Integrated Design Report Stephanie Else Year 4
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Filmhaus: Exploring
the narrative of film
in
Berlin
CONTENTS
MANIFESTO : : : : :
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considering narrative considering context manifesting form material space: constructed
INTRODUCTION 1.1 1.2
Berlin in Context Project in Context: The Significance of Film in Berlin
PRECEDENT 2.1 2.2
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Analysis: Architecture in Film Analysis: Direction
HUMANITIES: MAPPING 3.1 3.2 3.3
The Cinematic Topography of Berlin Aims + Method ‘Cinematic Berlin’ Map
3.3.1 3.3.2 3.3.3 3.3.4 3.3.5
“ I cannot find the Potsdamer Platz” city in perspective city as transitionary element fractured ‘space between’ space restructured
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FILMHAUS STAGE 01: FILM STUDIOS
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4.1 Brief 4.2 Current Vernacular Studio Precedent 4.3 Site 4.4 Design Precedent [Form] 4.5 Concept 4.6 Strategy 4.7 Programme Breakdown 4.8 Outline Proposals
FILMHAUS STAGE 02: FILM SCHOOL
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5.1 Interpreting the Brief 5.2 Site 5.3 Scheme Outline - Landscaping 5.4 5.5
Considering Public + Private Programme Anatomy:
5.5.1 Digital Media Library 5.5.2 The Presence of Film 5.5.3 Cinema as Object 5.5.4 Material + Structure 5.5.5 Technical Studios 5.5.6 Detail 5.5.7 Strategy
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5.5.7.1 Fire 5.5.7.2 Heating + Ventilation 5.5.7.3 Environment: Lighting
5.5.8
Sustainability Standards
References & Image Credits
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‘Significance in the contemporary world requires us to ensure the relevance of our work within a developing sociological reality and its meaning within an established tradition of forms and language. While this tradition requires continuous development and the language continues to expand, it is our responsibility to give order to this process...In the process we cannot consider our present situation in isolation from history.’ - David Chipperfield
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MANIFESTO
Considering Narrative ‘By facilitating both humanistic and scientific thinking, storytelling nurtures an integrative , systems-orientated view of conceiving architecture; a system that, by focusing on the connections between people, processes, and materials, creates the setting for a ‘cultural making’.’ - Marco Frascari
Narrative comprises the world around us: it exists everywhere, consistently. Similarly, the interpretation of architectural narrative is infinite. One can become preoccupied both with what is and what isn’t. The extent to which each of these is understood depends entirely on the view point of the individual. Subjectivity is key. Essentially architecture can be seen as the projection of an individuals interpretation of things. The architect can convey and suggest the narrative(s) but the occupant will then interpret and conclude it [consciously or subconsciously]. Whatever is rendered visible to us will automatically form external references to our own histories and memories.
Right: Neues Museum gallery, Berlin David Chipperfield Architects Image Credit: Candida Hofer
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MANIFESTO
Considering Context
Perhaps the most fundamental ‘thing’ to consider when presented with a design brief: context. Building programme is evidently bounded by the physical parameters - the built context; the site boundaries. Scale and proportion are basic considerations, particularly in dense urban situations. ‘Context’, however, exists as something far more complex. Architecture must exist within several contexts simultaneously: social, political, local, global, environmental, economic, cultural. Significance, though, lies within the latter. Cultural context is paramount to the holistic development of a successful design brief. Architecture, simply, is constructed to be inhabited by people. Logic therefore dictates that any addition/ intervention to the built environment must have a tangible association with its dynamic cultural locale.
Right: Am Kupfergraben art gallery, Berlin David Chipperfield Architects
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MANIFESTO
Manifesting Form Form [doesn’t always] follow function. Architectural form, often, is the result of the content and composition of building programme - bounded by its ‘physical’ site. Cues can be taken from immediate context. They can also reject the immediate context. Fundamentally, structural strategies alter the building aesthetic: conscious concealment or expression significantly influences perception of the architecture.
Ultimately it is the individual programme which manifests form.
interpretation
of
There is no correct way to interpret a brief, the importance here lies in the intent. Architecture must exist as ‘relevant’ form within its specific cultural context.
