at the University of Madrid. After graduating
More informationFrom Everything to Nothing to Everything
Southern New Hampshire University From Everything to Nothing to Everything Psychoanalytic Theory and the Theory of Deconstruction in The Handmaid s Tale Ashley Henyan Literary Studies, LIT-500 Dr. Greg
More informationReference: Chapter 6 of Thomas Caldwell s Film Analysis Handbook.
The Hong Kong Institute of Education Department of English ENG 5219 Introduction to Film Studies (PDES 09-10) Week 2 Narrative structure Reference: Chapter 6 of Thomas Caldwell s Film Analysis Handbook.
More informationAllegory. Convention. Soliloquy. Parody. Tone. A work that functions on a symbolic level
Allegory A work that functions on a symbolic level Convention A traditional aspect of literary work such as a soliloquy in a Shakespearean play or tragic hero in a Greek tragedy. Soliloquy A speech in
More informationHigh School Photography 1 Curriculum Essentials Document
High School Photography 1 Curriculum Essentials Document Boulder Valley School District Department of Curriculum and Instruction February 2012 Introduction The Boulder Valley Elementary Visual Arts Curriculum
More informationWHEN DOES DISRUPTING THE SOCIETY OF THE SPECTACLE BECOME SOCIAL PRACTICE? University of Reading. Rachel Wyatt
WHEN DOES DISRUPTING THE SOCIETY OF THE SPECTACLE BECOME SOCIAL PRACTICE? University of Reading Rachel Wyatt 1 TABLE OF CONTENTS Introduction 3 Chapter 1: Awareness of the Spectacle 5 Chapter 2: Transforming
More informationThe poetry of space Creating quality space Poetic buildings are all based on a set of basic principles and design tools. Foremost among these are:
Poetic Architecture A spiritualized way for making Architecture Konstantinos Zabetas Poet-Architect Structural Engineer Developer Volume I Number 16 Making is the Classical-original meaning of the term
More informationThe Museum of Modern Art
The Museum of Modern Art 11 west 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart ITALY: THE NEW DOMESTIC LANDSCAPE Director: Emilio Ambasz May 26, 1972 - September 11, 1972 RELEASE NO. 35
More informationTHE WALLS OF LITTLE DEATH
THE WALLS OF LITTLE DEATH LINA JAÏDI PAULE PERRON UIA CUP 2016 HONORABLE MENTION The interpretationof the subject In order to question the idea of architecture in transformation, we chose to focus on the
More informationKatalin Marosi. The mysterious elevated perspective. DLA Thesis
FACULTY OF MUSIC AND VISUAL ARTS UNIVERSITY OF PÉCS DOCTORAL SCHOOL Katalin Marosi The mysterious elevated perspective DLA Thesis 2015 1 The subject of the doctoral dissertation The doctoral thesis intends
More informationExamination papers and Examiners reports E040. Victorians. Examination paper
Examination papers and Examiners reports 2008 033E040 Victorians Examination paper 85 Diploma and BA in English 86 Examination papers and Examiners reports 2008 87 Diploma and BA in English 88 Examination
More informationArchitecture is epistemologically
The need for theoretical knowledge in architectural practice Lars Marcus Architecture is epistemologically a complex field and there is not a common understanding of its nature, not even among people working
More informationFilm-Philosophy
David Sullivan Noemata or No Matter?: Forcing Phenomenology into Film Theory Allan Casebier Film and Phenomenology: Toward a Realist Theory of Cinematic Representation Cambridge: Cambridge University Press,
More informationConference Texts and Things, at the Norwegian Museum of Science and Technology. Oslo,
Bringing the Atlantic Wall into the Museum space. Reflections on the relationship between exhibition making and academic research. Photo Henrik Treimo Conference Texts and Things, at the Norwegian Museum
More informationSocioBrains THE INTEGRATED APPROACH TO THE STUDY OF ART
THE INTEGRATED APPROACH TO THE STUDY OF ART Tatyana Shopova Associate Professor PhD Head of the Center for New Media and Digital Culture Department of Cultural Studies, Faculty of Arts South-West University
More informationMaster's Theses and Graduate Research
San Jose State University SJSU ScholarWorks Master's Theses Master's Theses and Graduate Research Fall 2010 String Quartet No. 1 Jeffrey Scott Perry San Jose State University Follow this and additional
More informationCapstone Design Project Sample
The design theory cannot be understood, and even less defined, as a certain scientific theory. In terms of the theory that has a precise conceptual appliance that interprets the legality of certain natural
More informationMIRA COSTA HIGH SCHOOL English Department Writing Manual TABLE OF CONTENTS. 1. Prewriting Introductions 4. 3.
