Cinetecture

CINETECTURE: An Exploration of the Influence of Film on Architectural Design in the Works of Bernard Tschumi and Rem Koolhaas, and a Proposal for a New Architecture Manifesto

a thesis written by ABDULRAHIM ALKOOHEJI, c7144449

Leeds Beckett University Master of Architecture History & Theory_Context Studies B Maria Theodorou word count: 10,646 12 December, 2016

R. KOOLHAAS (V.O.) "I think the professions of scriptwriting and architecture are very close; for both you have to consider a plot, you have to develop episodes and you have to create a kind of montage that makes it interesting, and a sequence that makes the circulation or the paths or the experience of the building interesting, and gives it a certain suspense." (Heidingsfelder and Tesch, 2008)

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Abstract Introduction: Between Cinema & Architecture Montage & Tschumi: Montage Theory and its Relevance to the Works of Bernard Tschumi Scene 1: “Montage Theory” Scene 2: “B. Tschumi” Scene 3: “The New Acropolis Museum” Director Rem Scene 1: “Who is Rem Koolhaas?”

Scene 2: “Kunsthal – Take 2” Scene 3: “Spirals, Voids and Frames” A New Cinetecture Manifesto Conclusion: Speculations on Future Practice Bibliography Scene 1: Books Scene 2: Articles, Journals & Dissertations Scene 3: Web Pages & Online Videos Scene 4: Filmography Image Credits

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PART 1: ABSTRACT: A. ALKOOHEJI (V.O.) Cinetecture explores the relationship between cinematic, architectural and spaces. The architect and the filmmaker have much in common. Since the invention of the motion picture camera, the realms of film and architecture have been linked, with both forms communicating lived space through the creation of experiential scenes of life situations in an urban context.

This led me to a simple question that required critical thought and research in not only the fields of film and architecture, but sources such as psychology, sociology and philosophy: Is a well-designed building essentially a good movie?

Written as a script (I was inspired by Rem Koolhaas’ quote in the preceding page), this thesis is organised into three main parts, with a final conclusion. Part 1 focuses on the origin and development of the theory of montage during the 1920s. It then explores the ways in which the film editing technique has the influenced the theories and works of Bernard Tschumi. Part 2, entitled ‘director Rem’, analyses the academic and professional works of architect Rem Koolhaas who has acknowledged the impact of cinema and film theory, specifically that of spatial montage, has had on his approach to architectural design. Part 3 presents a proposal for a new cinematic architecture manifesto, which I named Cinetecture (a combination of ‘cine’ and ‘tecture’). The proposal points towards a design process that merges the two fields of architecture and filmmaking into a single phenomenon. The concluding chapter, ‘Speculations on Future Practice’, looks ahead to how this new architectural style addresses the change in people’s perception, in large part due to the advancement in time-based digital and social media technology, in anticipation to what is beyond the frame and around the corner. In light of the latest developments, the boundaries between cinema and architecture have become blurred, and as a result my thought model aims to adapt the architectural design for the twentyfirst century with the integration of cinema as a design tool to control and manipulate and human experiences in space.

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PART 2: INTRODUCTION: BETWEEN CINEMA & ARCHITECTURE A. ALKOOHEJI (V.O.) Cinema and architecture. Architecture and cinema. Since the invention of the motion picture camera by Louis Le Prince in 1888, film been intrinsically linked to architecture and urban spaces. Before his mysterious disappearance in 1890, Le Prince showcases the urban environment of the city of Leeds in one of his first films called “Traffic Crossing Leeds Bridge” (1888).

Juhani Pallasmaa (2008), one of Finland’s most distinguished architects and architectural theorists, regards cinema as the art form that is closest to architecture, fundamentally because both art forms articulate lived space through the creation of experiential scenes of life situations. Pallasmaa writes: J. PALLASMAA (V.O) "These two art forms create and mediate comprehensive images of life. In the same way that buildings and cities create and preserve images of culture and a particular way of life, cinema illuminates the cultural archaeology of both the time of its making and the era that it depicts. Both forms of art define the dimensions and essence of existential space; they both create experiential scenes of life situations." (Pallasmaa, 2008) CUT TO: Fig. 01. Louis Le Prince.

Fig. 02. Traffic Crossing Leeds Bridge (1888).

A. ALKOOHEJI (V.O.) The notion of synchronism between cinema and architecture is also echoed by Giuliana Bruno, professor of visual and environmental studies at Harvard University, defines cinema as a form of ‘geopsychic exploration’ (Bruno, 2002, pp. 15). Since the birth of cinema, the connection of films, movement and an audience’s perception links with architecture and urban spaces.

The term ‘cinema’, in the Greek sense of the word κίνημα or kinema, denotes ‘movement’. It signifies a defined architectural and urban space, which is part of an audio-visual system that allows the audience to see movement-based spatial qualities (Koeck, 2013, pp. 5). There is a difference between film director and architect. The architect operates with the physical reality, whereas the film director evokes a lived space through the narrative of projected images; the key word being narrative1. Auteur2 filmmakers such as Alfred Hitchcock and Andrei Tarkovsky produced films of mental relationships with the audience that came as a result of the atmospheres created by the architecture. The cinematic architecture of Hitchcock produces spaces of terror in Psycho, 1960, while Tarkovsky's spaces convey feelings of longing in Nostalghia, (Pallasmaa, 2008).

CUT TO: Fig. 03. Shower scene sequence in Psycho (1960).

A. ALKOOHEJI (V.O.) The auteur theory holds that a film is a reflection of the personal creative vision of a director, that he or she is the author of a film. An auteur oversees all audio and visual elements of their film and can use lighting, camerawork, staging and editing to add to their personal creative vision.

The natural line of thinking from this in film criticism is Bernard Tschumi (1995, pp. 105) writes “Is there such a thing as an architectural narrative? A narrative presupposes not only a sequence, but also a language. As we all know, the ‘language’ of architecture is a controversial matter. Another question: if such an architectural narrative corresponds to the narrative of literature, would space intersect with signs to give us discourse?”

2 An auteur is a film director who influences their films immensely that they are classified as the film’s author.

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Fig. 01. Louis Le Prince, Online image.

Fig. 02. Traffic Crossing Leeds Bridge, 1888, 6-frame sequence (118-124), Online image.

Fig. 03. Selected frames from the shower scene sequence in Psycho, 1960, Film stills.

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that a film’s quality is tightly intertwined with the film’s director. “There are no good and bad movies, only good and bad directors (Truffaut, n.d.)”. Good movies are those whose directors best utilise the processes and techniques used to bring their films to life and take the audience on a journey as per the director's narrative which is translated in the screen space.

Conversely, cinema and film have changed the visual representation of architecture3. The 1960s saw the foundation of three architectural collectives that relied on visual formats, which often showed influences of film and cinema. Founded in 1961, Archigram (1961-1974) at the Architectural Association in London made use of various visual formats, including images, graphics and text, in order to communicate their ideas in a way conventional architectural two-dimensional drawings could not.

Archigram became one of the influences on Superstudio4, founded in 1966 in Florence, Italy, whose works also relied on filmic influences such as storyboard illustrations and photomontages.

Lastly, Archizoom Associati from Venice, Italy, was also formed in the 1960s. The group’s visions are constructed in the form of a convergence of film inspired elements: printed images, montages, models, installations and films. The ideas and works produced by these three groups has arguably inspired progressive architects such as of Ludwig Mies van der Rohe, Bernard Tschumi, Rem Koolhaas and Zaha Hadid. (Koeck, 2013, pp.

11-12) CUT TO: Fig. 04-05. Archigram’s Living City (1963-1964) and Walking City (1964).

Fig. 06. Superstudio’s Continuous Monumenti (1969).

Fig. 07. Archizoom Associati’s No-Stop City (1969).

A. ALKOOHEJI (V.O.) In addition, the connection between film and architecture manifests itself in the architecture design process found in architectural schools, such as the Architectural Association, the Bartlett School of Architecture and Leeds Beckett University to name a few. Students and practitioners alike utilize cinematographic techniques used in filmmaking to better communicate and display their designs to tutors, existing and potential clients, judges and the public. The history of cinema and architecture has shown a transition from visual representation composed by camera-produced imagery to a combination of new digital technology with camera work, which has assisted both students and practitioners to convey the architectural spaces they create.

However, are there any cinematic qualities and film editing techniques that can influence the physical space in architectural design the same way they do in manipulating the audience’s perception of screen space? If so, what are they?

Jean Nouvel has admitted the significance of cinema in the formation of his approach to architecture, likening his role as architect to that of the film director. Nouvel explains: J. NOUVEL (V.O) “Architecture exists, like cinema, in a dimension of time and movement. One thinks, conceives and reads a building in terms of sequences. To erect a building is to predict and seek effects of contrast and linkage bound up with the succession of spaces through which one passes." (Rattenbury, 1994, pp. 35)

In 1928, Sigfried Giedion commented on the problem of visual representation by drawing attention to the multi-perspectival character (movement) and hence cinematic element that is embedded in the design (space) of certain examples of modern architecture, such as the work Le Corbusier. (Koeck, 2013, pp. 10) 4 Led by Adolfo Natalini and Cristiano Toraldo di Francia, Superstudio propagandized a rapid expansion of architecture and a total urbanisation spanning – and unifying – the entire world. This was explored in three research strands, namely the architecture of the movement, the architecture of the image and technomorphic architecture.

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Fig. 04. Living City, 1963-1964, Online images.

Fig. 05. Walking City, 1964, Online images.

Fig. 06. Continuous Monumenti, 1969, Online images.

Fig. 07. Instant City, 1968, Online images.

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A. ALKOOHEJI (V.O.) The influence of the film editing technique, montage5, since its establishment and development in the 1920s by Soviet silent filmmakers such as Sergei Eisenstein (1898-1948) and his exploration of sequentiality and montage, has had a profound impact on the theoretical and built works of two architects: Bernard Tschumi and Rem Koolhaas. Both Tschumi and Koolhaas have acknowledged the impact of cinema and film theory in the formation of their design approach to architecture, which is reflected in their buildings. Tschumi's works were influenced by the theories and structural diagramming in the films of Russian Cinematographer Sergei Eisenstein. Before studying architecture, Koolhaas had studied, directed and acted in films prior to entering the architecture profession. Some of their built works demonstrate and injection of life and interaction created by their emphasis on movement and spatial conditions.

The architect, like a film director, develops a sequence of scenes (spaces) where users transition from one scene to the next.

The findings, in conjunction with the present advancement of technology and change in people’s perception of architecture, has led to the conclusion that a new architecture style for the twenty-first century is needed. A new cinematic architecture style that is proposition is rooted in principles and techniques proposed by Eisenstein, Tschumi and Koolhaas; however, the manifesto should not be read as a tabula rasa starting point for 21st century film-centric model for architectural design. The proposal is a sequel that builds on the content and theories found in past theoretical writings such as Pascal SchÜning’s Manifesto for a Cinematic Architecture (2006) and Cinematic Architecture 19932008 (2009), as well as the countless academic and professional debates informed by the theme of relationships between film, architecture and urban space. The aim of Cinetecture is to offer a new design perspective through the merging of the two spatial realms in cinema and architecture into a single entity, a hybrid genre that merges film attributes, such as montage and continuity, with architectural design.

