Objects In Mirror Are Closer Than They Appear

OBJECTS IN MIRROR ARE CLOSER THAN THEY APPEAR. Filmic Transcendence & Its Representation in the Architectural Experience

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“If there’s going to be another movement, another direction in architecture, it has to engage people differently. Other than saying, here, look at this, isn’t this amazing? It has to interactively involve them other than as spectators ... it has to engage them as creators.”

- Lebbeus Woods, 2007

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I dedicate this book to: My parents, Lily and Sergio My brother, Bryan Abuelo Orlando and Abuela Lluya

Your unconditional love and support has made all the difference. Beyond words.

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CONTENTS

This is a Masters Research Project presented to The University of Florida in partial fulfillment for a Masters of Architecture Degree: Spring 2015 Chair of Supervisory Committee: Lisa Huang Co-Chair of Supervisory Committee: Mark McGlothlin

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INTRODUCTION Habitus: An Introduction

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All that Unites together in Sequence and Fragments

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Crossroads of Baudelaire and Benjamin

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Terry Gilliam: Retreat into Cinema

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CINEMATIC CASE STUDIES Brazil (1985)

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12 Monkeys (1995)

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EXPERIENCING PILGRIMAGE Saint Benedict’s Chapel - Peter Zumthor

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EXPERIENCING CONTAINMENT The Acropolis + Acropolis Museum - Pericles + Bernard Tschumi

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EXPANDING THE APERTURE

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VOYEURISTIC LANDSCAPES

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OBJECTS IN MIRROR ARE CLOSER THAN THEY APPEAR

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BIBLIOGRAPHY

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HABITUS Habitus investigates the processes that compose design and realities within a space that deviates from the definitive nature of Architectural setting in Film and Architecture. Since its inception, Film has been a form of the identification of place in relation to culture. Remnants, fragments and sequences are subject to permanence within the mind of a viewer. Once engrained, these imprints form tangents of a particular place that has been experienced. However, each viewer connects to these experiences differently. Based on their perceptions and past experiences, what has been engrained is viewed differently in an experiential sense, hence the ritual and use of space differs. Nonetheless, contact with the surrounding context and the initiation of threshold remains a catalyst for one’s experience. A similar phenomenon occurs within Architecture. The space emerges in action and the use of ones’ senses1 . The methods of process and documentation of itinerary in both Film and Architecture does not distinguish solely a setting through a built environment, but seeks to diminish the boundaries of structure and the situated landscape through overlapping the use of light, sequence, and film technique as a direct correlation to the mimetic faculty of the occupant.

Juhani Pallasmaa states in Eyes of the Skin that the “city exists through my embodied experience.”2 The embodied experience seems almost immediate and obvious as one moves through a place. This “pure sensation” as MerleauPonty terms it, allows us to integrate instantaneously into our surroundings is seamless, overlapping moments of threshold and sequencing between places3. To occupy a space denotes truly providing meaning to the things that we move through. These objects or things are a product of all five senses. Despite privileging one’s sense of sight, each sense ties the experience inhabitance through the scale of material, touch to the hand and surrounding environment.

This notion relates to the works of Lars Lerup and his description of the bridge within a landscape. He states that we the manner in which a body uses and inhabits a space relies on our past views and experiences. Similar in film, how the viewer interacts with the created space differs from the manner in which the characters engage themselves. As a means of grasping the metaphysical, spaces rely on preconceived detailing and standardization that assimilates into denser environments. Related to these comparisons, “Transcendental Architecture” aims to delineate how films centered on societies in dystopia or postmodern urbanism use space from an urban setting at various scales in relation to human interaction and how a persons experience has transformed perceptions of the built environment in correlation to the landscape that mediates its existence.

1. Lars Lerup, Building the Unfinished: Architecture and Human Action (London, Sage Publications, 1977) p.21 2. Juhani Pallasmaa, The Eyes of the Skin p.41 3. Maurice Merleau-Ponty, Phenomenology of Perception (London, Rutledge, 1945) p.15

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Sergei Eisenstein “Baby in a Stroller” - source “Filmic Mapping” by Fred Truniger

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Photo on set of “Vanised” (1912) - source IMDB

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ALL THAT UNITES TOGETHER IN SEQUENCE AND FRAGMENTS “Cinema has created a new relationship with the world. We have learned to integrate filmic representations of the world into out own lives.”` Lars Lerup clearly states in “Building the Unfinished” his main intention is to show the importance within the practice of Architecture, to understand the complexity and evasiveness of the relation between people and things. We as dwellers bring to the forefront our experiences, bias and temperament. In this way, meaning is assigned to this formalized stage and props, in a constant interaction between past experience and new ones. All the while, the physical setting is our anchor of the interaction and self-reflection. For a brief moment, it is a dialect between the internal and external that provides momentary meaning to space.

As spectators of our surroundings, it is important to clarify exactly what the concept of experience means. Experience by definition means a practical contact with and observation of facts and events. The notion of experience from that stance is one dimensional; there is a cause and effect at play. If we come to contact with and observe a specific event, we will have recollection of said event. This perspective on experience does not support the cultural representation of modern day ritual living. Given today’s standards and normalcies, when we come into contact and observe one event, we are not only recollecting the event itself, but the images, videos, stories, social media updates, etc. The standard experience shifts from one primary event to a series of events all at a tangent of one another.

Since its inception, Cinema has played on these exact ideals about viewer perception and understanding of environment. The first films, although silent, relied on the built stage-set to provide a quality of situational settings for the plot in play. We as viewers are amidst the line of past and present, experiencing fragments of landscapes and city backdrops, viewing firsthand a means of motion on screen, although it is a present action at the moment of relay. All things considered, the elements of early film all cater to recreating, or rather simulating a specific experience. Thomas Gunning recalls the sets of early traveling films emulating similar stage setting—dressing up the theatre to look like the interior spaces of trains, including a conductor who punched tickets.

1. Lars Lerup, Building the Unfinished: Architecture and Human Action (London, Sage Publications, 1977) p.21

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Present day movies supply secondhand footage as live recollection; secondhand footage that utilitizes a built environment with some familiarity through typology and cultural standards. Walter Benjamin discussed the manifestation of this built environment through a person’s acute awareness in transcience. He stated this development occurs in two distinct realms; nostalgia and euphoric intoxication through sensation. Benjamin agreed predominantly with the latter, claiming through montage and specific itinerary in a sequence, film could muster any desired emotion, storyline, etc. that all viewers experienced in conjunction with one another. However, nostalgia as a generator of a built environment is suggestive of other determinant factors we as spectators experience due to specific memories and feelings that are brought to surface. Giuliana Bruno claims this phenomena is the result of a “haptic memory”; a tangible edifice in memory that reconnects in our perception through cues and references in reality. This is an emotional space that a viewer dictates through motion and therefore literal embodiment. Because of this, Bruno states “One lives a film as one lives the space that one inhabits; an everyday passage.”

