Archive for Filmic Folds by Felix Zhan

Filmic Folds Reference Project:

Parc de la Villette // Bernard Tshumi Yanjie Zhan

One and Three Architectures

Archives For Critical Ideas

Archive For:

One and Three Architectures Archives For Critical Idea

Introduction:

P 2-3

Reference Analysis:

P 4-7

Reference Replica:

P 8-13

Reference Abstraction:

P 14-23

Reference Room:

P 24-31

Reference Archive:

P 32-69

Spatial

Text

Joseph Kosuth - One and Three Chairs 1965

Visual

Outcome

tautology noun the saying of the same thing in multiples in different words, generally considered to be a fault of style.

Introduction

Arguably, critical and conceptual ideas are dying in the contemporary context. In a world over-saturated with material and images, complex ideas are overlooked, or worse, reduced to stylised appropriation. This studio sought to develop a methodology to generate process based outcomes which expose, project and display critical ideas. Using the programmatic context of an archive, we encapsulated Bernard Tscumi (our selected precedent) through a process of exploration, researching other Architects, Artists and Writers along the way. A new working methodology, the 'One and Three' relational methodwill was deployed. This method sought to explore and synthesise three fundamental forms of articulation; language, visual and spatial.

The studio was broken into two parts. We first individually examined a selected work, extracting and distilling the precedent's concept. Looking at the works of Diller and Scofidio, Kazuyo Sejima and Le Corbusier, and many more. We then used our individual knowlege of the precedent as frameworks to develop a working concept within our group project on our 'Archive Island.' This was ultimately transformed into a contemporary reformation of the precedent concept, through the programmatic outcome of an archive. Our Archive for Filmic Folds, highlights and re-establishs the relevance of cross disciplinary exploration in contemporary design process and practice.

Parc de la Villette - Bernard Tshumi

Reference Analysis "La Villette is a term in constant production, in continuous change; its meaning is never fixed but is always deferred, differed, rendered irresolute by the multiplicity of meaning it inscribes" - Bernard Tshumi

Confront the binary opposition of traditional architecture: form vs function, abstraction vs figuration. In the manhattan transcript explicit purpose was to transcribe things normally removed from conventional architectural representation, namly the complex relation between space and use, the set and the script, the architecture and programe, object and event. The distinction between form, structure, event ,body, fiction was systematically blurred through superimposition, distortion, fragmentation and so forth.

1. Point: <focus of dissociated space; a denominator; film frames.> The points are a grid system of 10-meter cube folies placed at 120 meter intervals. The folies are designed by reconstructing a series of discrete fragments, that is, structure grids, square rooms, ramps, staircases and so forth within the cubic envelop. Each folie has its own configuration. The possibility is endless. The repetition of the folies grid results in non-hierarchy organization, challenging the universal meaning, memory and context of the park.

Surface: <field; event; film frames.> The surfaces of the park host events like game playing, entertainment, markets and so forth. The specific surface is used for specific function. The experimental garden spaces were designed by different designers. 5

Red Folis - Bernard Tshumi

Superimposition - Bernard Tshumi 6

Line: <movement; cinematic promenade; narrative path.> The line is the system that guides pedestrian movement. The independency of the folies and fields permits the multiplicity of combination through the narrative path. The frame is placed in this continuous movement. With the line system, the park is 'eventualized'. This cinematic promenade ties the frames together like making the film.

Superimpose v. [place or lay (one thing) over another, typically so that both are still evident.] Parc de la Villette was to displace the traditional binary opposition between abstraction and figuration, architecture and program, rejecting repertory of architecture. By superimposing three autonomous systems, this heterogeneity of architecture -- frame, space, event, movement and narrative -- makes into that even, that place of shock, or that place of invention of ourselves, and encourages superimposition of meanings, constant production, plural coding, and allied vision of postmodernity.

Text

Spatial

Visual

Outcome

Reference Replica "This is what our cities must strive towards and what we architects must help them to archieve by intensifying the rich collision of events and spaces." - Bernard Tshumi

Text Representation

Heterogeneity of architecture - superimposition of space, action and movement 1. Point: <focus of dissociated space; a denominator; film frames.> The points are a grid system of 10-meter cube folies placed at 120 meter intervals. The folies are designed by reconstructing a series of discrete fragments, that is, structure grids, square rooms, ramps, staircases and so forth within the cubic envelop. Each folie has its own configuration. The possibility is endless. The repetition of the folies grid results in nonhierarchy organization, challenging the universal meaning, memory and context of the park.