Montage: the process or technique of selecting, editing, and piecing together separate sections of film to form a continuous whole. (Koeck, 2013, pp. 11) 5

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PART 3: MONTAGE & TSCHUMI: Montage Theory and its Relevance to the Works of Bernard Tschumi TITLE: Scene 1: “Montage Theory” A. ALKOOHEJI (V.O.) While a relationship to the aforementioned history of film and architecture, has been established, it is less clear how cinematic techniques have influenced the development of architectural and urban design. Are there any cinematic principles that have infiltrated architectural practice and, if so, why and how have they been utilised?

Both Bernard Tschumi and Rem Koolhaas have admitted the significance of cinema and film theory in the formation of their design approach to architecture, which is reflected in their buildings. Tschumi’s works were influenced by the theories and structural diagramming in the films of Russian Cinematographer Sergei Eisenstein. Whereas Koolhaas’ filmic influences stem from his past foray into the film industry prior to entering the architecture profession. Despite having different sequences that led them to taking inspiration from film and cinema, both influential architects have displayed a clear attraction to montage theory and editing. Koolhaas indicated the significance that his past experience in the film industry as a director, screenwriter and scriptwriter has on his architectural and urban designs: R. KOOLHAAS (V.O.) “I think the art of the scriptwriter is to conceive sequences of episode which build suspense and a chain of events… the largest part of my work is montage… spatial montage.” (Toy, 1994, pp. 7) A. ALKOOHEJI (V.O.) ‘Montage’, from the French verb monter, which means to assemble, was established by early Soviet silent filmmakers.

The study and development of montage theory originated in the VGIK (All Union Institute of Cinematography), or the Moscow Film School as it came to be called. Founded in 1919, the film school’s main purpose was to train new filmmakers to produce films in support of the Bolshevik political party, which had overthrown the Tsar in 1917 after the World War I. In addition to the production of agitation and propaganda newsreels, the school was also fascinated by the theory of film. One of the VGIK’s cofounders, Lev Kuleshov, a Russian film practitioner and theoretician, would bring new insight into the psychological workings of films through his ‘Kuleshov Workshop’, a non-formal study group that attracted radical and innovative film students such as Sergei Eisenstein (Filmmaker IQ, 2014).

D. W. Griffith’s film Intolerance: Love’s Struggle Throughout the Ages (1916) became a subject of study and dissection for the Kuleshov Workshop in terms of editing structure, which in turn led to several experiments. One of the experiments involved the crosscutting of one image with another that provided the impression of simultaneous or consecutive actions

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(Gillespie, 2000, pp. 22). This juxtaposition and arrangement of unrelated film shots influenced the way audiences perceive the film’s meaning and narrative, a departure from the continuity editing technique of D. W. Griffith. The film experiment would become known as the Kuleshov Effect.

CUT TO: Fig. 08. The Kuleshov Effect.

A. ALKOOHEJI (V.O.) Kuleshov’s montage theory would influence the theoretical work of Vsevolod Pudovkin, Dziga Vertov and Sergei Eisenstein.

Influenced by the technique’s reliance on audience engagement6, Eisenstein applied the theory to his own work and refined the theory even further (Koeck, 2013, pp. 77).

Unlike Griffith who used editing techniques to stimulate the emotions of the audience, Eisenstein would use film and editing to depart from the units of time and space in order to produce an abstract discursive film that reorganised reality that directed the audience towards a certain narrative or ideology (Cook, 1999, pp. 319). One of Eisenstein’s most influential films, Battleship Potemkin7 (1925), demonstrated the impact of montage as a strategy to enhance the emotional impact on viewers, as well as provoke a response from them. Eisenstein’s montage theory that included five forms of montage, which he later referred to as dialectic montage, relied on the collision of a thesis or montage shot with an anti-thesis to create a synthesis or conflict that, in turn, forced the audience to construct meaning from connecting the fragmented shots (Eisenstein, 1974, pp. 78).

CUT TO: Fig. 09. Battleship Potemkin (1925).

A. ALKOOHEJI (V.O.) Montage editing techniques were regarded as a mode of production and expression that demonstrates a close relationship to a viewer’s visual perception of spatial conditions found in cities. For instance, Dziga Vertov implements these techniques in his film Man with a Movie Camera (1929) in order to display evoke the conditions of urban life in a 1920s metropolis. Georg Simmel, a German sociologist, philosopher and critic, states in his essay The Metropolis and Mental Life published in 1903 that the metropolis can have adverse effects on the psychological health of its inhabitants displays a similarity to filmic montage theory: G. SIMMEL (V.O.) “Man is a creature whose existence is dependent on the differences, i.e. his mind is stimulated by the difference between present impressions and those which have preceded.”

(Simmel, 2010 [1903], pp. 103) Eisenstein’s Montage of Attractions (1923) devises an aggressive, disruptive narrative strategy that should stimulate the sensual apparatus of the audience and encourage it to perceive a certain ideology, which could be viewed as an extension of 19th century theatrical methods, specifically the work of Antonin Artaud and his Theatre of Cruelty.

7 Shot in 1925 as a twentieth anniversary of the 1905 revolution against the Tsar, Potemkin took ten weeks to shoot with the famous Odessa steps sequence shot in seven days. The editing took another two weeks to accomplish. Running 86 minutes long, Potemkin contained 1,346 shots. (Filmmaker IQ, 2014) 6

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Fig. 08. The Kuleshov Effect, L. Kuleshov, Film stills.

Fig. 09. Selected frames from Odessa steps sequence in Battleship Potemkin, 1925, S. Eisenstein, Film stills.

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A. ALKOOHEJI (V.O.) Montage would be developed and refined in the 1950s as the cinema of the French New Wave (La Nouvelle Vague) and Hollywood visionaries such as Alfred Hitchcock and Stanley Kubrick began to incorporate the technique into their work. In addition to cinema, theories of montage, in particular the concepts of spatial articulation and perception, have extended into the sphere of architecture and urban design (Koeck, 2013, pp. 16).

Architects and theorists Stan Allen and Diana Agrest describe how both filmmakers and architects are considered builders: S. ALLEN AND D. AGREST (V.O.) “It is no accident that Vertov uses the language of the builder to describe the operations of montage. Montage is revealed construction. It utilises instrumental procedures, but its products are not exclusively instrumental. The engineer-monteur is an architect who builds images. Montage does not pretend to reproduce natural vision. It works on the surface, constructing new objects (and subjects) out of new relations of image to image.” (Allen and Agrest, 2000, pp. 28) A. ALKOOHEJI (V.O.) As a result, montage in terms of architecture and urban design can be defined as a spatial apparatus of juxtaposition that is capable of transforming three-dimensional spaces. Bernard Tschumi applied Eisenstein’s theories and techniques in his theoretical work, which, in turn, integrated into his design works.

TITLE: Scene 2: “B. Tschumi” A. ALKOOHEJI (V.O.) Bernard Tschumi (1944), an architect, theorist, author and educator, questioned the notion of ‘space’ in his search to generate social transformation. Tschumi theorises that spaces and events go hand in hand. That without one, there would be no other; that the experience of architecture is not simply about space and form, but also about event, action, and what happens in space (Tschumi, 1995, pp. 88-89). His event-space architectural theory was developed in the 1970s but came to prominence with the publication of The Manhattan Transcripts and Questions of Space in 1981 and 1990 respectively. The Manhattan Transcripts, as its foreword states, is a book ‘of’ architecture, as opposed to a book ‘about’ architecture. The book is “not directed at illustrating buildings or cities, but at searching for the ideas that underlie them” (Tschumi, 1995, pp. 6). Conceived in the context of lived spaces, the Transcripts are composed mainly of architectural drawings that propose to transcribe an architectural interpretation of reality (Tschumi, 1995, pp. 7).

Structured in a way that mirrors the effect of a Sergei Eisenstein film script and notational system of frame, music and montage, the graphic format used in the Transcripts is a system of photographs, plans, sections and diagrams that are organised as independent frames running vertically and horizontally, which compositionally echoes the layout of a film storyboard. Photographs represent events (programmes), plans and sections outline the spaces and the diagrams indicate the movements of bodies within the architectural space or ‘stage

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set’. The basic supposition is that any architectural experience or narrative involves events, spaces and movement.

(Cairns, 2013, pp. 295-296).

CUT TO: Fig. 10. Graphic format for The Manhattan Transcripts consisting of events (1), spaces (2) and movements (3).

Fig. 11-12. Sequences diagrams for Eisenstein’s Battleship Potemkin and Tschumi’s Joyce’s Garden (1976).

B. TSCHUMI (V.O.) “Their [drawings] explicit purpose is to transcribe things normally removed from conventional architectural representation, namely the complex relationship between spaces and their use; between the set and the script; between ‘type’ and ‘programme’; between objects and events. Their implicit purpose has to do with the twentieth-century city.” (Tschumi, 1995, pp. 7) A. ALKOOHEJI (V.O.) The drawings are visually complex and dynamic individual frames, which lead to visual overload and potentially openended narrative readings; something also identifiable in Tschumi’s most famous built architectural project, Parc de la Villette in Paris, France (Cairns, 2013, pp. 296).

Constructed as part of President François Mitterrand’s plans to revitalize the abandoned and undeveloped land from the French national wholesale meat market and slaughter houses in Paris, Bernard Tschumi was selected from over 470 entries in the international competition (1982-1983). The proposal, located on a 125-acre site in the east of the city, was to be an urban park for the twenty-first century consisting of cultural and entertainment facilities such as art venues, restaurants, cafes, workshops, gymnasium, playgrounds, exhibitions, concerts, movie theatre, etc. The social and cultural proposal provided the opportunity for Tschumi to put his theories and research in practice with the commission to design the Parc de la Villette. Working in collaboration with Jacques Derrida, the founder of Deconstruction, Tschumi implemented a deconstructive design methodology and aesthetic where the master plan is developed from a superimposition of systems of points, lines and spaces; a juxtaposition of events, spaces and movements.

Echoing Derrida’s linguistic deconstruction, Tschumi produces a deconstruction of the architectural mindset that opposes the typical notion of landscape in the nineteenth-century where in the park the city is non-existent (Tschumi, n.d.).

CUT TO: Fig. 13. Parc de la Villette (1982-1998).

A. ALKOOHEJI (V.O.) As mentioned earlier, the Parc de la Villette is designed with three principles of organization (points, lines and surfaces) superimposed over one another, which clearly reflect the characteristics of The Manhattan Transcripts. The system of points refers to the park’s 35 red buildings or “follies”, dispersed on a 10.8 metre cube grid. Composed of multiple conflicting components and without a specific function, the structures are intended to “challenge the hierarchy of events

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Fig. 10. The Manhattan Transcripts graphic format, B. Tschumi, Photograph and drawings, Online image.

Fig. 11. Sequences diagram for Battleship Potemkin, 1925, S. Eisenstein, Online image.

Fig. 12. Sequences diagram for Homage to Eisenstein (Part of Joyce’s Garden), 1976, B. Tschumi, Online image.

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Fig. 13. Parc de la Villette, 1982-1998, B. Tschumi, Photograph and drawings, Online images.