Both approaches to viewer/film relationship differ through willingness. Benjamin’s intoxication through sensation alongside Eisenstein in montage suggests a viewer has no control of sensation and storyline; all stimulation is equalized, therefore all spectating follow the prescribed sensations. Whereas with Bruno argues that through our own bodies and hinged memories, film is manipulated, leading to an individual experience. Often times film correlates to realities in everyday society. Familiarities transcend as a reproduction which mediates a timeline between viewer and screen.

The use of specific aspect ratios and frames enhance certain fragments in the timeline which can be organized to formulate a scene that pulls from the emotions and experiences of those watching. It appeals to us as viewers as there is continuous motion and alternating images. Stillness within film is deliberate and therefore significant. There is also a certain “realness” attached to film that appeal to the viewer, reproducing environments from the tangible as mentioned.

In basic Film Technique there are primarily 3 distinctive aspect frames; Wide Shot, Medium Shot and Close-up. Each aspect frame caters to different aspects of the setting, allowing for a mixture of scales allots for an infinite amount of itineraries.

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LONG SHOT MEDIUM SHOT

• Intended to place it in some relation to its surrounding • Corresponds distance between the front row of the audience and the stage in live theatre • Commonly reffered to as “wide shot” or “establishing shot”

CLOSE-UP SHOT

• Shot at mid distance from object(s) in frame • Encompasses the partial to full length body of human subjects • Establishes connection between characters to scene

• Displays the most detail, but they do not include the broader scene • Employed as cutaways from a more distant shot to show detail.

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Crossroads of Baudelaire and Benjamin Exploration of “Les Fleurs du Mal” and “The Arcades Project” with regards to contingent factors relative to experiences and setting In “Les Fleurs du Mal”, nineteenth century Philosopher Charles Baudelaire unhinged in his resistance to the modern, industrialized city of Paris reveals the genesis of new typologies within city dwelling, reinforcing a greater urbanity as well as a greater distinguishing line between social classes. Specifically within his writings, in Tableaux Parisiens, Baudelaire describes the happenings within a 24-hour cycle in Paris through different perspectives of characters (primarily the flâneur, the dandy, and the snob) and time frames. His poems and thoughts reveal feelings of anonymity and estrangement from a newly modernized city. Baudelaire was critical of the new clean and geometrically laid out streets of Paris, which fostered clear boundaries and separations in the urban context as well as lessened the value of those dwellers that were considered common or of lower classes.

The resonance of the new Paris produced in his mind an infill of identical structures and bourgeoisie littering the streets, imminently creating an unrecognizable city. Christopher Butler states the city’s modernity is most particularly defined for him by the activities of the flâneur observer, whose aim is to derive ‘l’éternel du transitoire’ (‘the eternal from the transitory’) and to see the ‘poétique dans l’historique’ (‘the poetic in the historic’).1 The work of Baudelaire and criticism of a new urban environment sparked the narrative for Walter Benjamin in his own documentation in Paris. “The Arcades Project” examined the once innovative arcades of Paris, now in the twentieth century a blended aspect of street life. Baudelaire’s archetype of the Flâneur was a starting point for an exploration of the impact of modern city life upon the human psyche. Anne Friedberg emphasizes the centrality

“Baudelaire’s collection of poems, Les Fleurs du mal (Flowers of Evil), is the cornerstone of Benjamin’s massive work on modernity, an uncompleted study of the Paris arcades. For Benjamin, the poems record the ambulatory gaze that the flâneur directs on Paris.”

Both Benjamin and Baudelaire sought to explain disruptions in a system of urbanity that were introversive and unique to each person. When thinking of these characters and their experiences, we can begin to see how this correlates cinematically when developing fields of space. Much like the standpoint of Lerup, Baudelaire and Benjamin utilize the Flaneur, Dandy and Snob as individual experiences in the same environment. Each person stands at the same intersection, only to dissect and interpret what is before them through various mediums.

1. Butler, Christopher, “Early Modernism: Literature, Painting and Music in Europe 1900-1916”, (Oxford University Press, 1994) p. 165

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Charles Baudelaire Walter Benjamin Photo Source - “Early Modernism: Literature, Painting and Music in Europe 1900-1916� by Christopher Butler

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Now a man of reflective onsight, picking up on rhythms and repetitive infrastructure that overlays within a city fabric, the slow pace is now a modern loiterer, inhabiting spaces for extended periods of times, further proliferating his understanding of common elements.

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The Flaneur

Still a tourist, the Dandy walks with their eyes on a map; always on the lookout for the next site to visit, however never engaged with the city before them. Their experience of the street lies in the periphery, catching information solely from the surface and distinction between horizontal and vertical.

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The Dandy

Has evolved into a non-walker. This person is in a one directional mindset, looking for the fastest and easiest way to navigate the city, most likely led by their own chauffeur. The loss of smaller scaled measure through movement plays into their perspective of the built environment.

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The Snob

TERRY GILLIAM “Cinema has created a new relationship with the world. We have learned to integrate filmic representations of the world into out own lives.”` In Matthew Rampley’s “Archives of Memory”, The Zeppelin’s second visit to America coincided with the setting up in New York of a station capable of the telegraphic transmission of images. Invented in 1792,the telegraph had been in general use since the 1830s and the invention of Morse Code, but the ability to transmit images as well as text constituted a dramatic shift in its significance. For the first time in history, even bystanders had the ability to document through image this event. The distance of 4900+ miles between Berlin and New York City was surmounted and virtually eliminated. In relation to film, the ability to collect and piece together action through multiple factors and motion alongside itinerary of various characters speaks to the disillusion of distance and time, suggesting lapses that must be filled through the viewing perspective.

When deciding to examine Terry Gilliam, He states he views his movies “Brazil”, “12 Monkeys”, and “Zero Theorem” as an accidental trilogy not because of the similar storylines and continuing themes, but because of their evolution and documentation of cinematic experience as a process itself. Overall in the span of the three decades these films were made, Gilliam has put to practice multiple techniques to express characters experiences at which point are relayed to the viewers. In “Brazil” each scene is densely populated with clutter; from superimposing ceiling infrastructure to ductwork. This clutter is more often than not technology pushed onto the inhabitants of such spaces by higher administration as a form of constant surveillance. In turn, Gilliam further amplifies these feelings of claustrophobia and clutter with close shots of details and object within the scene only seconds long. In a way, it is his own administrative form of distraction. His philosophy at this particular moment is to pull the viewer’s attention away from the main moment.