MIRA COSTA HIGH SCHOOL English Department Writing Manual TABLE OF CONTENTS 1. Prewriting 2 2. Introductions 4 3. Body Paragraphs 7 4. Conclusion 10 5. Terms and Style Guide 12 1 1. Prewriting Reading and
More informationArtist s Statement Leila Daw
Artist s Statement Leila Daw I am fascinated by mapping, as a way of representing the convergence of place and movement, as a means of imposing human ideas over the contours of the natural world, as a
More informationTHE GRAMMAR OF THE AD
0 0 0 0 THE GRAMMAR OF THE AD CASE STUDY: THE COMMODIFICATION OF HUMAN RELATIONS AND EXPERIENCE TELENOR MOBILE TV ADVERTISEMENT, EVERYWHERE, PAKISTAN, AUTUMN 00 In unravelling the meanings of images, Roland
More informationTextual analysis of following paragraph in Conrad s Heart of Darkness
Textual analysis of following paragraph in Conrad s Heart of Darkness...for there is nothing mysterious to a seaman unless it be the sea itself which is the mistress of his existence and as inscrutable
More informationCONDENSATION JOHN PAUL CAPONIGRO
CONDENSATION JOHN PAUL CAPONIGRO 1 JOHN PAUL CAPONIGRO CONDENSATION Condensation Light All photographs are about light. The great majority of photographs record light as a way of describing objects in
More informationConcept Diagram. ARCH 201 Studio III ILLINOIS INSTITUTE OF TECHNOLOGY COLLEGE OF ARCHITECTURE
Concept Diagram ARCH 201 Studio III ILLINOIS INSTITUTE OF TECHNOLOGY COLLEGE OF ARCHITECTURE Concept an abstract idea a plan or intention an idea or invention to help sell or publicize a commodity idea,
More informationIdeograms in Polyscopic Modeling
Ideograms in Polyscopic Modeling Dino Karabeg Department of Informatics University of Oslo dino@ifi.uio.no Der Denker gleicht sehr dem Zeichner, der alle Zusammenhänge nachzeichnen will. (A thinker is
More informationwill house a synagogue, a church, and a mosque under one roof. While this structure that
Amjad 1 Robia Amjad 6 June 2015 Mount Menoikeion Seminar Spirituality and Senses Multiculturalism and Sacred Architecture: Religious Spaces in Changing Times Berlin is currently experimenting with an architectural
More informationReview of Illingworth, Shona (2011). The Watch Man / Balnakiel. Belgium, Film and Video Umbrella, 2011, 172 pages,
Review of Illingworth, Shona (2011). The Watch Man / Balnakiel. Belgium, Film and Video Umbrella, 2011, 172 pages, 15.00. The Watch Man / Balnakiel is a monograph about the two major art projects made
More informationKansas Standards for English Language Arts Grade 9
A Correlation of Grade 9 2017 To the Kansas Standards for English Language Arts Grade 9 Introduction This document demonstrates how myperspectives English Language Arts meets the objectives of the. Correlation
More informationPETERS TOWNSHIP SCHOOL DISTRICT CORE BODY OF KNOWLEDGE ADVANCED PLACEMENT LITERATURE AND COMPOSITION GRADE 12
PETERS TOWNSHIP SCHOOL DISTRICT CORE BODY OF KNOWLEDGE ADVANCED PLACEMENT LITERATURE AND COMPOSITION GRADE 12 For each section that follows, students may be required to analyze, recall, explain, interpret,
More informationReview of Marc Nair s Spomenik By: Andrea Yew. Marc Nair, Spomenik, Ethos Books, 2016, 72 pgs
Review of Marc Nair s Spomenik By: Andrea Yew Marc Nair, Spomenik, Ethos Books, 2016, 72 pgs In his latest collection, Marc Nair brings together a stunning collection of photographs taken from his travels
More informationWriting in the Literature Classroom. Focusing Your Sense of Purpose in an Essay on a Literary Text
Writing in the Literature Classroom Focusing Your Sense of Purpose in an Essay on a Literary Text Why worry about the role of writing in the literature classroom? Just for starters: Essays about literature
More informationEdouard Malingue Gallery
Edouard Malingue Gallery Sixth floor, 33 Des Voeux Road Central, Hong Kong edouardmalingue.com Jeremy Everett He Yida Phillip Lai Handiwirman Saputra Tao Hui one second ago Opening 8 July 2017 11AM - 1PM
More informationIntroduction 3/5/13 2
Mixing 3/5/13 1 Introduction Audio mixing is used for sound recording, audio editing and sound systems to balance the relative volume, frequency and dynamical content of a number of sound sources. Typically,
More informationInterior Environments:The Space of Interiority. Author. Published. Journal Title. Copyright Statement. Downloaded from. Link to published version
Interior Environments:The Space of Interiority Author Perolini, Petra Published 2014 Journal Title Zoontechnica - The journal of redirective design Copyright Statement 2014 Zoontechnica and Griffith University.