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and spaces by provoking conflicts between uses, forms, activities and buildings” (Cairns, 2013, pp. 296-297). In addition, the red follies also serve as points of reference that allow visitors to retain a sense of place and reorientation within the larger context of the park. On top of the grid of points is the system of lines that define the park’s movement paths. The system consists of two lineal axis pedestrian paths that run north to south and east to west, along with secondary curvilinear routes that lead to various points of interest within the Parc de la Villette and the neighbouring context. Tschumi creates an experience similar to that found within the language of film by orchestrating a variety of experiences along a ‘cinematic path’ at the park.

Superimposed over the points and lines is a system of surfaces that denote the green spaces within the 125-acre site. The surfaces are an accumulation of different zones such as landscaped gardens, playgrounds and green spaces that provide Parisians with space to socialise in intimate or large crowds.

The juxtaposed aesthetic results from this layered spatial layout is a series of collisions as the pedestrian paths of the line system forced together with the follies of the point system, which runs across the system of surfaces. In terms of narrative, the superimposition of the three systems creates spaces with undefined movement patterns in which users have the freedom to edit the sequence or narrative of their journey across the Parc de la Villette according to the user’s preferences (Cairns, 2013, pp. 297-298).

The term ‘narrative’, in the Latin sense of the word ‘narrativus’, means to tell a story. The term’s origins stem from the spoken word but has been adopted and adapted in many fields such as literature, theatre, law, music, journalism and film. The definition of term can differ; however, most definitions suggest spatial and temporal characteristics of narrative that results from the series of events or sequences that are necessary for a narrative. These characteristics play a role in the spatial perception of spaces through our cinematic experience when visiting cities and buildings that create images and spatial memories within our minds, which in turn forms our impression of it (Koeck, 2013, pp. 18-21).

Edward Branigan, Professor of Film Studies at the University of California, Santa Barbara, notes how these episodes (spaces) are sequentially constructed influences the way in which the episodic narratives are expressed: E. BRANIGAN (V.O.) “A simple narrative is a series of episodes collected as a focused chain.” (Branigan, 1992, pp. 3) A. ALKOOHEJI (V.O.) To summarise, Tschumi’s Parc de la Villette appears to be a manifestation of his Manhattan Transcripts in which systems of spaces (surfaces), events (points) and movements (lines) all come together into a larger system. In addition, the park’s grid of follies shares the themes of concept-form, while programme, concept, context and contents are ever-present. The only theme absent from The Manhattan Transcripts is that of the ‘envelope’, that intrusion of an architectural surface. All five conceptual strategies converge in the New Acropolis Museum (Vidler, 2014).

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TITLE: Scene 3: “The New Acropolis Museum” A. ALKOOHEJI (V.O.) A project that began in 2001 when Bernard Tschumi was selected in a design competition, the new Acropolis Museum in Athens, Greece, was completed eight years later in 2009. Situated at the foot of the Acropolis itself, the museum seeks to exhibit the dramatic collections from the former Acropolis Museum built in the nineteenth-century and those dispersed in multiple institutions, dating back from pre-historic times through to the late antiquity. In addition to the responsibility of housing the rich collection of sculptures of Greek antiquity, the discovery of sensitive archaeological remains during preconstruction added a further layer to the design (Tschumi, n.d.). These site constraints and conditions, combined with the setting of the historic setting of the Acropolis and Parthenon, leads to a design strongly influenced by its circulation route and narrative. Tschumi describes the circulation route as one that: B. TSCHUMI (V.O.) “…narrates a rich spatial experience from the city street into the historical world of the different periods of archaeological inquiry. The visitor’s route through the museum forms a clear three-dimensional loop, affording an architectural and historical promenade that extends from the archaeological excavations, visible through a glass floor in the entrance gallery, to the Parthenon Frieze in a gallery with views over the city, and back down through the Roman period.” (ibid.)

CUT TO: Fig. 14. The Acropolis and the new Acropolis Museum.

A. ALKOOHEJI (V.O.) Tschumi maps a route through the building that follows a chronological sequence of spaces through Greek history, which, in turn, articulated the design of the building. The museum consists of three layers: base (archaeological excavations), middle (main galleries) and top (Parthenon hall and frieze).

The base floats above the excavated archaeological remains, protecting the site with a network of columns, placed in careful negotiation with archaeologists so as not to disturb the remains, while also integrating the ruins into the museum design with openings and glass floors to enhance the visitor experience. A glass ramp leads to the middle layer, a doubleheight space that houses the galleries from Archaic Greece to the late Roman periods. The top is made up of the Parthenon Gallery, a rectangular, glass-enclosed, sky-lit court that is rotated 23 degrees so as to align the space with the Parthenon and create a dialogue between the two. The gallery offers an uninterrupted 360-degree panoramic view of the Acropolis and surrounding city.

CUT TO: Fig. 15. Acropolis Museum circulation diagram.

Fig. 16. Acropolis Museum exploded axonometric.

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Fig. 14. Acropolis and the new Acropolis Museum, B. Tschumi, Photograph overlayed over site plan, Online image.

Fig. 15. Acropolis Museum circulation diagram, Sketch, Online image.

Fig. 16. Acropolis Museum exploded axonometric, Sketch, Online image.

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A. ALKOOHEJI (V.O.) As depicted in Fig. 16., the circulation route through the three layers forms a three-dimensional loop that takes visitors on a journey through Greek history. In terms of spatial experience, one can also find similarities between the museum’s spiraling circuit and the route leading to the ancient Acropolis mentioned in the writings of Bertrand Russell.

Russell begins his essay, Architecture and Social Questions, with the following sentence: B. RUSSELL (V.O.) “Architecture, from the earliest times, has had two purposes: on the one hand, the purely utilitarian one of affording warmth and shelter; on the other, the political one of impressing an idea upon mankind by means of the splendour of its expression in stone.” (Russell, 2004, pp. 28-29) A. ALKOOHEJI (V.O.) The Acropolis of Athens, according to Russell, falls under the second category where temples of gods are designed to inspire awe. One of the main methods for achieving said purpose is the reliance on the way in which one arrives to the site, which heavily influences their experience of the space. The word acropolis is derived from the Greek words akro (high, edge or extremity) and polis (city). The topography of the hill in Athens influenced the design of the Acropolis. The site is steep on the sides facing north, south and east, thus the main entrance to the Acropolis is from the west. Worshippers would enter the walled citadel by passing through the Beulé Gate before ascending a flight of marble steps that leads to the main entry gate known as the Propylaea (Rhodes, 1995, pp. 2829). Utilising the concept of “denial and reward”, the design of the journey and built environment is able to enrich the spatial experience and genius loci (or spirit of place).

Athenians catch a glimpse of the monument from afar, before the image is hidden from view during the climb, before finally having their target revealed to them. Denial creates a more rewarding arrival.

With regards to the Acropolis Museum, visitors enter from the Dionysios Areopagitou pedestrian street and begin with the archaeological excavations, which are visible through the openings and glass floors in the lobby. Ascending a flight of steps, visitors move through the forest of double-height columns in the Archaic period gallery with a collection of statues dispersed among them. The sequence reaches its literal and programmatic high point via escalator with the Parthenon Gallery. Here, visitors are rewarded with views towards the Acropolis and the Parthenon. The route then leads back down through the Roman period galleries before exiting the museum.

As in Tschumi’s Parc de la Villette, the museum is a superimposition of different layers. Historical spaces representing the changing periods sit atop the ruins that were once the ground of the Greek civilisation itself. The ghost of the Parthenon temple manifests itself in the design and plan of the museum’s Parthenon Gallery. Fragments of the Parthenon frieze are mounted on the building’s concrete core, as if transported from the Acropolis above to adorn the naos of an afterimage of the Parthenon itself.

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CUT TO: Fig. 17. Acropolis Museum superimposition diagram.

Fig. 18. Framed views of Parthenon and archaeological remains.

A. ALKOOHEJI (V.O.) However, unlike la Villette where there is a juxtaposition of spaces, events and movements, the Acropolis Museum’s programme, context and contents informs the narrative; narrative informs the movement, movement notation informs the physical elements, which then informs the spatial construct of the building.

Tschumi’s Acropolis Museum superimposes an aleatory route, which refers to the path leading to the Acropolis along the Dimitris Pikionis designed paths, where visitors enter the museum from the plaza with their backs turned to the Acropolis, before moving in a spiral circuit culminating at the summit where dramatic views of the Parthenon and its frieze are offered; thus, enhancing the connection between the original monument and the new museum. Spaces and events within the building are conjugated by the erratic grid of points (columns), contradicting la Villette’s regular 10.8 metre cube grid, which supports the structure in a pattern forced by the excavated remains with the guidance of archaeological experts.

Columns that double for the collection of sculptures and statues that are dispersed among them (Vidler, 2014).

25.

end start

Fig. 17. Acropolis Museum superimposition diagram (1st floor + 3rd floor + circulation route + Parthenon plan), A. Alkooheji, Collage drawing.

Fig. 18. Framed views of the Parthenon and archaeological remains, A. Alkooheji, Collage drawing.

26.

PART 4: DIRECTOR REM TITLE: Scene 1: “Who is Rem Koolhaas?”

A. ALKOOHEJI (V.O.) Apart from Bernard Tschumi, who has been discussed above, Rem Koolhaas has been a further influential architectural presence whose innovative theories and designs displays a connection to montage theory and film editing techniques. Koolhaas himself sees his role as architect as being more like a scriptwriter or film director who conceives architectural episodes and episodic sequences that build up to a climax of spatial experience. In the documentary film Rem Koolhaas: A Kind of Architect (2008), Koolhaas describes the process of making architecture as one very similar to that of making films: R. KOOLHAAS (V.O.) "I think the professions of scriptwriting and architecture are very close; for both you have to consider a plot, you have to develop episodes and you have to create a kind of montage that makes it interesting, and a sequence that makes the circulation or the paths or the experience of the building interesting, and gives it a certain suspense." (Heidingsfelder and Tesch, 2008) A. ALKOOHEJI (V.O.) What sparked his affinity towards film and cinema? To understand Rem’s mind and design philosophy, one must first unravel the influences that shaped the way Rem Koolhaas works.

Two emerge as having a significant role prior to becoming an architect: writing and cinema.

Remment Lucas “Rem” Koolhaas was born in Rotterdam on 17 November, 1944, to Anton Koolhaas, a novelist, critic and screenwriter, and Selinde Pietertje Roosenburg. Before becoming an architect, Rem Koolhaas once had a career in writing as a journalist at Haagse Post and in film as a member of 1,2,3 Group. Along with Samuel Meyering, Frans Bromet, Rene Daalder and Jan de Bont, produced several films such as 1,2,3 Rhapsody (1965) and The White Slave (1969). Each person’s role would change from film to film. Koolhaas could be the scriptwriter for one film, before taking on the role of actor, cameraman or director for the next. His education and experiences as a writer in both professions has permeated into his thinking and work in architectural and urban design, as a process of constructing narratives for a project’s clients and users (ibid.).

CUT TO: Fig. 19. 1,2,3 Group: Samuel Meyering, Rem Kolhaas, Frans Bromet, Rene Daalder, Jan de Bont.

Fig. 20. Screenshot from 1,2,3 Rhapsody (1965).