Right: Virginia Commonwealth University Institute for Contemporary Arts (ICA) concept model Steven Holl Architects
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MANIFESTO
Material ‘Materials react with one another and have their radiance, so that the material composition gives rise to something unique. Material is endless...There are a thousand different possibilities in one material alone.’ - Peter Zumthor
There is something inherent within material, generally, which profoundly affects our perception of things - of architecture. The tactile properties of material significantly influence and transform the perception of space, both visually and acoustically. In his publication, ‘Atmospheres’[2006], Zumthor discusses ‘material compatibility’ and the acute importance of the relationship between multiple materials. There is a very fine balance that must be achieved. Consideration of material early in the design process should inform the constructed architecture and ultimately convey an intended architectural idea.
Right: Therme Vals, Peter Zumthor Image Credit: Helene Binet
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MANIFESTO
Space: Constructed
Architectural space should be designed to evoke an emotional response. The question should always be : what
is the feeling of this space?
Scale, proportion, material and light are composed and articulated in such a way as to form atmosphere. Treptow Crematorium [opposite] is a captivating space. Smooth concrete envelopes the interior yet there is an apparent physical ‘lightness’ to the atmosphere - a relief from the gravity of the event and purpose of the building. : and the acoustics are, quite simply, supreme.
Right: Treptow Crematorium, Axel Schultes Architekten
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INTRODUCTION
Berlin in Context Berlin is a young capital which has not been adequately accepted as such and which still must find its identity. The capital city must actively promote its special role and strive for acceptance in Germany. Since its founding but especially since the 19th century, Berlin has repeatedly been subject to severe political and societal changes. These were often in connection with a change in the societal elite who represented their respective new visions for urban development and society. Following the extensive destruction of WWII, the newly designed and highly subsidised Berlin served as the capital of the GDR. The city was at the centre of international attention. After 1989, along with the end of an artificial situation, the city’s industrial base quickly collapsed. Simultaneously, the city became the seat of the German government and significantly, the symbol of a reunified Germany. Berlin has had to reform itself as a new paradigm city. Through the process of regeneration, consolidation, conservation and integration, the city is attempting to maximise its potential. The stratification of the existing urban plan and cityscape, enriched by its rough scars and historical fractures is incredible. Berlin’s attractive streetscape, extensively planted, offers a new experience: where its history is evident and sits comfortably alongside contemporary re-workings and insertions.
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Germany in Europe
Berlin in Germany
Project in Context
The Significance of Film in Berlin The film industry has long been a core component within the city of Berlin historically rich and economically crucial. Studio Babelsberg, located south of Berlin in Potsdam, celebrated its 100th anniversary in 2012. These world renowned studios have been a prime location for filming and production of countless pictures, including Fritz Lang’s ‘Metropolis’ [top, right]. More recently the studios have also aided the production of films such as the ‘Bourne’ franchise, ‘The Pianist’[lower, right], ‘Cloud Atlas’ and ‘The Monuments Men’. City as Filming Location The narrative of film’s such as ‘Run Lola Run’ and ‘The Bourne Supremacy’ rapidly unfolds through Berlin’s textured cityscape. Incidentally, this appropriately reflects the city of Berlin in its global context where it strives for continuous urban development to ensure its status as a primary, contemporary European city. Considering the Spectator Open air cinemas, situated throughout the city, confirm the overwhelming popularity and significance of the flm industry within the German capital.
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Berlin film industry
PRECEDENT
‘Couldn’t an exciting film be made from the map of Paris?... From the compression of a centurylong movement of streets, boulevards, arcades, and squares into the space of half an hour?’ - Walter Benjamin
Initial studies of a specific film and director aimed to establish an understanding of the potential relationship(s) between film and architecture.
Left: eroding city, ‘Inception’ 2010. Director: Christopher Nolan
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ANALYSIS
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Architecture in Film Don’t Look Now [1973] Director: Nicolas Roeg Brief Synopsis A married couple grieving the recent, sudden death of their young daughter travel to Venice where they encounter two elderly sisters, one of whom [John Baxter] is psychic and brings a warning from beyond.
Film Narrative: Venice Entanglement
- back streets of Venice in Winter, out of season, establish authenticity
- the labyrinthine city permeated by waterways provides a parallel irony to death of child (drowns); recent murders in the city
- web of streets evokes sense of anticipation
- eroding buildings representative of suppressed grief of couple
- Roeg disorientates Baxter’s character as he is drawn to a series of dead ends/ canals - forcing him to stop and reflect
- Baxter’s disorientation and entanglement within the city exists as a physical representation of his mental state
ANALYSIS
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Direction Michael Mann Film: Collateral [2006]
‘ I wanted to see the night.’ - Mann [on the use of Digital HD]
Film Narrative: The film is exhibited in a neo-noir film style whereby the city is part of the dramatis personae. It becomes more than just a location - a backdrop.