Gilliam’s decisions cinematically coincide with the perspectives of Walter Benjamin and Sergei Eisenstein. Benjamin argues that viewing film lacks contemplation because there is the exchange of what our mind is rooted in for the dynamic qualities of specific moments. Those who view film seek to reactivate primitive fantasy through events presented. Similarly, Eisenstein focuses on the idea of montage and how pairing events together with emotional attachments engrained in them can change the experience and viewing of different moments. Therefore, there is the logic that no matter the background or spectator, all film when produced should invoke the same emotions and experiences.

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Case Study Director: Terry Gilliam Year released: 1985 In an Orwellian society, highly structured and extremely bureaucratic, the government of an unspecified country has established extreme measures for tracking down organized terrorist, which proves to be inefficient and counterproductive when the system mixes up names and the Ministry wrongfully arrests an innocent man (Buttle) for terrorist crimes. One of the protagonists, Sam Lowry, works a mid-level position within the government as is assigned to investigate this error with the system in place. At the same instance, Jill Layton (Buttle’s upstairs neighbor) attempts to report this mistake to authorities, but finds the bureaucratic process and “new system” highly tedious and insufficient. Eventually both Lowry and Layton’s paths cross at the Ministry and they join one another in an ever growing catastrophy that is the new system for catching the terrorists.

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BRAZIL

BRAZIL | 00:04:00 - 00:08:03

“Brazil” the sets for scenes of spatial significance are densely populated with clutter. This clutter is more often than not technology pushed onto the inhabitants of such spaces by higher administration as a form of constant surveillance. In turn, Gilliam further amplifies these feelings of claustrophobia and clutter with close shots of details and object within the scene only seconds long. In a way, it is his own administrative form of distraction. His philosophy at this particular moment is to pull the viewer’s attention away from the main moment. In many ways Gilliam’s decisions cinematically coincide with the perspectives of Walter Benjamin and Sergei Eisenstein. Benjamin argues that viewing film lacks contemplation because there is the exchange of what our mind is rooted in for the dynamic qualities of specific moments. Similarly, Eisenstein focuses on the idea of montage and how pairing events together with emotional attachments engrained in them can change the experience and viewing of different moments. Additionally, there is the logic that no matter the background or spectator, all film when produced should invoke the same emotions and experiences. These concepts are important for the quality of film technique in “Brazil” because Gilliam sets up the first scene as glimpses of multiple characters’ lives that come together through the common events that cause disorder.

The opening scene of Brazil cuts to an empty street in an ambiguous city scape where the screen lands upon a window display of the latest television sets. All the television sets are programmed to a news network where two executives discuss recent outcries from terrorist organizations within the country. The location of the television store is a run down, decrepit context, further amplifying the nature of what is being discussed within the schedule programming. In an instant, there is an explosion at the window display sending the TV sets through the glass and on the city street. However, the TV set continue broadcasting the news program, almost unphased by such an act of vandalism, which brings us to the cutaway scene to the Buttle Residence.

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Screenshot from “Brazil” - source: Universal Studios, 1985

Screenshot from “Brazil” - source: Universal Studios, 1985

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BRAZIL | 00:04:00 - 00:08:03

From one scene to another we are brought as viewers from a sterile setting, to a moment of tension and catastrophe, and once again to a sense of calm within the residence of a charming family. Architecturally, the measure of these scenes corresponds to the emotions felt by both viewer and characters. Beginning with the heavy industrial nature of the window display, to the seemingly tranquil family space despite the overall overhead condition of a labyrinth of ductwork, there was a continuation of an omnipresent scale within the confines of public to private conditions. This ductwork seems to be the intersecting factor for the lives of the resident, as it leads through cinematic composition to the Buttle upstairs neighbor (Jill Layton) whose night of relaxation is soon disrupted by the onset of administrative intervention. The stories of all three instances and types if individuals come together in overlapping disorder.

Screenshot from “Brazil� - source: Universal Studios, 1985

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Time Frame: 4:00 - 8:03 4:00-4:05 (Medium Shot) :: Tuttle Boy reaches for toy under Christmas tree / pan to family in Living Room 4:05-4:15 (Wide Shot) :: Family in Living Room 4:15-4:35 (Close-up) :: Showing TV screen and pan over to woman in bathtub 4:35-4:45 (Medium Shot) :: Back of woman in bathtub, washing her hands with pan to front of tub 4:45-4:48 (Medium Shot) :: Woman submerges herself in bathtub 4:48-4:55 (Medium Shot) :: Tuttle mom with girl leaving Living Room 4:55-4:57 (Close-up) :: Cutting hole in Tuttle roof 4:57-4:58 (Medium Shot) :: Cutting out falling into family Living Room 4:58-5:01 (Medium Shot) :: Men coming down from cut hole in roof 5:01-5:02 (Close-up) :: Tuttle wife panicking 5:02-5:06 (Medium Shot) :: Panning shot of S.W.A.T men entering room 5:06-5:08 (Medium Shot) :: S.W.A.T man busting window of Tuttle residence 5:08-5:10 (Medium Shot) :: More S.W.A.T men entering Tuttle residence 5:10-5:11 (Medium Shot) :: S.W.A.T man grabbing child 5:11-5:17 (Wide Shot) :: S.W.A.T men surrounding Tuttle’s in Living Room 5:17-5:22 (Close-up) :: Tuttle wife running to grab girl 5:22-5:29 ((6) Close-up) :: Bagging Tuttle in restriction jacket and chains 5:29-5:31 (Close-up) :: Tuttle wife and girl in shock 5:31-5:48 (Wide Shot) :: Tuttle in chains surrounded by S.W.A.T men 5:48-5:55 (Medium Shot :: Ministry man reading Tuttle receipt of arrest 5:55-5:58 (Medium Shot :: Ministry man continuing to read Tuttle receipt of arrest 5:58-6:04 (Wide Shot) :: Ministry man asking Tuttle wife for signature 6:04-6:27 ((6) Medium Shot) :: Tuttle wife signing receipt 6:27-6:29 (Medium Shot) :: Woman in bathtub looking through hole of floor 6:29-6:36 (Medium Shot) :: Shots fired at hole through ceiling 6:36-6:38 (Medium Shot) :: S.W.A.T men backing down 6:38-7:03 (Medium Shot) :: Maintenance men patching up hole in ceiling 7:03-7:15 (Close-up) :: Zooming out of shot to long shot of Tuttle Residence 7:15-7:17 (Close-up) :: Receipt in Tuttle wife’s hand 7:17-8:03 (Wide Shot) :: Panning through Dept. of Records

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BRAZIL | 00:04:00 - 00:08:03

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The first scene’s time frame was compiled based on Gilliam’s use of shot typology along with the amount of time on camera.