4. Superimpose v. [place or lay (one thing) over another, typically so that both are still evident.] Parc de la Villette was to displace the traditional binary opposition between abstraction and figuration, architecture and program, rejecting repertory of architecture. By superimposing three autonomous systems, this heterogeneity of architecture -- frame, space, event, movement and narrative -- makes into that even, that place of shock, or that place of invention of ourselves, and encourages superimposition of meanings, constant production, plural coding, and allied vision of postmodernity.

2. Surface: <field; event; film frames.> 3. Line: <movement; cinematic promenade; narrative path.> The line is the system that guides pedestrian movement. The independency of the folies and fields permits the multiplicity of combination through the narrative path. The frame is placed in this continuous movement. With the line system, the park is ‘eventualized’, subsequently encountering the moment of ‘shock’.

The surfaces of the park host events like game playing, entertainment, markets and so forth. The specific surface is used for specific function. The experimental garden spaces were designed by different designers.

Visual Representation

Points

Lines

Surfaces

Notation 11

Spatial Representation

Reference Abstraction "But how could an architect be interested in deconstruction? After all, deconstruction is anti-form, anti-hierarchy, anti-structure, the opposite of all that architecture stands for." - Jacques Derrida

The origin of a sequence.

Narratives. 15

Dystaxie [dystaxy] occurs as soon as the signs are no longer juxtaposed, as soon as the linear order is disturbed. The sign being fractured, its signified is distributed among several signifiers, separated from each other, none of which can be understood by itself. The meaning is being fragmented, distorted into separated unit. In the structure of narrative, dystaxy initiates a 'horizontal' meaning.

Visual Representation

Text Representation

Superimposition: what has been disjoined at a certain level is joined together again at a higher level. Integration makes it possible to compensate for the seemingly uncontrollable complexity of units situated on one level. Superimposition directs the comprehension of fragmented elements, at once contiguous and heterogeneous. Superimposition integrates on it a 'vertical' reading. The juxtaposition of line and surface rejoins the events, creating the moment of 'shock'. The superimposition of the fragments delivers the new meaning of the space. The fragments of the superimposed space regenerate into the sequential events, which gives space the higher meaning

Spatial Representation

Run Lola Run, 1998

Reference Room "Language proper can be defined by the concurrence of two fundamental process: the process of articulation, or segmentation ... and the process of integration, which collects these units into units of a higher rank." - Roland Barthes

Run Lola Run Run Lola Run is a film about love and power of will. It is a film about coincidence and about chance, but most of all it is a film about how spaces and events exist and occur in time. Lola needs to find 100,000 marks and get it to Manni on the other side of city in twenty minutes. Narratively, it could not be simpler or more conventional. It has conflict that has to be resolved and everything that follows on screen is directly related to the resolution of that conflict. The extreme narrative focus is made even sharper than normal by a filmic structure that breaks down the story into three twenty-minute variation of the same events. As a result, it offers three short films, each of which is resolved in a different way.

Film Techniques Despite the temporal limitations imposed by the film's structure, Run Lola Run is read narratively in very conventional ways. The result of dislocations of time, spaces and events is a series of slightly different encounters between the film's protagonists and the spaces they inhabit. The fragmentary nature of the narratives and plot game created by all of this is emphasized by filming the same places in each three segments from very different angles and by using various filming techniques. The cinematic combination of techniques multiplies perspectives by changing view points within the context of a single journey and simultaneously varies the aesthetic feel of each sequence. The disjunction that 25

Segment path

occurs through this sub-fragmentation is further emphasized by speed and quantity of the editing. All of these spatio-temporal and cinematic experimentations are of course physically located in a very definite site. However, the city is also caught up in the narrative and filmic disjunctions that operate throughout Run Lola Run. The physical places across which we see the protagonist literally run are, in reality, impossible to link in a continuous twenty-minute route.