The Nocturnal City At night [for Mann] the city becomes a three-dimensional machine. Through the use of Digital HD, it became possible for Mann to capture the vibrancy of LA at night.
Authenticity Throughout, the unfolding, sequential narrative is realistically captured. One scene, specifically [top right] has an almost spontaneous documentary-like feel, thus creating a balanced juxtaposition of realism and style.
HUMANITES: MAPPING
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The Cinematic Topography of Berlin ‘Berlin may be relatively young, at least for a European city, but it is hard to think of a city with a more tumultuous history in the modern period, or one whose history has been as relentlessly captured on film.’ - Susan Ingram
Content Film defines the city as the city defines film. Berlin, significantly, with its evident scars now interlaced within the contemporary fabric, provides a rich backdrop for film – to the extent that, often, the city itself becomes the central protagonist. This is evident in a cross-section of films. For example Germany Year Zero, 1948, captured the devastation of Berlin; while contemporary film such as the Bourne franchise, provides a vivid portrayal of the thriving metropolis. A city’s own dialogue can be understood in a similar manner to that of film narrative: where there exists a plot within which occurs a sub-text and a specific focus [or foci]. The art of the motion picture has the ability to capture, simultaneously; history, memory and identity. As such, an analysis of film relevant to that location can provide a compelling insight into the continually developing urban structure. Aims + Method Through mapping a cross-section of film at the macro scale, one can begin to determine the cinematic topography of Berlin; primarily the most frequented locations and the significant relation to the east/west historical fracture. The visual embedding of selected scenes into the grain of the city is intended to demonstrate the cinematic depiction of key spaces, such as: the Kurfurstendamm, Potsdamer Platz, Karl-Marx Allee and Tiergarten. An extended analysis from this systematic study, at the micro level, of prominent filming locations further illustrate the relevance of film as a medium which can facilitate a sound understanding of the development and portrayal of the city fabric.
Films included in the study include: Wings of Desire, 1987; The Bourne Supremacy, 2004; The Lives of Others, 2006(set in ’84); Unknown, 2011. Ref: Ingram, S (2012) World Film Location: Berlin, Bristol; Intellect Books
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FILMHAUS STAGE 01: FILM STUDIOS
Project Duration: 4 weeks [Schematic Design]
Brief 2
Scale: the basic schedule of accommodation totals 11,000 m . Expanded, it reaches 2 approximately 15 - 20,000m . The huge programme mostly accommodates the large studio ‘warehouse’ type spaces required to fulfil their function in the working environment. This initial part of the Filmhaus studio project forces us to question and investigate the aforementioned stereotype of film studios where precedent examples typically highlight these as a ‘collection’ of buildings, arranged pragmatically on their respective sites. The challenge is, ultimately, to design the ‘space between’ the massive volumes and attempt to convey a considered architectural idea.
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[CURRENT VERNACULAR] STUDIO PRECEDENT
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Site Located on the edge of central Berlin, in the district of Moabit, the site acts as a physical threshold between a dense residential area to the South, and open industrial area and substantial railway line to the North [and along the east/west axis]. 2
Size: 74,000m approx. The extensive site addresses the entrance to the city from the North and could potentially become a landmark and new gateway to Berlin. Moabit The district is dense and largely residential - significantly though, it lacks a ‘local’ centre. The scale of the proposed studio site provides an opportunity to address this issue and potentially create new public space. Existing Currently the site sustains three existing buildings: an industrial depot and, in contrast, a recently established and substantial community garden. The third is a listed building, located in the most western corner by the bridge. As such, various strategies have been investigated to work with these.
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site plan 1:2500
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moabit: split narrative
Street edge along south side of site
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Rail line to north of site
site: split [boundary] narrative
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DESIGN PRECEDENT [FORM]
rhythmic
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volumetric
Venice
Berlin
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Concept Investigating the ‘Space Between’ As alluded to previously, the primary focus of this scheme manifests itself in the design of the ‘space between’ the main studio spaces and less on the spaces themselves [as the ideal studio space is, simply, a big empty box]. Subsequently, this led to an investigation of the connective spatial tissue which occurs in every city. The two examples: Venice, IT and Berlin, DE exemplify the various qualities achieved through the structure of their streetscapes.