In the case of “Brazil”, the Director chooses to use the close-up as a mediating shot between the lives of the characters in the film. The close-up is generally used as a frame to provide an insight of detail. It is closely tied to emotion and indication of details in plot. Gilliam uses the close-up as a method to express the emotions of characters as a consequence of the main events occurring. At minute 5:01, as Mrs. Tuttle panics over the chaos that is enveloping her apartment. Despite the disorder and commotion in the set Gilliam stages for this scene, these moments are captured by the face of a single character. Gilliam then supports Mrs. Tuttle’s reaction by quick frames of the general setting, as men break windows, doors, and the ceiling and bring Mr. Tuttle to his arrest.

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“Brazil” Context overlaps and territorial exchanges Axonometric study of opening scene in Brazil and the filtration of information and experience between differing contexts.

Gilliam emphasizes the roof of the Tuttle’s and the floor of Ms. Layton’s apartment as the uniting factor that eventually is compromised by the larger factor that is the Ministry. Eventually we see comparable situations when Mr. Tuttle is arrest on incorrect information and Ms. Layton’s roof is “repaired” by the men the Ministry sent over after destroying both apartments. Gilliam’s use of montage establishes the primary emotion we as viewers are introduced to. As viewers we assemble the space through generalizations and experiences. Gilliam creates a vantage point for those who view “Brazil”. We see the spaces of the characters as well as the culture they embody in their actions, which speaks to the creation of the place they dwell.

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Measures + Sectional representation of context Measured context of Department of Information through motion of camera through viewer perspective

Screenshot from “Brazil� - source: Universal Studios, 1985

Represented in Section is the Dept of Information Retrieval at the Ministry. Through the use of camera movement and the measure of space between smaller scale elemens that divides the entire department, such as desk partitions, ceiling divisions, etc.

Through section we can see the division of space between laborer and adminstrator. We also begin to notice consistent contextual artifacts (the ductwork) that even in the governments own quarters continues in the lineage of the movie script.

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Measures + Sectional representation of context Measured context of Department of Information through motion of camera through viewer perspective

Screenshot from “Brazil� - source: Universal Studios, 1985

Another section was used to document and reflect the relationship between individual citizens in the supervised context they dwell in. Straight from the Department of Information, Mr. Buttle is unreasonably arrested when his house is invaded. The police overtake his residence via the upstairs neighbor, Jill Layton, immediately connecting two spaces which previously never engaged. The filtration of information has led to a decay of structure and litteral blockage between the characters.

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Moving to investigation in Plan showed relatively equal proportion to section, identifying the nexus of where each site at which characters dwelled united, despite never physically being tied to another. Representation of space in plan when converted to perspective articulated layering in scenery. What seemed to be in place logically in plan converged and overlapped. Dwellers of such a space are caught in between intersections that are brought together in the opening scene.

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Case Study Director: Terry Gilliam Year released: 1995 An unexpected virus has eliminated about five billion people in 1996. By 2035, less than 1% of the population has survived, forced to live underground as a means of escaping infection. A convict (James Cole) is forced to volunteer to be sent back in time to 1996 to gather information about the origin of the epidemic (believed to have been caused by “Army of the Twelve Monkeys�) and locate the virus before it mutates so scientists in the future can further study it. Unfortunately Cole is accidentally sent back to 1990, and is arrested and sent to a mental institution, where he meets Dr. Kathryn Railly, a psychiatrist, and Jeffrey Goines, the insane son of a famous scientist and virus expert. With Dr. Railly, James continues on his search for information and eventually realizes the virus and its spreading was not what it seemed.

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12 MONKEYS

12 MONKEYS | 00:02:25 - 00:05:22

The evolution of cinematic technique from “Brazil” to “12 Monkeys” exemplifies that Gilliam practices multiple forms of scene establishment. As stated with “Brazil”, Gilliam focuses on the emotions and interactions within characters to distinguish a sequence within space the viewer experiences. However, in “12 Monkeys”, the opening scene depicts continuous movement of just the main character, James Cole. Because of this, Gilliam for the majority of the scene used the Medium Shot to determine the placement of James within his surroundings. Additionally, it is clear his movement is involuntary and supported by machinery used to get him from Point A to B. It can be inferred that instead of a representation in sequence, we as viewers are enveloped by fragments of James Cole within space. The main difference being simply that in sequence, the environment is the primary factor in motion; within fragments, the character is the factor in motion.

The scene opens with James being awoken by a bright light in his caged cell. His superiors are calling him for duty to go aboveground. After numerous exchanges with his cell neighbor, the next shot shows the overhead opening up and a crane grabbing him and pulling him out. We then are transferred to a tunnel where James is being pulled and decontaminated and being prepped for above ground transport. The next scene is an elevator lift where James is stationed at the center and being lifted through what looks like piping and more machinery. What is significant of this establishing scene is that all movement of James is completely involuntary if it involves any sort of vertical direction.

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Screenshot from “12 Monkeys” - source: Universal Studios 1995

Screenshot from “12 Monkeys” - source: Universal Studios 1995

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12 MONKEYS | 00:02:25 - 00:05:22

For example, he is carried out of his cell by a crane; he arrives above ground through the lift, etc.

Here we see James’s inferiority within space. The experience of the Architectural context that envelopes James is strictly circulatory. This also provides insight into the scale of the space he is within. It is monumental, very much catering to machinery and overpowering structure. James only moves in a horizontal direction on his own accord. The juxtaposition of the two emphasizes an active relationship of edges that James is transported through. Much like Bruno’s notions of Haptic Memory, the movement from scene to scene creates embodied spaces. There is tangible evidence of a 3-dimensional dwelling at multiple levels. Gilliam’s use of Wide Shot brings the occupant to glimpses of established scenery that then gets translated by the movement of James.