Architecture Rem Koolhaas project find resonances in Run Lola Run. Conflation of events and spaces is the question of scale, a theme he dealt with in Delirious New York and would return to some twenty years later in S,M,X, XL, co-authored with Bruce Mau. In Delirious New York, he suggested that as buildings become ever larger any sense of disparate space for distinct events become irrelevant; multiple locations and activities coalesce in a unifies entity, the mega structure. Among some of his projects that display his parlance fragmentary

architectural form, material juxtaposition and spatial fragmentation are CCTV building; Casa da Musica; Seattle library.

Koolhaas's project then, can, be complex visual and disjunctive forms, site of multiple conflicting activities and aesthetically rich collages of colours, textures and materials. Metaphorically, Twyker presents Berlin as a city in which events, actions and spaces are continually malleable and open to the layering of multiple different, repeated and altered scenarios. He also presents events, spaces, and times that are fragmented and disjointed.

Seattle Library Program

CCTV Headquarters Program

RUN LOLA RUN Visual Exhibition

Superimposition: what has been disjoined at a certain level is joined together again at a higher level. Integration makes it possible to compensate for the seemingly uncontrollable complexity of units situated on one level. Superimposition directs the comprehension of fragmented elements, at once contiguous and heterogeneous. Superimposition integrates on it a “vertical” reading. The juxtaposition of line and surface rejoins the events, creating the moment of ‘shock’. The superimposition of the fragments delivers the new meaning of the space. The fragments of the superimposed space regenerate into the sequential events, which gives space the higher meaning.

Lola:

Listen. Wait for me. I’ll help you. Stay Put. I’ll be there in 20 minutes. Okay?

Manni: Gonna pawn all your jewelry? Lola:

Where are you?

Father: What do you want?!

Manni: In a phone booth, in front of the spirale Bar.

Lola:

Father: You see that I’m busy!

Okay, stay where you are. I promise I’ll come up with something in 20 minutes, okay? ... Manni: I’m going in there at 12:00 if you aren’t here.

Lola:

I need your help.

There is no other way.

Father: Damn it!

Cyclist: Hey! You need a bike? Fifty marks, as good as new. Lola:

No!

Cyclist: Hey! You need a bike? Lola:

No!

Cyclist: Fifty marks, as good as new. Lola:

But it is stolen!

Woman: Hey! Get your eye open! You Bitch!

meaning of the space. The fragments of the superimposed space regenerate into the sequent

Text Representation

Superimposition: what has been disjoined at a cer for the seemingly uncontrollable complexity of units once contiguous and heterogeneous. Superimpositio

The juxtaposition of line and surface rejoins the ev Superimposition: what has been disjoined at a certain level is joined together again at a higher level.space. Integration it meaning of the The makes fragments of the superim possible to compensate for the seemingly uncontrollable complexity of units situated on one level. Superimposition directs the comprehension of fragmented elements, at once contiguous and heterogeneous. Superimposition integrates on it a 'vertical' reading. The juxtaposition of line and surface rejoins the events, creating the moment of 'shock'. The superimposition of the fragments delivers the new meaning of the space. The fragments of the superimposed space regenerate into the sequential events, which gives space the higher meaning

RUN LOLA RUN Visual Exhibition

Lola:

Listen. Wait for me. I’ll help you. Stay Put. I’ll be there in 20 minutes. Okay?

Manni: Gonna pawn all your jewelry?

The juxtaposition of line and surface rejoins the events, creating the moment of ‘shock’. The superimposition of the fragments delivers the new meaning of the space. The fragments of the superimposed space regenerate into the sequential events, which gives space the higher meaning.

Lola:

Visual Representation

Father: What do you wan

Where are you?

Manni: In a phone booth, in front of the spirale Bar.

Lola:

Father: You see that I’m

Okay, stay where you are. I promise I’ll come up with something in 20 minutes, okay? ... Manni: I’m going in there at 12:00 if you aren’t here. Lola:

Lola:

Listen. Wait for me. I’ll help you. Stay Put. I’ll be there in 20 minutes. Okay?

Manni: Gonna pawn all your jewelry? Lola:

Where are you?

Manni: In a phone booth, in front of the spirale Bar. Lola:

Okay, stay where you are. I promise I’ll come up with something in 20 minutes, okay? ... Manni: I’m going in there at 12:00 if you aren’t here.

Father: What do you want?! Lola:

There is no othe

Father: Damn it!

Listen. Wait for me. I’ll help you. Stay Put. I’ll be there in 20 minutes. Okay?

I need your help.

Father: You see that I’m busy! Lola:

Lola:

I need your help

There is no other way.