More information12th Grade Language Arts Pacing Guide SLEs in red are the 2007 ELA Framework Revisions.
1. Enduring Developing as a learner requires listening and responding appropriately. 2. Enduring Self monitoring for successful reading requires the use of various strategies. 12th Grade Language Arts
More informationCINEMATIC DEVICES GUIDE Alfred Hitchcock s Rear Window
CINEMATIC DEVICES GUIDE Alfred Hitchcock s Rear Window Look out for the following (and consider how they help shape meaning in the film) Camera shots Long shots: Contain landscape but gives the viewer
More informationCATEGORY CRITERIA FOR EXCELLENCE
Georgia High School Musical Theatre Awards Shuler Hensley Awards (SHA) Adjudicators evaluate how each participating high school musical meets or exceeds its potential, utilizing its available resources.
More informationSpringBoard Academic Vocabulary for Grades 10-11
CCSS.ELA-LITERACY.CCRA.L.6 Acquire and use accurately a range of general academic and domain-specific words and phrases sufficient for reading, writing, speaking, and listening at the college and career
More informationSynopsis This module introduces communication, outlines theoretical ideas and aspects of Visual Communication with selected examples.
1. Introduction Synopsis This module introduces communication, outlines theoretical ideas and aspects of Visual Communication with selected examples. Lectures 1.1 An Introduction to Communication 1.2 On
More informationaster of Suspense: Alfred Hitchcock
IB DIPLOMA- VISUAL ARTS EXTENDED ESSAY aster of Suspense: Alfred Hitchcock How does Alfred Hitchcock visually guide viewers as he creates suspense in films such as ''The Pleasure Garden,''''The Lodger,''
More informationHOW TO WRITE A LITERARY COMMENTARY
HOW TO WRITE A LITERARY COMMENTARY Commenting on a literary text entails not only a detailed analysis of its thematic and stylistic features but also an explanation of why those features are relevant according
More informationAlberta Wind Symphony Rehearsal Lab
Alberta Wind Symphony Rehearsal Lab Presented by Jacqueline Dawson Music Conference Alberta 2018 Saturday, October 27, 2018 Sutton Place Hotel Edmonton AB Music Conference Alberta October 2018 Diagnose,
More informationCrystal-image: real-time imagery in live performance as the forking of time
1 Crystal-image: real-time imagery in live performance as the forking of time Meyerhold and Piscator were among the first aware of the aesthetic potential of incorporating moving images in live theatre
More informationThe Puppet Mobile Elementary CSOs. Spring 2018
The Puppet Mobile Elementary CSOs Spring 2018 -Compiled from the WV 21 st Century Standards and Objectives- Visual Arts: VA.O.K.2.02: identify at least five geometric shapes, e.g., circle, square, oval,
More informationCHAPTER 3 RESEARCH METHODOLOGY. research method covers methods of research, source of data, data collection, data
CHAPTER 3 RESEARCH METHODOLOGY This chapter elaborates the methodology of the study being discussed. The research method covers methods of research, source of data, data collection, data analysis, synopsis,
More informationChallenging Form. Experimental Film & New Media
Challenging Form Experimental Film & New Media Experimental Film Non-Narrative Non-Realist Smaller Projects by Individuals Distinguish from Narrative and Documentary film: Experimental Film focuses on
More informationContinuity and Montage
AD30400 Video Art Prof. Fabian Winkler Spring 2014 Continuity and Montage There are two basically different approaches to editing, CONTINUITY EDITING and MONTAGE THEORY. We will take a look at both techniques
More informationA2 Art Share Supporting Materials
A2 Art Share Supporting Materials Contents: Oral Presentation Outline 1 Oral Presentation Content 1 Exhibit Experience 4 Speaking Engagements 4 New City Review 5 Reading Analysis Worksheet 5 A2 Art Share
More informationLayered Listenings: Lessons of the Land, Air and Sea
Layered Listenings: Lessons of the Land, Air and Sea Tomie Hahn, Professor and Director of the Center for Deep Listening, Rensselaer Polytechnic Institute LISTEN as a bird in ßight FORM TWO GROUPS Group
More informationGLOSSARY OF TERMS. It may be mostly objective or show some bias. Key details help the reader decide an author s point of view.
GLOSSARY OF TERMS Adages and Proverbs Adages and proverbs are traditional sayings about common experiences that are often repeated; for example, a penny saved is a penny earned. Alliteration Alliteration
More informationBook review: Men s cinema: masculinity and mise-en-scène in Hollywood, by Stella Bruzzi
Book review: Men s cinema: masculinity and mise-en-scène in Hollywood, by Stella Bruzzi ELISABETTA GIRELLI The Scottish Journal of Performance Volume 1, Issue 2; June 2014 ISSN: 2054-1953 (Print) / ISSN:
More informationUnit 2. WoK 1 - Perception
Unit 2 WoK 1 - Perception What is perception? The World Knowledge Sensation Interpretation The philosophy of sense perception The rationalist tradition - Plato Plato s theory of knowledge - The broken
More informationSpatial Formations. Installation Art between Image and Stage.