Screenshot from “12 Monkeys” - source: Universal Studios 1995

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Scene 1 (2:25-5:22) 2:25-2:31 (Close-up) :: James waking up in cell 2:31-2:40 (Medium Shot) :: James in cage talking with neighbor 2:40-2:46 (Medium Shot) :: Jose and James still conversing 2:46-2:52 (Medium Shot) :: James getting out of bed 2:52-3:03 (Medium Shot) :: Conversation continues 3:03-3:07 (Wide Shot) :: Crane comes down over James’ cell 3:07-3:25 (Medium Shot) :: James and Jose continue talking 3:25-3:28 (Medium Shot) :: Superior calling for James to volunteer 3:28-3:34 (Long Shot) :: Crane reaches for James in cell 3:34-3:39 (Medium Shot) :: James gets up and walks over to be apprehended by crane 3:39-4:07 (Close up x 9) :: James in prep mode for transport aboveground 4:07-4:20 (Medium Shot) :: James walking through tunnel 4:20-4:22 (Medium Shot) :: Door at end of tunnel opens 4:22-4:23 (Close-up) :: James at entry 4:23-4:25 (Wide Shot) :: James walking out of tunnel 4:25-4:32 (Medium Shot) :: James in a lift up to the city 4:32-5:02 (Long Shot) :: Establishing scenery in aboveground location 5:02-5:22 (Close-up) :: Map of Baltimore

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12 MONKEYS | 00:02:22 - 00:05:22

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When analyzing this scene, we begin to understand the social order within this future society. James is subject to a higher level of authority. This authority selects one of these “volunteers” from the basin of what can be compared to a prison environment. The holding cells are densely stacked, arranged in as tiers. Once above the prison, the space narrows and moves one individual at a time to a lift heading upward to the old city. In comparison to Brazil, Gilliam provides enough information in “12 Monkeys” for viewers to grasp locations along a path, but limits the use of establishing frames in order to keep a viewer along the periphery of movement. The order In these spaces, however, is rigid and controlled, much like the machinery and structure which envelopes it. Essentially, we can denote that Gilliam presents spaces for congregation of multiple storylines in “Brazil”, where as in “12 Monkeys” he focuses on the spaces that aid in the development of the complex. This means viewers follow along the tangent, never dwelling, always nomadic. These ties into the main theme of observation; this new society continuously observes from their new location underground, and we as the viewer’s follow suit.

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“12 Monkeys” Scale shifting through Directional Motion Axonometric analysis of initial opening scene of “12 Monkeys” depicting overlapping thresholds and shifts in direction for character development

Aside from the linear progression of the selected scene, there exists an ordered process of motion James engages with. The scene does not just denote a passage of time, but a passage of scales from the jail cell, to the preparation tunnel, to the elevator shaft up to the city. These places formulate tangible relationships and overlap, creating the peripheral space at which viewers sit to experience. It becomes an interactive relationship between film and spectator because the motion involves all parties. Sobchack speaks of such experiences, stating our bodies are the vessels that navigate us through film. We acknowledge all through the use of our sense and then filter according to what we choose to internally detail.

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Measure + Sectional shift in Character path Holding cell of “volunteers” stacked and ordered; awaiting the procession to move laterally.

Screenshot from “12 Monkeys” - source: Universal Studios 1995

Sectionally, the prison cells sit at a teired profile, revolving around the general core where the crane for volunteer selection sits. The canyon of prisoners descends into a larger space and continues endlessly, lengthening a viewers horizon line as they move outward from the actual occupation of the cell. When James, is selected, the crane interacts with this space for the first time and ultimately breaks the boundary between vertically and horizontally oriented structures in the opening scene.

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Measure + Sectional shift in Character path Section through elevator shaft bringing James from underground to Baltimore sewage line.

Screenshot from “12 Monkeys” - source: Universal Studios 1995

In the elevator shaft, we see a one-directional tunnel that to the viewer never finishes, as the initial threshold and drop off point are unclear. James is incapsulated within a tiny vessel and being projected to what a viewer assumes is above ground. This moment shows the advancement from preparation to execution. Interestingly enough, this lengthening of the shaft in scene begins to deminish the importants of such a threshold that was first introduced at the end of James’ preparation.

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Once again, representing space in plan uncovered contingent elements within the context of “12 Monkeys�. Main spaces of the scene project to the exterior, after a series of layered constructs that provide ample movement along a path.

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ST. BENEDICTS St. Benedicts Chapel is located amidst a modest sized village on the sloped hillside of Sumvitg, Switzerland. The location of the Chapel was chosen after the only church in the village was destroyed in an avalanche. For this group of people, it was important to rebuild a local ritual space within the village as a means of connection to not only God, but to the spiritual tangencies they are surrounded by in such a desolate location. Importantly the use of a ritual space gave a location for reflection and privacy in such a closely connected community. The Chapel also sits at the end of the village roadways, near the boundary between path and natural setting.

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St. Benedict

: Village in Switzerland. Population: 1,336

Zumthor states his first decision in design is the choice of material and craftsmanship that would tie back to the traditional methods and practices of making in the region1. Wood, the main material was used in various forms and scales. Zumthor also characterizes the use of a space as composed and concentrated, a moment of pause within a dynamic landscape and movement vertically from the plenum basin and main road along the Swiss Alps.

The path to Sumvitg on foot takes approximately 30-35 minutes along the steep roadside while passing local grazing fields, residences and abandoned barns for storage. Even for the person of average fitness, the walk proves to be rigorous. One could describe the path as a pilgrimage in itself, for those walking to the chapel are not only participating for the built construct, but for experiencing context and the spaces that we potentially inhabit.

There is also the retrospective quality of walking along a path and reevaluating moments of place. The ascent to St. Benedicts Chapel embodies the acceptance of natural surroundings. The opposite phenomena occurs in the actual chapel, as Zumthor purposefully blocks any form of view and utilizes the ambient light for the main focus within the minimal space.

The space feels weightless as the roof structure hangs over the pouring of light. These systems are joined so intricately they stand alone and surrender to the unity of a single space. In relation to film, Zumthor takes particular care to present sights for an occupant through montage. When faced with the Chapel, the developing form from cylinder to oval to keel caters to a sharp divide of the background, hiding the space in limbo between the completely natural from the settled village. The Entry at the tangent of the pure stretched form indicates a breakaway from the path that ends at the foot of a hill. This doorway pulls the occupant inward in between the rhythm of the structure, uninterupted. St. Benedicts Chapel also disregards the sloping landscape and punctures the ground, leveling the perspective of the viewer, ignoring the movement upward at the foot of the hill. In this particular case, Zumthor repurposes the slope for two possible viewing points. At the bottom of the slope, from the natural boundary edge, the chapel stands as a landmark, a key entry gate where the village borders. When on top of the sloped hill, it assimilates into the city context due to the use of regional craftsmanship, technique, and material. Here is where the chapel presents itself in a modest manner with apparent need to separate itself from the essence of Sumvitg.

1. Zumthor, Peter “Thinking Architecture�

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Sumvitg,

Switzerland Elev: +3460 ft.

The bulk of Sumvitg is located at the bottom of the ascent towards St. Benedicts Chapel. With a population of less than 700 inhabitants. Prior to the mid 1940s the main path to the top of St.Benedict were two dirt foot paths; one for pushing livestock and the other for the village people. This begininng moment in the pilgrimage establishes the artery that connects the two ends of the town.