A. ALKOOHEJI (V.O.) Rem’s transition from journalism and film to architecture occurred at the age of 24 while he was presenting his films to an architecture class at the University of Delft. It was during his speech that Koolhaas realized “he wanted to switch places with his audience” (Archdaily, 2014). In 1968, Koolhaas began his architectural studies at the Architectural Association (AA) in London, where, coincidentally, Bernard Tschumi was a tutor (1970-1979). During his time at the AA, Koolhaas was able to further develop his use of filmic qualities and montage as an element in story telling in his final project, an entry for Casabella’s 1972 competition “The City as Meaningful Environment”.

27.

Fig. 19. 1,2,3 Group: Samuel Meyering, Rem Kolhaas, Frans Bromet, Rene Daalder, Jan de Bont, Online image.

Fig. 20. Screenshot from 1,2,3 Rhapsody (Rem Koolhaas), 1965, Online image.

28.

CUT TO: Fig. 21. Exodus, or the Voluntary Prisoners of Architecture: The Strip (1972).

Fig. 21. Exodus: The Strip, 1972, R. Koolhaas, Online image.

A. ALKOOHEJI (V.O.) A walled city within the city London, the competition entry titled Exodus, or the Voluntary Prisoners of Architecture, produced in collaboration with Elia Zenghelis, Zoe Zenghelis and Madelon Vriesendorp, alludes to Cold War West Berlin, a restricted enclave encircled by the Berlin Wall, a barrier that divided Berlin from 1961 to 1989. Exodus would be a new architectural phenomenon in which people sought refuge voluntarily, becoming its Voluntary Prisoners. This image becomes the stage for a new urban culture invigorated by architectural innovation and political subversion. Koolhaas and his collaborators used a collage of drawings, watercolours and photographs, reflecting his previous education as a journalist and as a member of a filmmaking collective, to create vivid scenes of life within the dystopian walled city (McQuaid, 2002, pp. 166).

The storyboard layout is read simultaneously with a narrative text that describes the sequence of “steps that will have to be taken to establish and architectural oasis in the behavioural sink of London” (Koolhaas and Mau, 1995, pp. 7). In a manner that reflects the theories of Bernard Tschumi, the Exodus narrative depicts the spatial qualities fugitives experience after crossing the Wall as they move through a sequence of spaces and events (programmes) within the confines of the Strip (Koolhaas and Mau, 1995, pp. 3-21).

CUT TO: Fig. 22. Exodus, or the Voluntary Prisoners of Architecture, 1972.

A. ALKOOHEJI (V.O.) As the Strip divides London’s good and bad parts, it similarly divides Rem Koolhaas’ life into two parts: Pre- and Post-AA. Koolhaas is a superimposition of influences, ideas, theories and collaborations, which shaped the way he thinks and works, and in particular, the collaboration on the Exodus project was instrumental in the founding of the collective architectural practice the Office for Metropolitan Architecture (OMA) in 1975

by Rem Koolhaas, Elia Zenghelis, Zoe Zenghelis and Madelon

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Division, isolation, inequality, aggression, destruction could be the ingredients of a new phenomenon: frontline of architectural warfare.

Those strong enough to love it would become its Voluntary Prisoners, ecstatic in the freedom of their architectural confines.

From the outside this architecture is a sequence of serene monuments; the life inside produces a continuous state of ornamental frenzy...

Fig. 22. Exodus, or the Voluntary Prisoners of Architecture (Sequence of Spaces and Events), 1972, R. Koolhaas, Online images.

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Vriesendorp. It comes as no surprise that a direct link between film and architectural design is manifested in several works produced by the practice, and is well illustrated in one of his earlier built works, the Kunsthal in Rotterdam, Netherlands (1992), where his application of aspects of film language (e.g., continuity, montage, cut) and spatial montage can be seen in the design and organisation of spaces inside the building.

TITLE: Scene 2: “Kunsthal – Take 2” A. ALKOOHEJI (V.O.) At the behest of Joop Linthorst, former councillor for Finance and Art in Rotterdam, OMA were tasked with providing a design proposal for an exhibition space at the present location of the Westzeedijk, which would accommodate the demand for temporary blockbuster exhibitions that attracted increased masses of people. The firm’s first design (take 1), referred to by Koolhaas as Kunsthal I, proposed a building that floats above Museumpark at the level of the dike. Envisioned as a 60x60metre glass box carried by vierendeel beams, Kunsthal I aims to provide a flexible space that enables “an endless series of permutations: walls, floors, slopes, sets, presence, absence, dry, wet–each condition contaminating the perimeter of the hall” (Koolhaas and Mau, 1995, pp. 429). However, the design would be rejected upon the appointment of the Kunsthal’s first director, Wim van Krimpen, due to various reasons. The museum would need to be redesigned in accordance to the director’s new programme of requirements, such as the need for more exhibition space and walls to mount works of art. Koolhaas describes the design for Kunsthal II (take 2) as a box whose interior is shaped by a spiral circuit that runs through the building: R. KOOLHAAS (V.O.) “We would keep the same square as a general envelope. The square would be crossed by two routes: one, the existing road running east-west; the other, a public ramp running northsouth, the entrance to both the park and the Kunsthal. These crossings would divide the square into four parts. The question then became: How to imagine a spiral in four separate squares?”

(Koolhaas and Mau, 1995, pp. 431) A. ALKOOHEJI (V.O.) Completed in 1992, the Kunsthal museum in the city of Rotterdam, Netherlands, was one of the first buildings to emerge from OMA. Located on the edge of the Westzeedijk and the Museumpark, the Kunsthal is a combination of exhibition halls and galleries, which offers a flexible programme that provides the option of organising singular or separate exhibitions within the museum. The floor is an important element within the Kunsthal. By using a series of ramps, Koolhaas is able to provide a continuous circuit between the different programmatic volumes housed in the museum, which also enhances the genius loci (genius of place) by allowing visitors to experience spatial conditions through sequences of emotion and visual connections. The Kunsthal is a typical Koolhaas building, where plans cannot be understood without looking at the sections (Heidingsfelder and Tesch, 2008).

His design for the Rotterdam Kunsthal was conceived in serial vision, where the route through it is structured like a plot for a film with a beginning, a middle and a powerful climax.

The manner in which Koolhaas weaves together the two spheres of architecture and film is visible when the Kunsthal project is introduced in his influential publication S,M,L,XL (Koolhaas and Mau, 1995, pp. 432-467).

CUT TO: Fig. 23. Kunsthal II spiraling circuit.

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2.

Enter the ramp from the dike.

3.

1.

It slopes down toward the park. Halfway down, enter the auditorium.

Approach the building from the boulevard.

17.

4.

Keep going.

It slopes in the opposite direction. A curtain is drawn, blocking out daylight.

6

16.

8

Turn the corner. Pass the restaurant underneath the auditorium.

5

5.

7

At the bottom, see a projection screen.

3

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15

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Exit to the park. Pause.

Walk down. Turn the corner.

1

2 park level

10 11

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Return to the ramp, run up, and emerge on the roof. Look down. Spiral back down to the beginning.

Enter the lower hall, facing the park. It is dark, with a forest of five columns.

12

13.

See the auditorium, but don’t walk that far. Instead, turn and take a third ramp. Halfway up, grope through a small dark room… and emerge on a balcony that penetrates the second hall.

13

12.

8.

Exit under the balcony. third level

To the right, a slender aperture opens to a narrow gallery.

Look up.

14

11.

Enter the second hall. It is bright, with no columns. Look back.

roof

9.

Rediscover the ramp you used to enter. Walk up. A glass wall separates the people outside.

10.

At the top… turn left.

Fig. 23. Kunsthal II spiraling circuit, A. Alkooheji, Collage drawing.

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A. ALKOOHEJI (V.O.) The description of the Kunsthal in S,M,L,XL has a layout similar to a storyboard where the photomontage and a simultaneous narrative text depicts a visitor’s experience as they walk through the building. The visual description also bears resemblance to Gordon Cullen’s analysis and development of the concept of ‘serial vision’8 by means of drawings, diagrams and photographs in his book, The Concise Townscape, first published in 1961. Cullen’s approach to urban design is based on the visual and physical relationship between movement and the urban landscape: G. CULLEN (V.O.) “… the scenery of towns is often revealed in a series of jerks or revelations. This we call SERIAL VISION.” (Cullen, 2005 [1961], pp.9) CUT TO: Fig. 24. Gordon Cullen: Serial Vision.

A. ALKOOHEJI (V.O.) Employing methods similar to those used by storyboard artists, Cullen undertook a shot-by-shot analysis while moving at a uniform pace through a sequence of urban spaces. The concept of serial vision can be described as a sequence of revelations constructed from an assemblage of elements within the built environment to create an enhanced sense of suspense, anticipation and drama. A serial and sequential journey, which, like montage and film editing techniques, emphasizes the role of movement in spatial experience within architectural and urban design. Sergei Eisenstein begins his Montage and Architecture article by highlighting the relationship between cinema and movement (path): S. EISENSTEIN (V.O.) “[When talking about cinema], the word path is not used by chance. Nowadays it is the imaginary path followed by the eye and the varying perceptions of an object that depend on how it appears to the eye. Nowadays it may also be the path followed by the mind across a multiplicity of phenomena, far apart in time and space, gathered in a certain sequence into a single meaningful concept; and these diverse impressions pass in front of an immobile spectator.” (Eisenstein et al., 1989, pp. 116) A. ALKOOHEJI (V.O.) By employing similar rules and strategies, Koolhaas is able to manipulate and edit the sequence of spaces as a juxtaposition of shots within the Kunsthal project, so that the result produces an elegant and harmonious sequence that creates an assemblage of architectural experiences and enhances the visitor’s understanding of the Kunsthal (Koeck, 2013, pp. 11).

In addition to the exterior and interior photographs, narrative and dialogue from Waiting for Godot by Samuel Beckett found in S,M,L,XL, secondary black and white images accompany a number of photographs display either different views of the same space or views of spaces above and below. This montage effect is created through the multiple spatial juxtapositions and orientation of each space. As they transition from one space to another through a series of ramps and interchanges, visitors are confronted with various views such as those that are obstructed before being gradually revealed, framed views and distorted views due to parts of the building’s glass façade, which indicates how juxtaposition occurs at the structural and material level as well:

Serial Vision: to walk from one end of the plan to another, at a uniform pace, will provide a sequence of revelations which are suggested in the serial drawings, reading from left to right. Each arrow on the plan represents a drawing. The even progress of travel is illuminated by a series of sudden contrasts and so an impact is made on the eye, bringing the plan to life.

8

33.

To walk from one end of the plan to another, at a uniform pace, will provide a sequence of revelations which are suggested in the serial drawings, reading from left to right. Each arrow on the plan represents a drawing. The even progress of travel is illuminated by a series of sudden contrasts and so an impact is made on the eye, bringing the plan to life (like nudging a man who is going to sleep in church). My drawings bear no relation to the place itself; I chose it because it seemed an evocative plan. Note that the slightest deviation in alignment and quite small variations in projections or setbacks on plan have a disproportionally powerful effect in the third dimension.