Manni: Gonna pawn all your jewelry?

Father: Damn it!

Lola:

Where are you?

Manni: In a phone booth, in front of the spirale Bar. Lola:

Okay, stay where you are. I promise I’ll come up with something in 20 minutes, okay? ... Manni: I’m going in there at 12:00 if you aren’t here. Cyclist: Hey! You need a bike? Fifty marks, as good as new. Lola:

No!

Cyclist: Hey! You need a bike? Lola:

No!

Cyclist: Fifty marks, as good as new. Lola:

But it is stolen!

Woman: Hey! Get your eye open! You Bitch!

The space was created based on the plot of Run Lola Run where three different pathes indicates three different fragments. The circulation juxtaposed with each other to form the infinite possibilities.

Cyclist: Hey! You ne good as ne Lola:

No!

Cyclist: Hey Lola:

No!

Cyclist: Fift Lola:

But

Woman: Hey! Get your eye open! You Bit

Superimposition: what has been disjoined at a certain level is joined together again at a higher level. Integration makes it possible to compensate for the seemingly uncontrollable complexity of units situated on one level. Superimposition directs the comprehension of fragmented elements, at once contiguous and heterogeneous. Superimposition integrates on it a “vertical” reading. The juxtaposition of line and surface rejoins the events, creating the moment of ‘shock’. The superimposition of the fragments delivers the new meaning of the space. The fragments of the superimposed space regenerate into the sequential events, which gives space the higher meaning.

RUN LOLA RUN Visual Exhibition

Lola:

Listen. Wait for me. I’ll help you. Stay Put. I’ll be there in 20 minutes. Okay?

Manni: Gonna pawn all your jewelry? Lola:

Father: What do you want?!

Where are you?

Manni: In a phone booth, in front of the spirale Bar. Lola:

Lola:

I need your help.

Spatial Representation

Okay, stay where you are. I promise I’ll come up with something in 20 minutes, okay? ... Manni: I’m going in there at 12:00 you aren’t here. Superimposition: what hasif been disjoined

Father: You see that I’m busy! Lola:

There is no other way.

at a certain level is joined together again at a higher level. Integration makes it possible to compensate Father: Damn it! for the seemingly uncontrollable complexity of units situated on one level. Superimposition directs the comprehension of fragmented elements, at once contiguous and heterogeneous. Superimposition integrates on it a “vertical” reading. The juxtaposition of line and surface rejoins the events, creating the moment of ‘shock’. The superimposition of the fragments delivers the new meaning of the space. The fragments of the superimposed space regenerate into the sequential events, which gives space the higher meaning.

Cyclist: Hey! You need a bike? Fifty marks, as good as new. Lola:

No!

Cyclist: Hey! You need a bike? Lola:

Lola:

Listen. Wait for me. I’ll help you. Stay Put. I’ll be there in 20 minutes. Okay?

No!

Cyclist: Fifty marks, as good as new. Lola:

But it is stolen!

Manni: Gonna pawn all your jewelry? Lola:

Where are you?

Manni: In a phone booth, in front of the spirale Bar. Lola:

Okay, stay where you are. I promise I’ll come up with something in 20 minutes, okay? ... Manni: I’m going in there at 12:00 if you aren’t here.

Father: What do you want?! Lola:

I need your help.

Father: You see that I’m busy!

Woman: Hey! Get your eye open! You Bitch!

Lola:

There is no other way.

System Representation Father: Damn it!

Cyclist: Hey! You need a bike? Fifty marks, as good as new. Lola:

No!

Cyclist: Hey! You need a bike? Lola:

No!

Cyclist: Fifty marks, as good as new. Lola:

But it is stolen!

Woman: Hey! Get your eye open! You Bitch!