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First turn at road

Walking east along the road introduces those in motion to a predominantly natural setting with tangents of the village extending to the periphery of the road. The village is slowly diminishing along the path.

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Goat farm

At the turn of the road, we are met with a small goat farm. This moment serves as a lapse where nature and Sumvitg complete seperate from one another. the path levels off for a moment to pull from the road for rest and reflection.

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Second turn at road

All vision of Sumvitg has diminished once we pass the Goat farm, bound by a stone wall and safety railing for the car and person. Here we become immersed in a full perspective view of the horizon and the continuation of the Alps.

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4 Grazing Field The halfway point of the pilgrimage is a grazing field, once again leveled. Here, the path continues strictly to the east, with the small area of St. Benedict in the horizon. We have reached an ascent of approximately +4100 ft.

5 Existing remnants of previous chapel The outskirts of St Benedict is where the original chapel lies. In the early 1970s the chapel was destroyed by an avalanche.

Its exterior remains, a more porous stone wall such at thhe retaining wall at the beginning of the pilgrimage.

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6 Remnants of Chapel towards St.Benedict Despite the previous chapel’s decrepit state, the pull away from the primary road still exists. We see how it acts tangent to the path as well as the pilgrimage. Much like Zuthor’s construct, this chapel encourages the exploration of view and boundless movement.

7 Rest stop along route We are welcomed to St. Benedict with a rest stop with ad-hoc water fountains. The rest stop is constructed of the same wood locally used in the region, much like the chapel. It also interrupts the retaining wall to the lef to of the path, signaling a change in location.

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8 Basin of hill to chapel We reach the basin of St. Benedicts Chapel.The entry to the chapel pushes out to face those walking uhill, similarly to the previous chapel as a pull away from the set path. The chapel is accompanied by the bell tower.

9 Entry to chapel The chapel has a juxtaposition of sharp and abrupt lines with forms that push the periphery of vision. On the northern edge we encounter the keel of the chapel, and the softness of the natural environment. The southern facade has a gentle curvature alongside the chapel and the village.

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Initial arrival at Sumvitg, Switzerland basin

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Halfway point to Chapel where a goat farm sits at the periphery of the trail

Initial studies examined the extension of the Chapel’s threshold at moments of re-orientation along the path uphill. Specifically, these turns served as expansions along a path, encouraging wandering and speculation as to what were the habitual practices of the people within this village. It allowed for congregation sans an actual gathering space to be presented. Zumthor alloted for this trail to the Chapel in such a desolate location.

In such an open space, the occupant/viewer is able to negotiate their placement within the delicate fabric of the village.

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This contradiction speaks to the sequence of events.

With the built construct, Zumthor is encouraging internal reflection of the walk up to the village.

The walk encompasses a unique overlapping of residences, natural terrain and grazed farmland. In such a desolate location, these practices and rituals in daily life develop an intimate factor that becomes an exhibition for any person visiting. The chapel focuses on desensitizing sight, with minimal use of material and a flooding of light.

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Location: Athens, Greece Years completed: 5th Century B.C + 2009 Acropolis Complex Architect: Pericles Acropolis Museum Architect: Bernard Tschumi Tschumi’s Acropolis Museum retells the story of the Acropolis, bringing together the collections of findings archaeologists and researchers have uncovered throughout the region. There is even the original display from the 19th century Museum. Tschumi’s work places an emphasis on the sculptures and relics, letting the architecture be muted and surrender to the views of Athens which surround it. The lot for the Museum is even situated behind existing buildings on all four corners of the site. However, as a point within the city context, the Museum reaches out to its surrounding boundaries with a welcoming public square for gathering. The Acropolis Museum provides an argument for the notion that Museum spaces should remain subdued by the work and relics that are within it.

A stark contrast between the rich history that is Ancient Greece and the actual building, Tschumi exemplified how Architecture can pose questions to the cities it dwells in.

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ACROPOLIS

ACROPOLIS : Citadel or fortified part of an ancient Greek city, typically built on a hill.

The Acropolis Museum by Bernard Tschumi is situated in the Maykryianni District is situated less than 1000 feet from the Acropolis itself. This district is comprised of local shops and restaurants catering to the mass crowds visiting throughout the year. Historically, this district served as the main artery for many of the main institutions of ancient Athens such as the Theatre of Dionysus and Parthenon and connected to primary trade routes. This district through time has served as just a means of movement and continuous projection to a greater programmatic intervention within the city. The Makryianni District is a historical center, often servant to the Acropolis Complex.

Now with the new Museum, the district begins to carry identity that brings new insight to its connection to its own history. As Tschumi advocates, the museum provided a concept of exhibition and interaction that was unfamiliar to a population.

Direct from Six Concepts in “Architecture and Disjunction”, Tschumi discusses the idea of defamiliarizatiom through architecture that deconstructs itself to the occupant. There is no longer a need for a total understanding in the world we live in. The constant flow of information distills the significance of everything we see. This is why in the age of technology and innovation, Architecture has to rely on the single image—the “shock” image as Tschumi names it. Essentially, in an age of pure information, we as spectators rely on an image to tell the story of Architecture as equally as physical occupation. Because of this, Architecture needs to evolve and deliver what is unfamiliar to the viewer. Much like film, Architecture needs to alter the experience of dweller/viewer in order to significantly exist.

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1 Basin of hill to Acropolis 2 View of Acropolis from Museum 3rd level

Sergei Eisenstein expressed the notion of the Acropolis being the first cinematic set.

Through this complex, the Acropolis “caters to continuous movement of the eyes; much like film.� This experience of such a space comes from constant action in surveillance and renegotiating the environment which surrounds us as we traverse through. As the path indicated from the Agora to the Parthenon, we as occupants move around the complex in a diagonal formation, continuously receiving the glimpse of important elements of the Acropolis, such as the south elevation of the Parthenon that sits overlooking Athens and bridging the gap between city and complex.

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1. Basin of Hill to Acropolis - 2014

2. View of Acropolis from Museum - source: whc.unesco.org

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3 Erectheion among ruins 4 Archeaological site beneath Museum

What essentially constructs this site as a cinematic set is the fact that through navigating the Acropolis, we find ourselves completely enveloped in the storyline provided by the placement of these structures along our itinerary. Le Corbusier speaks of this manner of approaching a site as ceremonious, where we as dwellers constantly have to negotiate our placement in the path. The horizon of the city is being renegotiated with every turn around these structures until we finally reach the threshold between the Temple of Nike and the Erectheion and directly enter into the top of the cliff.