Fig. 24. Gordon Cullen: Serial Vision (gates/focal points/frontage/belvedere), G. Cullen, 1961, Online image.

34.

R. KOOLHAAS (V.O.) "The detailing in the Kunsthal is a mode of detailing that frees the attention for other aspects such as the way the ground is read, the sensing of abstractions, of transparency and translucency, of concrete and of the conditions themselves.

The sensing of a whole instead of all that fixation on the joins and the encounters." (Archdaily, 2011) A. ALKOOHEJI (V.O.) In terms of structure, column conditions in exhibition halls and spaces follow their own logic. “The columns in Hall 1 break from static condition to alternate and form a dynamic experience within the space” (Kanekar, 2015, pp. 134-153). The choice and diversity in materials and detailing also enriches the cinematic path and montage condition. OMA used a combination of expensive (i.e. marble and parquet) and inexpensive materials (i.e. corrugated plastic, bare concrete, galvanised steel gratings and tree trunk columns) to exemplify the unique atmospheres as a result of the sensory qualities within each space, with light, sound and compression playing key roles in Koolhaas’ narrative (Kunsthal, n.d.).

The Kunsthal, like a film, is a series of action and cut shots where the audience transition from one frame to the next, as each shot builds to the climax. From a visitor’s arrival to their departure, they are themselves actors in a film that offers engagement, suspense, immersion and performance.

Koolhaas, through his overall use of spatial organisation to structure and materials, has been able to produce life in a box.

TITLE: Scene 3: “Spirals, Voids and Frames” A. ALKOOHEJI (V.O.) The cinematic experience of walking through a building designed

by Rem Koolhaas and OMA, a contradiction between the exterior form and the interior spaces, is evident in several of his built and unbuilt works, such as the Très Grande Bibliothèque (1989), 2 Bibliothèques Jussieu (1992), Netherlands Embassy (2003), Seattle Central Library (2004), Casa da Música (2005) and many more. However, Koolhaas appears to demonstrate a repetitive formula of design elements within his structures, where one or a combination of elements is selected to fulfill Koolhaas’ narrative script for each design. The Koolhaas formula consists of: (1) the spiraling circuit, (2) solids and voids and (3) framed views.

The floor is an important part of the spiraling circuit. It connects the different programmes, determines the arrangement of a building’s spaces and acts as a three-dimensional surface where floor becomes wall becomes ceiling becomes wall and floor again. In the 2 Bibliothèques Jussieu, a competition entry for two libraries at the technical university in Paris, the floor planes are manipulated to connect, thus creating a single continuous trajectory – a three-dimensional network. In addition to being planes for movement, the manipulated surfaces forms an urbanised public landscape, inhabited by a system of programmatic elements (plazas, cafès, shops, etc) and events, which in turn enhances the circulation experience and introduces life within the Jussieu’s interior. This theme of the spiraling circuit manifests in the Netherlands Embassy in Berlin where the trajectory of the path wraps around the cube and establishes the necessary programmatic connections, the Seattle Central Library in which the path leads visitors vertically though a cluster of programmatic platforms and inbetween spaces where events and stimulation unfold, and more recently in the insertion of the “Public Loop” in the Casa da Música in Porto9, CCTV Headquarters (2012) in Beijing and the

“We did not only make a public building, but we also made the building public.”

(Heidingsfelder and Tesch, 2008) 9

35.

under construction Taipei Performing Arts Center that leads visitors on a dedicated route through the buildings.

In terms of spatio-volumetric voids, the Très Grande Bibliothèque (TGB) 1989 competition entry is essentially a cube that consists of spaces that are regular and irregular elements; additive and subtractive; formal and informal; public and private; solids and voids. Where the regular formal spaces represent the TGB’s storage, and the irregular informal ones denote the reading rooms. These event spaces or voids, as described by Koolhaas, are not designed, but are carved and excavated from the solid cube, and shaped by modifying factors such as the need for light and the provision of panoramic views of Paris, France.10 CUT TO: Fig. 25-26. 2 Bibliothèques Jussieu (1992).

Fig. 27-28. Très Grande Bibliothèque (1989).

A. ALKOOHEJI (V.O.) The design work of Rem Koolhaas also displays a visual consideration in terms of the sensory dimension that exists in the experiential journey through his buildings. If his buildings are to be considered as following a sequence of ‘action’ and ‘cut’, then each view would represent a ‘scene’ stopped or cut by barriers, setting up a transition to the next scene. Koolhaas’ visual theories on the notion of space is similar to that taken by Pallasmaa, who views architecture and cinema as both having similarities by way of experiencing spaces through our senses (Pallasmaa, 2008, pp. 18).

The Casa da Música, a concert hall project initiated as part of the city’s celebration of being designated as European Capital of Culture in 2001, features openings in the façade that act as cinematic screens, inviting users to see the city through its framed views. Koolhaas also utilises façade systems that “distort and animate views to the exterior in relation to the visitor’s own movement along the façade” (Koeck, 2013, pp. 115116). In addition, the interior of the building acts as a sounding body, which enhances the sonic qualities and sense of immersion during a performance or rehearsal. In Koolhaas’ Netherlands Embassy, the spiral circuit offers visitors views of the surrounding urban context as they meander around the sequence of spaces through the building. The previously mentioned platforms in the Seattle Central Library were modified and architecturally defined to take into consideration the permitted quantity of a daylight during the day and surrounding context (exterior views to Mt. Rainier and Elliot Bay).

Despite each building’s distinct application of the three design elements (spirals, voids and frames), what they all have in common is the symbiotic relationship that exists between the three and the building’s form. The narrative that Koolhaas chooses to employ for each design work dictates the Koolhaas formula, which in turn shapes the form and façade skin of the structures. The translation of the interior elements onto the external shell results in iconic buildings that react differently to specific design conditions and constraints.

“The Very Big Library is interpreted as a solid block of information, a repository of all forms of memory – books, laser disks, microfiche, computers, databases. In this block, the major public spaces are defined as absences of building, voids carved out of the information solid. Floating in memory, they are multiple embryos, each with its own technological placenta.” (Koolhaas and Mau, 1995, pp. 616) 10

36.

Fig. 25. 2 Bibliothèques Jussieu, 1992, R. Koolhaas, Drawings and models, Online images.

“Instead of a simple stacking of floors, sections of each level are manipulated to touch those above and below; all the planes are connected by a single trajectory, a warped interior boulevard that exposes and relates all programmatic elements. The visitor becomes a Baudelairean flâneur, inspecting and being seduced by a world of books and information - by the urban scenario.” (Koolhaas and Mau, 1995, pp. 1318-1325) Fig. 26. 2 Bibliothèques Jussieu: Unraveled Section, 1992, R. Koolhaas, Drawings, Online images.

37.

level 0

level 1

level 6

level 2

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level 8

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level 17

“The ambition of this project is to rid architecture of responsibilities it can no longer sustain and to explore this new freedom aggressively. It suggests that, liberated from its former obligations, architecture’s last function will be the creation of the symbolic spaces that accommodate the persistent desire for collectivity.” (Koolhaas and Mau, 1995, pp.

604) Fig. 27. Très Grande Bibliothèque, 1992, R. Koolhaas, Floor plans, Online images.

Fig. 28. Très Grande Bibliothèque, 1992, R. Koolhaas, Solids and voids, Online images.

38.

PART 5: A NEW CINETECTURE MANIFESTO A. ALKOOHEJI (V.O.) The findings point to the notion that cinema can be understood as an architectural and urban design tool, which is an argument I hope to illustrate by linking twenty-first century precedents to the principles of Tschumi and Koolhaas stated in the previous chapters. Inspired by Le Corbusier’s Five Points of Architecture (pilotis, free design of the façade, horizontal windows, free design of the ground plan and roof garden) that spearheaded the modernist architectural movement in the twentieth century (Le Corbusier, 1986 [1931], pp. 229-265), the three elements I believe are essential in approaching an answer to the question of how cinematic qualities find application in the design of buildings and urban spaces, which led to the following thought model: 1.

2.

3.

Spaces + Surfaces + Voids = Narrative Experience Movements + Lines + Spirals = Kinaesthetic Experience Events + Points + Frames = Sensory Experience

Each of the three headings – ‘Narrative Experience’, ‘Kinaesthetic Experience’ and ‘Sensory Experience’ – are deeply rooted in the denotation of cinema as movement. People experience the building as they move through spaces with the architect, like a filmmaker, manipulating and choreographing the sequence of spatial qualities to create their intended design strategy; an architectural version of the term mise-enscène11. The building becomes the cinematic apparatus, and the people represent the film camera; an instrument for mobile seeing. However, unlike cinema where the audience are subjected to a series of audio-visual moments in a film, the new cinematic architecture style takes into consideration the influence of the entire sensory dimension of architectural design to achieve a distinct sense of space (genius loci).

Juhani Pallasmaa argues that all our senses are “extensions of the tactile sense’, and that ‘all sensory experiences are modes of touching, both literally and metaphorically, and thus related to tactility” (Pallasmaa, 2006, pp. 137). As seen in Koolhaas’ works such as Kunsthal II and Casa da Música design, the choice of materials and the way they are used can also help shape the spatial characteristics (light, colour, sound, etc) with emphasis being placed on experiential dimensions that are multisensory, in which users are enriched by this immersive cine-space (Chion et al., 1994, pp. 5). Similarly to how contemporary auteur filmmakers such as Quentin Tarantino12 and Wes Anderson have control over their final films and the representation of screen space13, contemporary architectural practices have approached twenty-first century architecture by showing an attachment to theories related to film, film editing and cinema, which has permeated the design process and articulation of architectural forms as well as the urban environment.

Where Le Corbusier’s 1926 architecture manifesto14 dictated his technique and principles towards a new approach to the design of domestic architecture, the integration of cinema into the design process could be viewed as twenty-first century approach to the formulation of public spaces in architecture. Resulting in a new architectural style coined Cinetecture, a combination Mise-en-Scène: refers to everything that appears before the camera and its arrangement—composition, sets, props, actors, costumes, and lighting.

12 “One of the things I do when I am starting a movie, when I’m writing a movie or when I have an idea for a film is, I go through my record collection and just start playing songs, trying to find the personality of the movie, find the spirit of the movie. Then, ‘boom,’ eventually I’ll hit one, two or three songs, or one song in particular, ‘Oh, this will be a great opening credit song.'” – Quentin Tarantino (Marshall, 2014) 13 With the advent of the digital revolution, filmmakers today can choose from an extensive vocabulary that allows them to tune their narrative composition of space in every way imaginable. This includes the manipulation of mise-en-scène, cinematography and postproduction. (Koeck, 2013, pp. 37-38) 14 Le Corbusier’s Five Points of Architecture was authored in L'Esprit Nouveau and his book Vers une Architecture (translated into English Toward an Architecture).

11

39.

of ‘cine’ and ‘tecture’, which points towards a shared architecture and film practice that merges the two spatial realms into a single phenomenon. This new manifesto for a cinematic architecture encourages the use of one or a combination of all three experiential design elements in order to enhance not only the design of spaces, but also the life that is intended to fill them.