Reference Archive "The concepts of film are not given in film." - Gilles Deleuze

How can architecture and film work together to propel us into a new understanding of how film can operate in the future? In 1980s, the concept of Deconstruction revisited the relationship between film and architecture, predominantly with the avant-garde of the early twentieth century. In particular, our reference Bernard Tschumi suggested that the fragmentary aesthetic of discontinuity in film, could function as a perfect precedent for a new type of architecture. This merged through the works of a series of architects that associating themselves with the theories of Derrida at the end of the 20th century. 0ur content taxonomy examines the influence that both literature politics and film have had historically on our concept, propelling us into a new realm of exploration. The fiftys saw the development of Architecture and montage from Eisestein, with Derrida playing a part in this time and the launch of the first recording tape. More significantly however was the development of 'French New Wavause' with Jean-Luc Godard's, Breathless being examined in our project. They used Jump cut, hand-held camera, loose improvised direction, assault on seamless editing and presumption of time continuity. 33

C ON T E XT UA L DIAG R A M

ARCHITECTURE

LITERATURE

SOCIAL

POLITICAL

FILM 1889 First motion picture

TECHNOLOGY

1920

1908 First animated cartoon French caricature artist Émile Cohl

Sergei Eisenstein Montage

CIAM founded

1930

1946 Transistor radio

1940

Great Depression

Architecture and montage. (Eisenstein)

TV sale halt

Architecture and montage. 1935 First (Eisenstein) full film

Film back to Black and White (due to second world war)

1950

"Structuralism: Deep structure of the sign. Binary opposition"

Roland Barthes

Michel Foucault

Jacques Derrida

"Spirit of the youth" Shift to the "Left"

The Nouvelle Vague Politics "left wing" vs " right wing"

Jean-Luc Godard's Breathless

‘French New Waveuse’ Jump cut hand-held camera loose improvised direction assault on seamless editing presumption of time continuity

large-screen cinema developed using multiple projectors 20th century Fox developed cinemascope with anamorphic lens to give illusion of wider screen projection

1950 TTK launches first recording tape

Furthermore, the large-screen cinema developed using multiple projectors with 20th century Fox developing cinemascope with anamorphic lens to give illusion of wider screen projection. Another architecture that sought to move beyond this fragmentary aesthetic of deconstruction was Peter Eisenman, and over the last decade and more, used philosophical ideas to propel him into a realm of space in distinctly nondeconstructive terms; in terms of folds, multiple continuities, superimposed hierarchies and the blending of plateaus. In doing so, both architects create a spatial recording of events through montage. Eisenman approaches his shots as individually framed images and his interest lies in the sequence of the 'cinematic path' a film concept, who's relationship with the architecture of Le Corbusier is worthy of further examination.

1960 1968

1970

Screen play

"Deconstructivism Start of deconstruction of GRAMMATOLOGY" Orphanage Aldo Van Eyck Nakagin Capsule Tower, tokyo "Centraal Beheer office building in Apeldoorn, 1972 (Herman Hertzberger)"

Fragment society, parties beginning of liberal, individual societys

Collapse of Maxist

Enforcing the working class "student + worker direct engaging bussiness and government" Decolonization French form of Neo-liberailism

1975 Video tape recorder 1976 Dolby stero 1960 first watching/listening fully-transitorized movies TV Sony

1971 colour video cassette player

MLF: Movement Liberation Feminism

1954 TV broudcast in colour

1955 SONY first transistor radio

1980

Parc De la Villette competition "Tres Grande Bibliotheque Competition" THE CENTRE POMPIDOU

Deleuze and Guattari

Decentralization Neo- liberalism "City Beautification: ""Grand Project"""

"French Presisdent election: PS leader, Franscois Mitterrand" Socialist party, comunist integration Run Lola Run, 1998 first release of DVD 1985 first Apple 1983 Floppy disk Macintosh 1984 Discman launched 1980 Betacam Camera and VTR 1982 Worlds first CD player

1990 Firework Project at Parc de la villette. Jussieu Library YOHOHAMA Masterplan, OMA Le Fresnoy Art Center

2000

The Architecture of the Screen Essays in Cinematographic Space

Information age

Social Networking

Globolization

Das Experiment, Diller and Scofidio Timecode, Figgis (one continous shot, 2000 playstation 2 2003 entertainment 1992 first portable robot TV, Sony watchman 2006 blu-ray Minidisk 1994 playstation, nintendo 1995 handycam first consumer-use digital video camcorder

2010

We intended to challenge the ideas of how space and architecture was perceived both physically and virtually, in the hope of challenging the conventional use of architecture. We initially use superimposition to create a seris of terminals onto the islands transitional spaces. A connection point between all projects six projects that challenges the vitrial and physical realm. To further Tshumis concept we create a physical structure through a series of terminals. Each terminal had a transitional journey to the surrounding projects, while vertial screens and film spatialise a new form of circulation space.