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3. Erectheion among ruins

4. Archaeological site beneath Museum - source: www.archdaily.com

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5 Entrance to Pantheon 6 Entrance to Main Gallery

We reach the entry level of the Museum greeted by a promenade that pushes us into the main gallery space. Here we are allotted the opportunity to roam or continue onward.

Between the first and second levels, we catch glimpses of Athens and the Acropolis through set apertures. Here in the second floor we reach the main threshold relative to the Acropolis and the direct path at the foot of the cliff. Much like its ancient brother, the Museum reveals a mezzanine to view onward into the third level or to trace the steps of the dweller back to the entry.

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4. Entrance to Pantheon

6. Entrance to Main Gallery - source: www.archdaily.com

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7 Promenade of the Agora 8 2nd level Gallery

Tschumi practices these same principles in the Acropolis Museum. Each level staggers our movement as occupants around structures of historical significance. With the fritted glass as the material choice for the floor condition in transitional spaces, the past of our own movement is documented by overlapping segments.

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7. Promenade of Agora - source: www.greece.com

8. Second Level Gallery - source: www.archdaily.com

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These two works bridge the gap between them and condense the 3-D city context. The experience of navigation speaks to moments of clarity vs. moments of fragmentation in a sequence. Each movement stems from pockets of space that juxtapose another in the same field, continuously forcing new perspectives of edifices upon the dweller in motion.

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Expanding the Aperture The notion of expanding the plane where dwellers view denotes that which we experience as haptic, much like viewing a film. The depiction on a two dimensional plane completely surrounds those at the receiving end, tapping into. An aperture for viewing is expanded, incorporating context and memory of instances.

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Axonometric analysis allowed for an understanding of these parcels for viewing beyond just the instance of where a section was taken. The first section, taken from reflections of the developmental characteristics of the fl창neur focused on emphasizing repetitive motions in a horizon in which ccupants can move along the edge of the horizon.

This view was something to be experienced at a periphery rather than directly.

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In what seemed to be a moment of stasis in the original parcel, a shift in scale focuses on reforming this particular moment into the embodied space rather than an outlier of a space. Two possible points of reference for view engage separate scales of habitation where once again as the wanderer, the view to a horizon lies adjacent to motion. The introduction of a mechanism to increase or decrease an aperture begins to shift direction of view when in use. Here, the question of how does a space truly become occupied is presented.

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The repetitious breakup that engages the exterior of the parcel is intended to divert attention away from a singular view and push multiple factions of a view into one experience. By enlarging this element to become occupied and investigate it through different layers of porosity, the wanderers experience becomes navigating in hopes of reaching the view as opposed to the literal horizon beyond the constraints of the parcel.

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The axonometric study for the Dandy coincided with the characters innate response to navigate the city with a filtered lens. Originally, Baudelaire speaks of the Dandy as a careless individual, overlooking the old Paris amongst the new city, which led to Benjamin describing them as a tourist; never breaking from the map in front of them to enter the actual city itself. This parcel focused on several strategies for emphasizing one aspect of a horizon among the sum of parts.

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A space was carved from the first overhead lens for viewing. The aperture was decreased where its exterior meets the sky, lengthening the sliver that directly registers to an occupant’s eye when sitting. The stereotomy of the parcel sits overhead, reinforcing a dwellers placement in a context. The surrounding barriers are maneuvered by the systems of pulleys, which react to the users own accord and determined experience.

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The next lens plays off of the singularity in terms of view in the section’s left hand aperture. Here, the dweller chooses where to view from in the context that they sit. The façade opens to a threshold to view actions within, or can serve as a moment of overhead viewing for those parallel to it. The skylight for a smaller scaled individual is built up by the structures that extend down to the floor condition. In this particular case, a dweller in relation to their experience is subject to the exclusivity that the only opening is limited to.

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A smaller scale shift is utilized in order to incorporate the scale of a dweller at greater length. Apertures begin to enclose those within the immediate barrier. These forms of experiencing horizons bring an intimacy and joints reinforce the actual moment for reflection. Within fields, such situations of semi-dwelling question quantity that enforces true occupancy or envelopment. Reflections paired with moveable louvers studied the phenomena of looking forward, but literally reflecting on the progressive experience behind.

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The snob’s experience in dwelling was examined through occupying a fairly open condition, with a strong directional predisposition. The space is held by the porous overhead condition direction light in a singular direction at all moments. All sides remain open but do not engage an occupant to remain, as the space encourages continuous movement on one axis.

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By reinvestigating the overhead condition in terms of stereotomy, Opposing forces of what is overhead and what is path come together through sequential apertures. The heavier overhead elongates moments of viewing into the parallel horizon, creating chambers that are stitched in motion. What is for viewing remains open, as an occupant is able to choose their position along the extents of the space provided. What becomes clear is the negotiation between context and the actual built habitat.

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Taking into account the difference between spaces composed of gestures and spaces made through a joint, the shift to space revealed at the joint tackled the question of what it means to view through an aperture. Does an aperture reveal itself as the plane that sits in front of a dweller? Or can an aperture be the remnant that results from understanding the that which someone walks on, and the apparatus that begins to enclose that space. Here, the joint’s scale is enlarged to provide the enclosure for a path, open to the exterior on two sides.

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Once the concept of a joint was manifested, understanding how its position in space moved from simply an overhead condition to a series of elements that came together for a faรงade adjusted the experience of a dweller.

Here, the simple joint becomes systemic and lessens the need for full enclosure, as the aspect of viewing comes with the action of movement. There is no need for a physical enclosure as the elemental necessity for motion is what obligates a dweller to exist in a constricted space.

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The notion of experiences and how they differ between individuals is examined through the contradiction in Perspective and plan. Perspective sets the specific view in a matter that allows for ease of overlapping and registration of axes that recede to the vanishing point. When reconfigured in plan, often times, these overlays are no longer rational. Elements are now dispersed in a field and prove to further apart from one another. Through plan and section, the experience of a space is specific to an instance. The perspective creates the modern frame of experience for the field to be experienced.

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VOYEURISTIC LANDSCAPES

The notion of experiences and how they differ between individuals is examined through the contradiction in Perspective and plan. Perspective sets the specific view in a matter that allows for ease of overlapping and registration of axes that recede to the vanishing point. When reconfigured in plan, often times, these overlays are no longer rational. Elements are now dispersed in a field and prove to further apart from one another. Through plan and section, the experience of a space is specific to an instance. The perspective creates the modern frame of experience for the field to be experienced.