Rem Koolhaas has not only succeeded in putting his filmic theories to practice, but has been able to create an atmosphere at OMA, which has cultivated the talents of hundreds of gifted architects, whose works after leaving the firm to start their own is grounded in techniques and principles (the Koolhaas formula) obtained at OMA (Makovsky, 2011). The list includes Bjarke Ingels (Bjarke Ingels Group, or BIG), Jeanne Gang (Studio Gang), Julien De Smedt (JDS Architects), Joshua PrinceRamus (REX), Dan Wood and Amale Andraos (WORKac), Willem Jan Neutelings (Neutelings Riedijk Architects) and Winy Maas and Jacob van Rijs (MVRDV).

Joshua Prince-Ramus and his practice REX, founded in 200615, in particular has applied and refined the Koolhaas formula in several of his works, in which surfaces that serve as circulation and event spaces (as in the 2 Bibliothèques Jussieu) are manipulated to create immersive, informal and public zones that enhance interaction and life. Whether it is the “Wolf” in the Annenberg Center for Information Science and Technology II (2006), the “Nucleus” in the Activision|Blizzard Headquarters (2013), the “Grand Staircase” in the V&A at Dundee (2010), the “Showcase” in the Vakko Fashion Center (2010) or the “Learning Commons” in the Calgary Central Library (2013), Prince-Ramus conceives these spaces as a series of stepped plates connected by a continuous path, which increases collaboration, work, play and interaction, both intentional and serendipitous – “an interiorized public landscape” (REX, n.d.).

CUT TO: Fig. Fig. Fig. Fig.

29.

30.

31.

32.

Activision|Blizzard Headquarters (2013).

Vakko Fashion Center (2010).

V&A at Dundee (2010).

Calgary Central Library (2013).

A. ALKOOHEJI (V.O.) Another building that comes to mind is Stedenbouw en ARCHitectuur’s (SeARCH) design proposal for the National Archives of Bahrain in Riffa, Kingdom of Bahrain (2009). The building’s expression of spatially diverse forms within a cube is conceptually rooted to the principles of solids and voids found in the work of Rem Koolhaas, specifically the Très Grande Bibliothèque competition entry. SeARCH’s described their design as a “place where people from Bahrain as well as abroad can explore the country’s history, culture and identity. Within a strictly cubic form, a meandering route takes you from the frontcourt of the fort up to the highest level with cafe and an observation terrace” (SeARCH, n.d.). Taking advantage of the of the intended site, being situated near the historic early nineteenth century Riffa Fort on the ridge of a high cliff with unobstructed views overlooking Hunainiyah valley, the National Archives creates spaces that frame views of the valley and fort as visitors follow the sequential route through the building (ibid.).

CUT TO: Fig. 33. National Archives of Bahrain.

Prince-Ramus was founding partner of OMA New York – the American affiliate of OMA – and served as its principal until he repositioned the firm as REX in 2006.

15

40.

Fig. 29. Activision|Blizzard Headquarters, 2013, REX, Nucleus, Online images.

Fig. 30. Vakko Fashion Center, 2010, REX, Showcase (programmes + circulation path), Online images.

Fig. 31. V&A at Dundee, 2010, REX, Grand Staircase, Online images.

Fig. 32. Calgary New Central Library, 2013, REX, Learning Commons (continuous path overlayed by programmes), Online images.

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Fig. 33. National Archives of Bahrain, 2009, SeARCH, Online images.

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A. ALKOOHEJI (V.O.) Architect Anne Holtrop also speaks of a cinetecture quality which can be found elements in his work and its correlation to narrative, movement and a multisensory experience. Founded in 2009, Studio Anne Holtrop is an emerging architectural practice whose projects range from models to temporary spaces and buildings. In his work, Holtrop begins with forms and gestures that come from outside the realm of architecture, and interior spaces develop following the notion of continuity: A. HOLTROP (V.O.) “I want to look freely – more or less without a plan – at material gestures and found forms and let them perform as architecture.” (Fabrizi, 2015) A. ALKOOHEJI (V.O.) Holtrop’s Trail House (2009) pavilion, part of the Unknown Territory event at the Museum De Paviljoens in Almere, Netherlands, is a model of a single-storey house. The structure is developed with plans that follows a series existing trails, which were created by the repetitive circulation of pedestrians. Here, Holtrop designs a house that merges with the walking trails to become part of the site. The interior narrows and widens at certain parts of the house as it snakes across the overgrown Almere fields, with apertures in the façade that provide framed views to the exterior landscape (Cilento, 2010).

An architectural setting (framed element) that echoes the Japanese Muromachi era style of views overlooking the garden from selected vantage points, which blurs the line between garden and home resulting in a conjoining of nature and architecture (Craig, 2011).

In the case of “Archaeologies of Green”, the Kingdom of Bahrain’s national pavilion for the Milan Expo 2015, working in collaboration with landscape architect Anouk Vogel, Studio Anne Holtrop developed an abstract drawing based on some of Bahrain's archaeological ruins, which formed the basis of the building's plan. Formed of a combination of curves and straight lines, the structure frames numerous covered exhibition spaces and ten distinctive fruit gardens, which can be experienced by visitors through their choice of several possible journeys to follow; where one roams freely from room to room, leading to openings in the façade without a clear distinction between inside and outside spaces.

CUT TO: Fig. 34. Trail House (2009).

Fig. 35. Archaeologies of Green (2015).

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Fig. 34. Trail House, 2009, Studio Anne Holtrop, Online images.

Fig. 35. Archaeologies of Green (floor plan + circuit + framed views), 2015, Studio Anne Holtrop, Online images.

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PART 6: CONCLUSION: SPECULATIONS ON FUTURE PRACTICE A. ALKOOHEJI (V.O.) Cinetecture explores the link between film and architecture, specifically theories related to film, film editing and cinema that have permeated into the architectural design process. It is an accumulation of theoretical writings and works spanning back to the early twentieth century with Soviet silent filmmakers, to Bernard Tschumi, Rem Koolhaas and contemporary architectural practices. In doing so, this proposal for a new cinematic architecture manifesto does not intend to erase what has been previously debated by students, educators and practitioners regarding the synchronicity of film and architecture à la tabula rasa. Built on the research that focuses on the development of montage theory with regards to the works of Sergei Eisenstein, and the ways in which the film editing technique is implemented in architecture within the theoretical writings and built works of Bernard Tschumi and Rem Koolhaas, Cinetecture places more emphasis on designing spaces through the eyes of people as they move through them and how they should view the spaces that surround them or within which they inhabit.

Architecture schools have traditionally used film as a design tool, in conjunction with recent advancements in digital and social media-based technologies, which “merges film attributes, such as editing, continuity and montage, with architectural representation attributes” (Haralambidou, 2015, pp. 236). The tool [film] is well-suited to presenting, representing, documenting and critiquing architecture and urban spaces.

Something that has been relied upon since the foundation of Archigram in the 1960s at the Architectural Association, to Pascal Schöning’s disbanded Cinematic Architecture diploma unit at the AA School and to the more recent Unit 24 and Unit 26 at the Bartlett School of Architecture, UCL; as well as the Cinematic Commons MArch unit at Leeds Beckett University, which I am currently enrolled at. Designs which could not be communicated through conventional drawings were illustrated though techniques and design methodologies which showed filmic influences, such as the essay film16, still photographs, collages, storyboards, archive footage, stop motion, hand drawing, voice overs, hyper lapse, set models, interactive mock-ups, graphics and text – often these elements to this approach to architectural-making are juxtaposed, superimposed or collaged together. According to Dr. Penelope Haralambidou, architect, researcher and lecturer at the Bartlett: P. Haralambidou (V.O.) “… new [digital] time-based media – combined with computergenerated imagery – might unlock the storytelling and affective, but also political and philosophical, potential of architectural thinking. By imagining and describing space in time, projects question and push the boundaries of architectural representation.” (ibid., pp. 235) A. ALKOOHEJI (V.O.) It is unquestionable that the medium of film can effectively convey and represent architecture and urban spaces (e.g., Wim Wenders’ Cathedrals of Culture (2013) and Thom Anderson’s Let Los Angeles Play Itself (2003)); however, I believe some precedents through their injection of life and interaction created by spatial conditions are more effective in portraying the architect’s narrative. The architect, like a film director, develops a sequence of scenes (spaces) where users transition from one scene to the next. Cinetecture places more emphasis on the spatial qualities that enhance user experience and sensory consumption, a system that is based on mind, body and movement (e.g., light, external views, colour, materials, sound,

In 1940 artist Hans Richter first coined the term, describing the essay-film as a way to ‘give body to the invisible world of imagination, thought and ideas… the film essay must collect its material from everywhere; its space and time must be conditioned only by the need to explain and show the idea’.

16

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kinaesthetic/movement, smell, narrative, memory, etc); igniting new ways of seeing, thinking and perceiving space within architecture and urban environments, which might not be clear in our everyday experience and passive perception of these landscapes.

We are currently living in times of accelerated technological, digital and social media innovation, where experience and immersion play vital roles in the quality of life. As a result, tools such as virtual reality, holograms, music media, Instagram, the recently discontinued Vine mobile app, Snapchat, etc have opened the sphere of film to the outside world, so as to create realms of photography and videography which are not solely the province of specialists. As the population becomes film literate, they begin to view spaces and places through a filmic and cinematic gaze. Thus, leading the architectural design process to reflect this evolution and adapt through the injection of the experiential and spatial qualities created through film.

This challenges the role of architects, to unlock the potential of experiential architecture, to harness the qualities and techniques of film and generate propositions with inclusive public spaces that breathe life into the building. In a sense, to avoid leading the experience of the built intervention to d(i)stopia – a community that is divided, disjointed and disengaged. In conclusion, there are no good or bad movies buildings, only good and bad directors. / END /

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PART 7: BIBLIOGRAPHY: TITLE: Scene 1: “Books” Allen, S. and Agrest, D. (2000) Practice: Architecture, Technique and Representation. Australia: G+B Arts International.

Artaud, A. (2013) The Theatre and Its Double. Richmond: Alma Books.

Branigan, E. (1992) Narrative Comprehension and Film. London: Routledge.

Bruno, G. (2002) Atlas of Emotions: Journeys in Art, Architecture, and Film. New York: Verso.

Cairns, G. (2013) The Architecture of the Screen: Essays in Cinematographic Space. Bristol: Intellect.

Chion, M., Gorbman, C. and Murch, W. (1994) Audio-vision: Sound on Screen. New York: Columbia University Press.

Cook, P. (1999) The Cinema Book. London: BFI Publishing.

Cullen, Gordon (2005 [1961]) The Concise Townscape. Oxford: Architectural Press.

Deleuze, G. (1997) Cinema I: The Movement-Image. Minneapolis: University of Minnesota Press.

Deleuze, G. (2013) Cinema II: The Time-Image. London: Bloomsbury Publishing.

Eisenstein, S. (1974) ‘Montage of Attractions: For “Enough Stupidity in Every Wiseman”’, The Drama Review: TDR, 18 (1) March, Popular Entertainments), pp. 77-85.

Eisenstein, S., Bois, Y. and Glenny, M. (1989) Montage and Architecture. Assemblage, 10 December, pp. 110-131.

Gaffney, C. T. (2008) Temples of the Earthbound Gods: Stadiums in the Cultural Landscapes of Rio de Janeiro and Buenos Aires. Austin: University of Texas Press.