1.1 BR E AT H L E S S - Je an- Lu c G o d ard Whe re we s e e a mu rd e r u nfol d and t a ke pl a c e in le ss t han 5s e conds and t hre e shots.

1.2 V I L L A S AVOY E - L e C orbu si er An arch ite c tu r a l prome na d e p at h w it h d iffe re nt mome nts f rame d for an intent iona l ex p er ience.

1.1 BREAT HL ES S - Je an -Lu c G o d ard Whe re we s e e a murde r unfold and t a ke pl a c e i n le ss t han 5s e conds and t hre e shots.

1.2 VIL L A S AVOYE - L e C or busi er An arch ite c tura l prome na de p at h w it h di ffe re nt mome nts f r ame d for an intent iona l ex p er ience.

Lu c G o d ard l d and t a ke pl ace i n l ess t han 5 s e c onds and t h re e shot s .

C orbu si er p at h w it h different moment s f r ame d for an i nte nt i ona l e xp e r i e nc e.

While most of Le Corbusier's private project of this period employ the notion of the "a and movement in sequence." One of the characteritics highlighted in this wa described as a construction in "space and time"; a building designed to "frame view" fo relates to this jump with snapshots framed intent and a series of directed shots designed 38

1.1 BR E AT H L E S S - Je an- Lu c G o d ard Whe re we s e e a mu rd e r u nfol d and t a ke pl a c e in le ss t han 5s e conds and t hre e shots.

1.1

BREAT HL ES S - Je an -Lu c G o d ard

Whe re we s e e a murde r unfold and t a ke pl a c e i n le ss t han 5s e conds and t hre e shots. 1.2 V I L L A S AVOY E - L e C orbu si er An arch ite c tu r a l prome na d e p at h w it h d iffe re nt mome nts f rame d for an intent iona l ex p er ience. 1.2 VIL L A S AVOYE - L e C or busi er An arch ite c tura l prome na de p at h w it h di ffe re nt mome nts f r ame d for an intent iona l ex p er ience.

- Lu c G o d ard ol d and t a ke pl ace i n l ess t han 5 s e c onds and t h re e shot s .

C orbusi er e p at h w it h di fferent mome nt s f r ame d for an i nte nt i ona l e xp e r i e nc e.

architectural promenade" and subsequently been discribed in terms of "views

as the promenade ramp, flowing through the center of the building. The building was or the "modern eye". While breathless this first form of new wave French film, similarly d to build this view.

2. 1 RUN LOL A RUN - Tom Ty k wer Where a mont age of L ol a r unning in s e p arate s itu at ions is ma d e to l o ok l i ke a sing l e cont inuous j our ne y.

2. 2 SEAT TLE LIBR ARY - OM A Disju nc t ion of t he prog ram is lin ke d to a c ont inuous p at h .

2. 1 RUN LOL A RUN - Tom Ty k wer Whe re a mont age of L ol a r u nni ng i n s e p arate situ at i ons is ma d e to l o ok l i ke a s i ng l e c ont i nu ous j ou r ne y.

2. 2 SE AT TLE LI BR ARY - OMA Disju nc t i on of t he pro g ram is li n ke d to a c ont i nu ous p at h .

m Ty kwer nning i n s e p arate situ at i ons is made to lo ok li ke a si ng le c ont i nu ous j ou r ne y.

- OMA is lin ke d to a cont i nuous p at h.

The Tom Twyker film Run Lola Run, 1996, is narratively conventional and acutely goal The fragmentation technique facilitates both an unifying and breaking of spac however, are secondary to the films' circular, repetitive and mutating spatio-temporal st linked with a coninous path. 40

HEADQUATERS

BOOKS

2. 1 RUN LOL A RUN - Tom Ty k wer Where a mont age of L ol a r unning in s e p arate s itu at ions is ma d e to l o ok l i ke a sing l e cont inuous j our ne y.

2. 1

RUN LOL A RUN - Tom Ty k wer

2. 2 SEAT TLE LIBRWhe ARY OMage A of L ol a r u nni ng i n s e p arate situ at i ons re a- mont Disjunc t ion of t he prog ram is lin ke d to a c ont inuous p at h .

is ma d e to l o ok l i ke a s i ng l e c ont i nu ous j ou r ne y.