Dwelling constitutes inhabiting said context with the ability to use and experience one’s surroundings. Conventional circumstances calls for existing context or field for architecture to be created. However, when beginning to think of experience as the main driving force, containment no longer is served by external factors. It is the internal processes and justifications which push towards a greater understanding of the haptic. What the person touches, views, hears correlates to the immediate result of what is negotiated between field and territory of occupancy. Additionally, the experience of space between other spectators can be called to question. How is the action of existing in a space different with one occupant or multiple occupants? Much like the initial stage in silent films, displacement of occupancy plays into the role each person plays with the overall narrative. Here in these constructed parcels, a landscape is constructed as the membrane confined by the experience, rather than the opposite.

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The term voyeur at its core suggests a person who seeks benefit from publicly experiencing what would normally be considered private. The term keeps to a singular notion of voyeurism. It suggests that a spectator solely watches and reflects.

However, through this analysis, the occupant comes to engage either willingly or accidentally. As Lebbeus Woods states, a space should engage those with as not only interactive spectators, but as the creators of a condition they dwell. Sectional studies of the aperture parcels that respond to one another and in turn manifest a contextual nomenclature are presented as a form of speculation for what existing in space means and how the dilemma of negotiating between when to act and when to spectate arises. The field that is held at the crossroads of experience suggests various levels of inhabitation with no disruption of view. The horizon within the context is shifting, but the person does not shift at the same echelon.

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Initially placed, the parcels act the part that is determined by the things which encompass the overall experience. What is brought to surface is a connection between use and what is viewed as significant. The spectator not only views but begins to inform what others diverge into.

There is no altruistic response to occupying a given framework, as what is seen has developed multiple identities for those acting in the moment. At a certain point, the site or field no longer matters for the purpose of explaining the attributes of a space. The view remains cyclical and does not retract into the qualities of a context.

At a certain moment, the parcels unite through use and development rather than through the act of negotiating in a landscape. This landscape remains as it was due how view has enveloped the spectator.

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OBJECTS IN MIRROR ARE CLOSER THAN THEY APPEAR

Why do we as occupants in a field begin to connect with not only the program and necessity in Architecture, but the actual envelopment through the overall itinerary in a structure? To further elaborate, without the use of direct instruction, does the human body understand the purpose of a space universally because of the way in which our senses are activated?

Benjamin played off of the social characters of Charles Baudelaire in order to bring a conceivable grasp to the urbanism that was developing from one day to the next1. The second coming of the Industrial Revolution left cities at a vulnerable place for the person to interact and formulate a sense of place. It is not surprising that with the evolution of such circumstances, Benjamin held to his own regard the character involvement within a context remained always at the edge of discovery. Giuliana Bruno suggests that it is not merely the way we perceive a space in film but the manner in which the viewer would use said space in reality. This “Haptic Route” of Film relies on the presence of the edge through familiarity of place2. Without these qualities within the intersection of urbanism and landscapes, there is no coherence. Additionally, much like a person walking and spectating, the mind in film practices momentary reconstruction of the total perception of an image from the fragments. This is the basis for how the mind can create continual action solely through the sequence of fragmentary views.

Another important question worth investigation is how can the landscape of the surrounding context in a site enhance one’s experience in architecture and a built environment? The reason to include the built environment is due to the fact it is not necessarily a subcategory in Architecture but a realm of design that sits between that of designing for program and designing for the land itself. What one may begin to see as distant and irrelevant actually can be later proposed as near and of importance from a contextual basis. The horizon is relevant to one’s placement at an axis, therefore the only constant factor in negotiating experience.

1. Walter Benjamin, “The Arcades Project” (The Belknap Press, Harvard University) p. 217 2. Giuliana Bruno, “Ramble City: Postmodernism”, (Cambridge, Massachusetts, Harvard University Press, 1996)

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Ruins of original Chapel - Sumvtig, Switzerland

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Film Bibliography Brazil, Directed by Terry Gilliam (1985); Los Angeles, CA; Universal Studios, 2006), DVD 12 Monkeys, Directed by Terry Gilliam (1995); Los Angeles, CA; Universal Studios, 2006), DVD

Bibliography John Beckmman, The Virtual Dimension (New York, New York, Princeton Architectural Press 1998) Walter Benjamin, The work of Art in the age of Mechanical Reproduction, (Cambridge, Massachusetts, Harvard University Press, 1996) Walter Benjamin, The Arcades Project, (Cambridge, Massachusetts, The Belknap Press at Harvard University, 1999) Giuliana Bruno, Ramble City: Postmodernism, (Cambridge, Massachusetts, Harvard University Press, 1996) Giuliana Bruno, Streetwalking on a Ruined Map: Cultural Theory and the City Films of Elvira Notari, (Princeton, NJ, Princeton University Press, 1993) Butler, Christopher, “Early Modernism: Literature, Painting and Music in Europe 1900-1916�, (Oxford University Press, 1994) Alex Coles, The Optic of Walter Benjamin, (New York, New York, Black Dog Publishing Limited, 1999) Michael J. Dear, The Post Modern Urban Condition, (Oxford, United Kingdom, Blackwell Publishers, 2000) Sergei M. Eisenstein, Montage and Architecture, (Cambridge, Massachusetts, Harvard University Press, 1996) Stedelijk Van Abbemuseum Eindhoven, Cinema Cinema: Contemporary Art and the Cinematic Experience Brian Elliot, Benjamin for Architects, (London, England, Rutledge Taylor and Francis Group, 2011) Andre Gaudreault, Detours in Film Narrative: The Development of Cross-Cutting, (Cambridge, Massachusetts, Harvard University Press, 1996) Anton Henze, La Tourette: The Le Corbusier Monastery, (Starnberg, Josef Keller Verlag, 1963) Lars Lerup, Building the Unifinished: Architecture and Human Action, (London, Sage Publications, 1977) Mark Lamster, Architecture and Film, (New York, Princeton Architectural Press, 2000) Maurice Merleau-Ponty, Phenomenology of Perception, (London, Rutledge Classics, 1945) Christian Moeller, A Time and Place: Media Architecture, (Zurich, Switzerland, Lars Mueller Publishers, 2003) Dietrich Neumann, Film and Architecture: Set Designs from Metropolis to Blade Runner, (New York, Prestel Munich, 1996) Francois Penz, Maureen Thomas, Cinema and Architecture, (London, British Film Institute, 1997) Fred Truniger, Filmic Mapping, (Zurich, Switzerland, Jovis Publishing, 2013) Peter Zumtor, Thinking Architecture, (Basel, Switzerland, Birkhauser Publishers, 2006)

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BIBLIOGRAPHY

Thank you to the people who went above and beyond simply one semester of teaching and collaboration: Lisa Huang Mark McGlothlin Donna Cohen Jason Alread Jairo Vives

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I also want to thank my Design 1 and 2 students for teaching me as much as I hope to have taught them. & my Grad Classmates . This experience would never have been the same without the love and laughs we shared.

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