Existing & redefined geometry
Key elements
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Strategy Considering Geometry Working, initially, with the established geometries of the site proved to be impracticable therefore a new approach was taken to establish a more rational geometry within the site boundaries - with the view to allow some of the existing ones to more subtly influence the design.
Clarified boundary
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Space as connective tissue
Existing localised landmarks
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Strategy Condensing the Site Structure 2
Having focused the core of the scheme in the most westerly ‘third’ of the 74,000m site, this allowed for the retention of the existing community garden with no compromise to the proposed scheme.
Statement Option - Emphasis on studios as defining edge
‘Polite’ Option - Studios pushed to back; smaller accommodation to front
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Redefined site boundary & circulation
PROGRAMME BREAKDOWN
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service circulation
internal circulation
studios
workshops
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activity cores
service cores
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OUTLINE PROPOSALS
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first 1:500
ground 1:500
Ground floor plan
second 1:500
third 1:500
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first 1:500
First floor plan
second 1:500
Second
third 1:500
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second 1:500
third 1:500
Third
S T A D T
S T U D I O S
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sou
B-B 1:500
Section through west entrance
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B-B 1:500
C-C 1:500
Section through centre of scheme
Section through large studio
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Section through east entrance
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FILMHAUS STAGE 02: FILM SCHOOL
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Project Duration: 6 Months Schematic - Detail Design
Interpreting the Brief 2
2
Accommodation Total: approx 2500m [expanded approx. 3500m ] On paper, the brief for a film school is deceptively similar to that of a standard educational institution. The primary focus though lies within film. Two ‘cinema’ spaces are outlined within the brief: these can be more than stereotypical auditoriums. These should become a driving factor of the architectural intent: they are the dramatis personae. The investigation of ‘narrative’ is fundamental - and extensive. It permits an exploration of ‘event’ and ‘suspense’; of ‘intrigue’ and ‘illusion’ - ‘seen’ and ‘unseen’.
The themes outlined above also form a core part of the separate Design Research Unit.
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Site Located on the banks of the River Spree, the flat, south facing site is an ideal location for a film school in central Berlin. 2
Size: 2,100m approx. Mitte The site is situated in a dense mixed-use, though mostly cultural area within the district of Mitte. To the far North, the site has an excellent aspect toward the ever present TV tower while, to the West lies Museum Island, home to David Chipperfield’s Neues Museum. Existing Facing the site to the West is a pre-war building, which functions as a school; to the North a post-war commercial building; contemporary offices bound the eastern edge.
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mitte: 24 hour culture
University of Limerick Medical School: Grafton Architects
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Amkupfergraben 10 Private art gallery: Chipperfield
building precedent
aerial view of site [highlighted in red]
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site context [boundary dotted in red]
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view from south-west
site
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STRATEGY
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Two, primary, existing planning policies in Berlin dictate that: - the development must physically address each of the site boundaries (this can be partly solved through the landscaping strategy) - the building should not exceed the height of the surrounding buildings
maximise view north to tv tower form hard edge to northern boundary [for acoustic purposes] open facade to south maximise south facing aspect & form a new pedestrian precinct extend and reform existing outcrop to permit views back to Museum Island
extended wall responds to church on the south side of the river
site strategy
SCHEME OUTLINE
primary public route primary private route
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extended public precinct
Almere Central OKRA Landscaping Architects
LANDSCAPING
Through the development of the scheme a significant expansion of the pedestrian area surrounding the building became necessary. As highlighted in the site strategy diagram on p106/107, the pedestrian precinct has been extended to meet the river front. This newly developed space is primarily hard landscaped and will serve a variety of functions: - external film screening - filming location - public events The granite paving will be of a similar pigmentation to the masonry used throughout the scheme, with a variation in tone to visually break-up the space. Trees will be reintroduced along the river edge to continue the theme already established further along the river. LED lighting has also been integrated within a portion of the groundscape.