2. 2 SE AT TLE LI BR ARY - OMA Disju nc t i on of t he pro g ram is li n ke d to a c ont i nu ous p at h .

m Ty kwer nning i n s e p arate situ at i ons is made to lo ok li ke a si ng le c ont i nu ous j ou r ne y.

- OMA is lin ke d to a cont i nuous p at h.

HEADQUATERS

BOOKS

ASSEMBLY STAFF

PARKING

based, overlaying three similar events sequences in three distinct spatio-temporal strata. ce and time that can remind us of discontinuity's principal techniques. These ruptures, tructure, a clear link to the disjunction of the programs seen in the Seattle library that is 41

3.1 THE RUSSIA N A RK - A l exand er S oku rov One cont inuous shot for t he ent ire mov ie.

3.2 MAX XI MUSEM - Z a ha Had i d C ont inuous flow of circ u l at ion s e e n sp at i a l ly and phy s ic a l ly t hou g h

3.1 THE RUS SIAN ARK - Al ex an d er S okurov O ne cont inuous shot for t he ent ire mov ie.

3.2 MAX XI MUSE M - Z a h a Hadi d C ont inuous fl ow of circ u l at ion s e en sp at i a l ly and physi c a l ly t hou g ht - out .

- A l ex an d er S oku rov e e nt i re mov i e.

a h a Had i d t i on s e e n sp at i a l ly and phy s i c a l ly t hou g ht - out .

It layers spaces, events and movements in an increibly fluid and sophisticated filmic co each other and evolve out of each other. It is a film that perfectly reflects Deluzian noti reflective of this in both circulation and appearance with a continuous flow evolving be 42

One cont inu ous shot for t he ent ire mov ie.

3.1

THE RUS SIAN ARK - Al ex an d er S okurov

O ne cont inuous -shot t he ent ire mov ie. 3.2 MAX XI MUSEM Zfor a ha Hadi d C ont inuous flow of circ u l at ion s e en sp at i a l ly and phy s ic a l ly t hou g ht-out. 3.2 MAX XI MUSE M - Z a h a Hadi d C ont inuous fl ow of circ u l at ion s e en sp at i a l ly and physic a l ly t hou g ht - out .

- A l ex an d er S oku rov e e nt i re mov i e.

a h a Ha d i d i on s e e n sp at i a l ly and phy s i c a l ly t hou g ht - out .

onstruction. Characters, narratives and times all merge with one another, flow alongside ions of the foldings, the fluids and the morphing. The MAXXI museum is etween the pathways and complex levels. 43

Our building hopes to push these notions further, unpack and explore the idea of 'the fold' as a new form of cinema, the fold is not accessed through 'a physical fold' however it is unpacked as the building and cinematic experience morph together becoming the real of film itself while aspects of the film are unpacked and digested architecturally with the occupant making the discoveries. As you enter the journey is clear, a singular path reflective of a traditional film, it then splits and folds into different experiences. In our space both the film and audience are dynamic, allowing a new experience for the viewer through the eyes of a director. A museum of cinema, where important historical or political films can be injected as a new form of projection. The occupants are given freedom to create their own experience, while manintainning a continuous journey throughout the film. A folded flow, of film creates a distinct cinematic experience within. At one point occupants are asked to pick firm strips in the light box room and reconstruct their own film to be hung for another to discover. In another shards of film splatter in walls of an internally fragmented space, projections surround them and the screens are the walls, the roofs and the floor. The surrounding grid allows the panels of screens to be flipped and moved melting and disintegrating the grid into the architectural experience itself. The characters, narratives and times of the films projeted all merge with one another, flow alongside each other and evolve out of each other and below you can another form of cinema.

A CINEMA OF SIMULT

MULTIPLICITY OF CIRCULATION.

PROJECTION CINEMA LYING DOWN CINEMA SCREENS

PHYSICAL?VIRTUAL?

OPEN? CLOSURE?

TANITY. MULTIPLICITY OF EVENT.

OPEN GROUND

MONTAGE

FRAGMENTATION

Screen As Event.

Screen As Space.

Screen As Material.

Level 2

Level 1

n As Space.

As Material.

Screen As Ev Moments

n As Space.

As Material.

Screen Screen As As Ev Ev

Screen As Event. Moments 57

One and Three Architectures v2.0 Architectural Folio Yanjie Zhan