Spatial Formations. Installation Art between Image and Stage. An English Summary Anne Ring Petersen Although much has been written about the origins and diversity of installation art as well as its individual
More informationThe Polish Peasant in Europe and America. W. I. Thomas and Florian Znaniecki
1 The Polish Peasant in Europe and America W. I. Thomas and Florian Znaniecki Now there are two fundamental practical problems which have constituted the center of attention of reflective social practice
More information2015 Arizona Arts Standards. Theatre Standards K - High School
2015 Arizona Arts Standards Theatre Standards K - High School These Arizona theatre standards serve as a framework to guide the development of a well-rounded theatre curriculum that is tailored to the
More informationPeter Eisenman: Critical Review
Peter Eisenman: Critical Review Christine Phillips Assignment uploaded to Turnitin Introduction In 1983 a brief article by Peter Eisenman described a break from the role of function, which had been of
More informationOn the Role of Ieoh Ming Pei's Exploration of Design in Design Education
On the Role of Ieoh Ming Pei's Exploration of Design in Design Education Abstract RunCheng Lv 1, a, YanYing Cao 1, b 1 Tianjin University of Technology and Education, Tianjin 300000, China. a 657228493@qq.com,
More informationNarration Participation of Narrator (homodiegetic = narrator is a character in the story, heterodiegetic = narrator is outside the story)
Writing a Textual Commentary Step 1. Collect Information: When you sit down to develop and write a commentary, these are some questions you can use to get ideas. Take Notes as you proceed in asking questions.
More informationLecture 7: Film Sound and Music. Professor Aaron Baker
Lecture 7: Film Sound and Music Professor Aaron Baker This Lecture A Brief History of Sound The Three Components of Film Sound 1. Dialogue 2. Sounds Effects 3. Music 3 A Brief History of Sound The Jazz
More informationWelcome SIGN CODE UPDATE
Welcome SIGN CODE UPDATE PUBLIC MEETING Aztlan Community Center Thursday, May 24, 2018 Community Room 5:30 7:30 PM 112 E Willow Street, Fort Collins *Brief orientation at 6:00 PM* PROCESS AND HOW TO PARTICIPATE
More informationGAGOSIAN GALLERY. Gregory Crewdson
Vogue Italia January 8, 2016 GAGOSIAN GALLERY Gregory Crewdson An interview by Alessia Glaviano with Gregory Crewdson on show at Gagosian from January 28th with the new series Cathedral of the Pines Alessia
More informationPostings, Decorations, Electronic Campus Display and Information Distribution Standards
Postings, Decorations, Electronic Campus Display and Information Distribution Standards SCOPE This document covers guidelines for posting of fliers and advertisements, use of other decorations, displays
More informationTHE POTENTIAL FOR STRUCTURE TO ENRICH ARCHITECTURE
1 INTRODUCTION... structure is columnar, planar, or a combination of these which a designer can intentionally use to reinforce or realize ideas. In this context, columns, walls and beams can be thought
More informationBlindness and Enlightenment in Alfredo Jaar s Lament of the Images
Almeida 1 Blindness and Enlightenment in Alfredo Jaar s Lament of the Images Laura Freitas Almeida The Chilean-born artist Alfredo Jaar is an example of an unusual documentary photographer who seems to
More informationCharles A Rose
Charles A Rose 000948791-3 Thesis Title: A Relationship with Our Homes: Issues in the Introduction of Domestic Digital Intelligence Module: ARCT-1060-M01-2017-18-130 _Architectural_Thesis Course: MArch
More informationMATT MULLICAN MORE DETAILS FROM AN IMAGINARY UNIVERSE
MATT MULLICAN MORE DETAILS FROM AN IMAGINARY UNIVERSE Untitled, 1987 - Connections 1 MATT MULLICAN MORE DETAILS FROM AN IMAGINARY UNIVERSE Mullican has always been concerned with the relationship between
More informationLouis Althusser, What is Practice?
Louis Althusser, What is Practice? The word practice... indicates an active relationship with the real. Thus one says of a tool that it is very practical when it is particularly well adapted to a determinate
More informationDOING TIME: TEMPORALITY, HERMENEUTICS, AND CONTEMPORARY CINEMA
CINEMA 9!133 DOING TIME: TEMPORALITY, HERMENEUTICS, AND CONTEMPORARY CINEMA Feroz Hassan (University of Michigan) Lee Carruthers. Albany: SUNY Press, 2016. 186 pp. ISBN: 9781438460857. Temporality has
More information