Gillespie, D. (2000) Early Soviet Cinema: Innovation, Ideology and Propoganda. London: Wallflower Press.

Kanekar, A. (2015) Architecture’s Pretexts: Spaces of Translation. London: Routledge.

Koeck, R. (2013) Cine-scapes: Cinematic Spaces in Architecture and Cities. London: Taylor & Francis.

Koolhaas, R. and Mau, B. (1995) S,M,L,XL. New York: The Monacelli Press.

Koolhaas, R. (1997) Delirious New York. New York: The Monacelli Press.

Lamster, M. (2000) Architecture and Film. New York: Princeton Architectural Press.

Le Corbusier (1986 [1931]) Towards a New Architecture. New York: Dover Publications.

McQuaid, M. (2002) Envisioning Architecture: Drawings from The Museum of Modern Art. New York: The Museum of Modern Art. Pallasmaa, J. (2008) The Architecture of Image: Existential Space in Cinema. Helsinki: Rakennustieto Publishing.

Porter, T. (1997) The Architect’s Eye: Visualization and Depiction of Space in Architecture. London: Taylor & Francis.

Rhodes, R. F. (1995) Architecture and Meaning on the Athenian Acropolis. New York: Cambridge University Press.

Russell, B. (2004) Architecture and Social Questions. In: Russell, B. In Praise of Idleness and Other Essays.

Psychology Press, pp. 28-38.

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Schöning, P. (2006) Manifesto for a Cinematic Architecture.

London: Architectural Association Publications.

Schöning, P., Löffler, J. and Azevedo, R. (2009) Cinematic Architecture 1993-2008. London: Architectural Association Publications.

Simmel, G. (2010 [1903]) The Metropolis and Mental Life.

Oxford: Wiley-Blackwell.

Tawa, M. (2010) Agencies of the Frame: Tectonic Strategies in Cinema and Architecture. Newcastle: Cambridge Scholars Publishing.

Toy, M. (1994) Architecture and Film. London: Academy Editions.

Tschumi, B., Derrida, J. and Vidler, A. (2014) Tschumi Parc De La Villette. London: Artifice Books on Architecture.

Tschumi, B. (1989) Cinegramme Folie: Le Parc De La Villette.

New York: Princeton Architectural Press.

Tschumi, B. (1995) Questions of Space. London: Architectural Association Publications.

Tschumi, B. (1995) The Manhattan Transcripts. London: John Wiley and Sons.

Tschumi, B. (2014) Notations: Diagrams & Sequences. London: Artifice Books on Architecture.

Uluoglu, B., Ensici, A. and Vatansever, A. (2006) Design and Cinema: Form Follows Film. Newcastle: Cambridge Scholars Publishing.

TITLE: Scene 2: “Articles, Journals & Dissertations” Basulto, D. (2012) OMA’s Taipei Performing Arts Center breaks ground [Online]. Available from: http://www.archdaily.com/209174/omas-taipei-performing-artscenter-breaks-ground [Accessed 19 April 2016].

Boake, T. M. (2006) Architecture and Film: Experiential Realities and Dystopic Futures. University of Waterloo.

Fabrizi, M (2015) Architecture Without a Plan: Projects by Anne Holtrop [Online]. Available from: http://socksstudio.com/2015/10/11/architecture-without-a-plan-projectsby-anne-holtrop/ [Accessed 27 November 2016].

Guest, J. (2012) Architecture and the Moving Image: Cinematic Strategies in Design and Representation [Master thesis].

University of Auckland.

Haralambidou, P. (2015) The Architectural Essay Film.

Architectural Research Quarterly, 19 (3) September, pp. 234248.

Hartwell, M. (2013) Architecture – Montage: Incorporating the Tools of the Filmmaker in the Design Process of the Architect [Master thesis]. École Polytechnique Fédérale de Lausanne: School of Architecture, Civil and Environmental Engineering.

Koolhaas, R. (2004) Beijing Manifesto. Wired [Online], August, pp. 120-129. Available from: www.wired.com/wired/archive/12.08/beijing.html [Accessed 5 March 2016].

Kunkel, P. (2015) Ingrid Böck's "Six Canonical Projects by Rem Koolhaas" Dissects the Ideas that have Made Koolhaas' Career [Online]. Available from: http://www.archdaily.com/770858/review-six-canonicalprojects-by-rem-koolhaas-ingrid-bock [Accessed 5 November 2016].

Marshall, C. (2014) Quentin Tarantino Explains the Art of the Music in His Films [Online]. Available from:

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http://www.openculture.com/2014/09/quentin-tarantino-theart-of-the-music-in-his-films.html [Accessed 4 December 2016].

Ouroussoff, N. (2011) Koolhaas, Delirious in Beijing. The New York Times [Online], July. Available from: http://www.nytimes.com/2011/07/13/arts/design/koolhaasscctv-building-fits-beijing-as-city-of-thefuture.html?ref=topics [Accessed 29 February 2016].

Pallasmaa, J. (2006) Hapticity Vision. Architectural Design, 75 (4), pp. 137-138.

Pogrebin, R. (2006) Embracing Koolhaas’s Friendly Skyscraper [Online], November. Available from: http://www.nytimes.com/2006/11/16/arts/design/16rem.html [Accessed 29 February 2016].

Rattenbury, K. (1994) Echo and Narcissus. Architectural Design, Architecture and Film, 112, pp. 35.

Rose, S. (2014) Wes Anderson: the architectural filmmaker. The Architects’ Journal [Online], March. Available from: http://www.architectsjournal.co.uk/culture/wes-anderson-thearchitectural-film-maker/8660096.fullarticle [Accessed 13 February 2016].

Scheeren, O. (2005) Introduction: Made in China. Architecture and Urbanism [Online], July. Available from: http://buroos.com/made-in-china/ [Accessed 5 March 2016].

Tweedie, J. (2010) Delirious Cities and Their Cinema: On Koolhaas and Film Studies. Public Culture [Online], 22 (2), pp. 369-397. Available from: http://publicculture.org/articles/view/22/2/deliriouscities-and-their-cinema-on-koolhaas-and-film-studies [Accessed 29 February 2016].

Vidler, A. (2014) After the Event: Bernard Tschumi Retrospective at the Pompidou Centre. The Architectural Review [Online], September. Available From: https://www.architecturalreview.com/archive/viewpoints/after-the-event-bernardtschumi-retrospective-at-the-pompidou-centre/8668977.article [Accessed 18 October 2016].

TITLE: Scene 3: “Web Pages & Online Videos” AA School of Architecture (2015) What is Cinematic Architecture? – Part 1 [Online video], 21 August. Available from: https://www.youtube.com/watch?list=PLI1nDzeohfnnbDyOqLCQJAB5Z9ldLExO&v=30_tt7rZbFY [Accessed 1 January 2016].

AA School of Architecture (2015) What is Cinematic Architecture? – Part 2 [Online video], 21 August. Available from: https://www.youtube.com/watch?v=0ufsfSGCB3A [Accessed 1 January 2016].

AA School of Architecture (2015) What is Cinematic Architecture? – Part 3 [Online video], 21 August. Available from: https://www.youtube.com/watch?v=qoH08bJQbDA [Accessed 1 January 2016].

Archdaily (2009) Seattle Central Library [Online]. Available from: http://www.archdaily.com/11651/seattle-centrallibrary-oma-lmn [Accessed 19 April 2016].

Archdaily (2010) New Acropolis Museum [Online]. Available from: http://www.archdaily.com/61898/new-acropolis-museum-bernardtschumi-architects [Accessed 21 April 2016].

49.

Archdaily (2011) Kunsthal [Online]. Available from: http://www.archdaily.com/102825/ad-classics-kunsthal-oma [Accessed 19 April 2016].

Archdaily (2012) CCTV Headquarters [Online]. Available from: http://www.archdaily.com/236175/cctv-headquarters-oma [Accessed 19 April 2016].

Archdaily (2014) Casa da Musica [Online]. Available from: http://www.archdaily.com/619294/casa-da-musica-oma [Accessed 19 April 2016].

Archdaily (2014) Koolhaas’ Career in Film: 1,2,3 Group [Online]. Available from: http://www.archdaily.com/568281/koolhaas-career-in-film-1-23-group [Accessed 28 February 2016].

Archdaily (2015) Bahrain Pavilion – Milan Expo 2015 [Online].

Available from: http://www.archdaily.com/631908/bahrainpavilion-expo-milano-2015-studio-anne-holtrop [Accessed 27 November 2016].

Bernard Tschumi Architects (n.d.) Acropolis Museum [Online].

Available from: http://www.tschumi.com/projects/2/# [Accessed 21 April 2016].

Bernard Tschumi Architects (n.d.) Parc de la Villette [Online].

Available from: http://www.tschumi.com/projects/3/ [Accessed 21 April 2016].

BIG (n.d.) 8 House [Online]. Available from: http://www.big.dk/projects#projects-8 [Accessed 27 November 2016].

BIG (n.d.) Expo 2010 Danish Pavilion [Online]. Available from: http://www.big.dk/#projects-xpo [Accessed 27 November 2016].

Cilento, K. (2010) Trail House [Online]. Available from: http://www.archdaily.com/57846/trail-house-anne-holtrop [Accessed 27 November 2016].

Craig, M. (2011) Japan-Philosophical Landscapes “Framed Landscapes” [Online video], 27 October. Available from: https://www.youtube.com/watch?v=6gzVyzsMrUE [Accessed 4 December 2016].

Filmmaker IQ (2014) The History of Cutting – The Birth of Cinema and Continuity Editing [Online video], 20 January.

Available from: https://www.youtube.com/watch?v=6uahjH2cspk [Accessed 15 October 2016].

Filmmaker IQ (2014) The History of Cutting – The Soviet Theory of Montage [Online video], 12 February. Available from: https://www.youtube.com/watch?v=JYedfenQ_Mw [Accessed 15 October 2016].

Kunsthal (n.d.) History of the Kunsthal [Online]. Available from: http://www.kunsthal.nl/en/aboutkunsthal/building/history-kunsthal/ [Accessed 12 November 2016].

Kunsthal (n.d.) The Building [Online]. Available from: http://www.kunsthal.nl/en/about-kunsthal/building/ [Accessed 12 November 2016].

Makovsky, P. (2011) Baby Rems [Online]. Available from: http://www.metropolismag.com/January-2011/Baby-Rems/ [Accessed 27 November 2016].

Maneira (n.d.) Studio Anne Holtrop [Online]. Available from: http://maniera.be/creators/2/studio-anne-holtrop [Accessed 27 November 2016].

OMA (n.d.) Casa da Musica [Online]. Available from: http://oma.eu/projects/casa-da-musica [Accessed 14 April 2016].

OMA (n.d.) CCTV – Headquarters [Online]. Available from: http://oma.eu/projects/cctv-headquarters [Accessed 14 April 2016].

50.

OMA (n.d.) Jussieu – Two Libraries [Online]. Available from: http://oma.eu/projects/jussieu-two-libraries [Accessed 14 April 2016].

OMA (n.d.) Kunsthal [Online]. Available from: http://oma.eu/projects/kunsthal [Accessed 14 April 2016].

OMA (n.d.) Netherlands Embassy [Online]. Available from: http://oma.eu/projects/netherlands-embassy [Accessed 14 April 2016].

OMA (n.d.) Seattle Central Library [Online]. Available from: http://oma.eu/projects/seattle-central-library [Accessed 14 April 2016].

OMA (n.d.) Taipei Performing Arts Center [Online]. Available from: http://oma.eu/projects/taipei-performing-arts-center [Accessed 14 April 2016].

OMA (n.d.) Très Grande Bibliothèque [Online]. Available from: http://oma.eu/projects/tres-grande-bibliotheque [Accessed 14 April 2016].

REX (n.d.) Activision|Blizzard Headquarters [Online]. Available from: http://www.rex-ny.com/activision-blizzard/ [Accessed 27 November 2016].

REX (n.d.) Annenberg Center for Information Science and Technology II [Online]. Available from: http://www.rexny.com/annenberg-center-ii/ [Accessed 27 November 2016].

REX (n.d.) Calgary Central Library [Online]. Available from: http://www.rex-ny.com/calgary-central-library/ [Accessed 27 November 2016].

REX (n.d.) Oslo Vestbane [Online]. Available from: http://www.rex-ny.com/oslo-vestbane/ [Accessed 27 November 2016].

REX (n.d.) Vakko Fashion Center [Online]. Available from: http://www.rex-ny.com/vakko-fashion-center/ [Accessed 27 November 2016].

REX (n.d.) Victoria & Albert Museum at Dundee [Online].

Available from: http://www.rex-ny.com/va-at-dundee/ [Accessed 27 November 2016].

SeARCH (n.d.) National Archives of Bahrain [Online]. Available from: http://www.search.nl/#!content/national-archivesbahrain-0 [Accessed 27 November 2016].

The Seattle Public Library (1999) Concept Book for the New Central Library [Online]. Available from: http://www.spl.org/locations/central-library/cen-buildingfacts/cen-omalmn-concept-book [Accessed 15 October 2016].

TITLE: Scene 4: “Filmography” 2001: A Space Odyssey (1968, Kubrick, S.) A Clockwork Orange (1971, Kubrick, S.) Battleship Potemkin (1925, Eisenstein, S.) Blade Runner (1982, Scott, R.) Bottle Rocket (1996, Anderson, W.) Casino (1995, Scorsese, M.) Cathedrals of Culture (2013, Wenders et al.)

Citizen Kane (Welles, O.) Django Unchained (2012, Tarantino, Q.) Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964, Kubrick, S.) Fantastic Mr. Fox (2009, Anderson, W.) Goodfellas (1990, Scorsese, M.) Hiroshima Mon Amour (1959, Resnais, A.) Inglourious Basterds (2009, Tarantino, Q.)

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Jackie Brown (1997, Tarantino, Q.) Kill Bill: Vol. 1 (2003, Tarantino, Q.) Kill Bill: Vol. 2 (2004, Tarantino, Q.) Kino Eye (1924, Vertov, D.) Koolhaas Houselife (2013, Bêka, I. and Lemoine, L.) L’Architecture d’Aujourd’hui (1931, Le Corbusier and Chenal, P.) La Dolce Vita (1960, Fellini, F.) Let Los Angeles Play Itself (2003, Anderson, T) Lolita (1962, Kubrick, S.) Lost in Translation (2003, Coppola, S.) Man with a Movie Camera (1929, Vertov, D.) Manhattan (1979, Allen, W.) Midnight in Paris (2011, Woody, W.) Moonrise Kingdom (2012, Anderson, W.) Nostalghia (1983, Tarkovsky, A.) October (Ten Days that Shook the World) (1928, Aleksandrov, G. and Eisenstein, S.) Psycho (1960, Hitchcock, A.) Pulp Fiction (1994, Tarantino, Q.) The Darjeeling Limited (2007, Anderson, W.) The Grand Budapest Hotel (2014, Anderson, W.) The Hateful Eight (2015, Tarantino, Q.) The Infinite Happiness (2015, Bêka, I. and Lemoine, L.) The Killing (1956, Kubrick, S.) The Life Aquatic with Steve Zissou (2004, Anderson, W.) The Royal Tenenbaums (2001, Anderson, W.) Raging Bull (1980, Scorsese, M.) Rear Window (1954, Hitchcock, A.) Rem Koolhaas: A Kind of Architect (2008, Heidingsfelder, M. and Tesch, M.) Reservoir Dogs (1992, Tarantino, Q.) Rushmore (1998, Anderson, W.) Taxi Driver (1976, Scorsese, M.) Vertigo (1985, Hitchcock, A.)

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PART 8: IMAGE CREDITS: Fig. 01. Louis Le Prince (2015) [Online]. Available from: http://www.bbc.co.uk/news/entertainment-arts-33198686 [Accessed 10 December 2016].

Fig. 02. Traffic Crossing Leeds Bridge, 1888 (n.d.) [Online image]. Available from: http://www.wikiwand.com/en/Louis_Le_Prince [Accessed 10 December 2016].

Fig. 03. Psycho Shower Scene (2015) [Online]. Available from: https://www.reddit.com/r/Rabbits/comments/3g4q63/alfred_hitc hcocks_psycho_starring_ufoinzs_schoki/ [Accessed 10 December 2016].

Fig. 04. Living City (n.d.) [Online image]. Available from: https://www.studyblue.com/notes/note/n/lecture-15-swinging60-s/deck/14836653 [Accessed 10 December 2016].

Fig. 05. Walking City (n.d.) [Online image]. Available from: http://openbuildings.com/buildings/walking-city-profile39003 [Accessed 10 December 2016].

Fig. 06. Continuous Monument (n.d.) [Online image]. Available from: http://openbuildings.com/buildings/continuousmonument-profile-39249 [Accessed 10 December 2016].

Fig. 07. Archizoom and No-Stop City (2013) [Online image].

Available from: http://architizer.com/blog/archizoomretrospective/ [Accessed 10 December 2016].

Fig. 08. The Kuleshov Effect (n.d.) [Online image]. Available from: http://visuality.org/genderandtechnoculture/kuleshove_assign ment.html [Accessed 10 December 2016].

Fig. 09. Battleship Potemkin Odessa Steps Scene (2010) [Online image]. Available from: http://yasminevesalpour.blogspot.co.uk/2010/05/tertiumquid.html [Accessed 10 December 2016].

Fig. 10. The Manhattan Transcripts (n.d.) [Online image].

Available from: http://www.tschumi.com/projects/18/ [Accessed 10 December 2016].

Fig. 11. Battleship Potemkin Sequences Diagram (n.d.) [Online image]. Available from: https://lauraminca.wordpress.com/category/narrative/ [Accessed 10 December 2016].

Fig. 12. Joyce’s Garden (n.d.) [Online image]. Available from: http://www.tschumi.com/projects/49/ [Accessed 10 December 2016].

Fig. 13. Parc de la Villette (n.d.) [Online image]. Available from: http://www.tschumi.com/projects/3/ [Accessed 10 December 2016].

Fig. 14. New Acropolis Museum (2010) [Online image]. Available from: http://www.archdaily.com/61898/new-acropolis-museumbernard-tschumi-architects [Accessed 10 December 2016].

Fig. 14. Site Plan (2010) [Online image]. Available from: http://www.archdaily.com/61898/new-acropolis-museum-bernardtschumi-architects [Accessed 10 December 2016].

Fig. 15. Sketch 01 (2010) [Online image]. Available from: http://www.archdaily.com/61898/new-acropolis-museum-bernardtschumi-architects [Accessed 10 December 2016].

Fig. 16. Exploded Axo (2010) [Online image]. Available from: http://www.archdaily.com/61898/new-acropolis-museum-bernardtschumi-architects [Accessed 10 December 2016].

Fig. 17. Alkooheji, A. (2016) Acropolis Museum Superimposition Diagram [collage drawing].

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Fig. 18. Alkooheji, A. (2016) Framed Views of the Parthenon and Archaeological Remains [collage drawing].

Fig. 19. 1,2,3 Group (2014) [Online image]. Available from: http://www.archdaily.com/568281/koolhaas-career-in-film-1-23-group [Accessed 10 December 2016].

Fig. 20. 1,2,3 Rhapsody (2014) [Online image]. Available from: http://www.archdaily.com/568281/koolhaas-career-in-film-1-23-group [Accessed 10 December 2016].

Fig. 21. Exodus, or the Voluntary Prisoners of Architecture: The Strip, 1972 (2007) [Online image]. Available from: https://www.moma.org/collection/works/104693?locale=en [Accessed 10 December 2016].

Fig. 22. Exodus, or the Voluntary Prisoners of Architecture, 1972 (n.d.) [Online image]. Available from: https://www.moma.org/artists/6956 [Accessed 10 December 2016].

Fig. 23. Alkooheji, A. (2016) Kunsthal II Spiraling Circuit [collage drawing].

Fig. 24. Gordon Cullen: Serial Vision (n.d.) [Online image].

Available from: http://aainter6camouflage.blogspot.co.uk/2009/11/seminar-onperspective-and-manipulated.html [Accessed 10 December 2016].

Fig. 25. Jussieu – Two Libraries (n.d.) [Online image].

Available from: http://oma.eu/projects/jussieu-two-libraries [Accessed 10 December 2016].

Fig. 26. Jussieu Libraries (n.d.) [Online image]. Available from: http://arch-vydav.blogspot.co.uk/2011/05/jussieulibraries-1992-93-8-1950-2000.html [Accessed 10 December 2016].

Fig. 27. OMA’s Très Grande Bibliothèque (n.d.) [Online image].

Available from: http://socks-studio.com/2012/05/20/omastres-grande-bibliotheque-more/ [Accessed 10 December 2016].

Fig. 28. Très Grande Bibliothèque (n.d.) [Online image].

Available from: http://oma.eu/projects/tres-grandebibliotheque [Accessed 10 December 2016].

Fig. 29. Activision|Blizzard Headquarters (n.d.) [Online image]. Available from: http://www.rex-ny.com/activisionblizzard/ [Accessed 10 December 2016].

Fig. 30. Vakko Fashion Center (n.d.) [Online image]. Available from: http://www.rex-ny.com/vakko-fashion-center/ [Accessed 10 December 2016].

Fig. 31. Victoria and Albert Museum at Dundee (n.d.) [Online image]. Available from: http://www.rex-ny.com/va-at-dundee/ [Accessed 10 December 2016].

Fig. 32. Calgary New Central Library (n.d.) [Online image].

Available from: http://www.rex-ny.com/calgary-centrallibrary/ [Accessed 10 December 2016].

Fig. 33. National Archives of Bahrain (n.d.) [Online image].

Available from: https://search.nl/#!content/nationalarchives-bahrain-0 [Accessed 10 December 2016].

Fig. 34. Trail House (2015) [Online image]. Available from: http://socks-studio.com/2015/10/11/architecture-without-aplan-projects-by-anne-holtrop/ [Accessed 10 December 2016].

Fig. 35. Bahrain Pavilion – Milan Expo 2015 (n.d.) [Online image]. Available from: http://www.archdaily.com/631908/bahrain-pavilion-expomilano-2015-studio-anne-holtrop [Accessed 10 December 2016].