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dd
locker storage
cc
wc
bb
wc
film shop
reception
aa
entrance
bar
kitchen
cafe
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ee
ff
open exhibition/ cafeteria seating
external filming/ screening
technical studio 01
technical studio 02
workshop & plant
ground 1:200
ed.
animation dept.
editing
wc
breakout
screenwriting studio
screening room
interactive media wall
digital media library service desk
dd
ee
locker storage
cc
wc
bb
wc reception
aa
entrance
film shop
audio ed.
breakout
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os
second +9.74m
cinema foyer
studio 03/ exhibition
first +5.12m
ff
open exhbition/ cafeteria seating
technical studio 01
technical studio 02
store meeting staff kitchen
open plan offices
external filming space
ed. wc ed.
animation dept.
editing
wc
breakout
screenwriting studio
screening room
interactive media wall
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third +14.36m
teaching space
audio ed.
wc
audio ed.
wc
breakout
os
second +9.74m
cinema foyer
store meeting staff kitchen
open plan offices
external filming space
third +14.36
ed. wc ed.
animation dept.
editing
breakout
wc
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third +14.36m
teaching space
audio ed.
wc
audio ed.
wc
breakout
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south elevation
final scheme: public [shaded grey]
CONSIDERING PUBLIC + PRIVATE
This film school brief provides an ideal opportunity to investigate the integration of public and private access. Essentially the building will exist as both a working and showcasing filmic environment. The scheme includes two distinctive and separate screening spaces, the largest of which is intended to be used for public exhibition events. Further to this, public access extends to approximately 75% of the ground floor [bar/shop/ exhibition area] while the main cinema space is accessed at first floor level. Ultimately the intention here is to provoke a sense of anticipation for the visitor.
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Scorsese’s ‘Hugo’: shot in Digital HD/3D
PROGRAMME ANATOMY: DIGITAL MEDIA LIBRARY
As with any educational building the library is paramount. In considering the term ‘library’, the instinctive reference is most likely to a physical collection of books. Though in this current digital age, electronic and online libraries are readily accessible. To students, specifically, using social networking and smart technology is second nature. It fundamentally alters the way in which people are educated: indeed it is difficult to imagine a world without Google™. It is appropriate to highlight here, with particular reference to the principles of contemporary film, that the traditional 35mm film is being overrun by Digital HD: even the mighty Martin Scorsese has reluctantly accepted that this is the future of film making. With digital media, the sky is no longer the limit.
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‘paper’ library
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contemporary meets classic
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vertical legibility
utrecht library: wiel arets
interactive media wall
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integrated study space
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filmhaus: digital media library concept montage
THE PRESENCE OF FILM
Alfred Hitchcock’s ‘Vertigo’
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Turbine Hall film installation: Tacita Dean
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‘1984’ : adapted screenplay
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exhibiting film
PROGRAMME ANATOMY: CINEMA AS OBJECT
Cinema may be considered as ‘event’: an immersive experience. Within this scheme the two screening spaces are integral to the articulation of the programme. Both spaces form the core of the building, around which the school operates. The ‘secondary’ smaller cinema exists in an elevated position from the first floor as a continuation of the unfolding concrete route. Glazed on three sides, the space is not intended to be acoustically sound though use of double glazed units should minimise interference. Positioned ‘within’ the Digital Media library, the intention here is to provide a somewhat literal transparency of the building narrative. Meanwhile the primary cinema exists as the antithesis: it is the fundamental ‘closed box’ space. It is an ‘exact opposite’ mirror image, suspended above and within the ground floor exhibition area Clad externally with timber acoustic panelling, the cinema structure should act as an absorbent ‘box’ within the ground and first floor levels. Internally, the primary cinema will also be acoustically sound.
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cinema concept diagram
‘box in box’ concept
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structural concept
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cinema concept montage
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final scheme
initial concept sketch & [right] final internal perspective
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masonry/timber
PROGRAMME ANATOMY: MATERIAL + STRUCTURE
‘There’s a critical proximity between materials, depending on the type of material and its weight. You can combine different materials into a building and there’s a certain point where you’ll find they’re too far away from each other to react, and there’s a point where they’re too close together, and that kills them.’ - Peter Zumthor Proposed material palette: Masonry [structural/aesthetic] Concrete [structural/aesthetic] Steel [structural] Timber [aesthetic/technical] Glass
[specialist application for cinema: ‘Intelligent’ system to allow opaque/transparent alternative]
In limiting the palette the design intentions should become legible. Typically, the primary structure of masonry diaphragm walls can be read throughout while floor surfaces delineate public and private areas: concrete/public; timber/private.
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structural concept diagram
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primary structural walls primary structural walls [masonry & concrete] [masonry & concrete]
secondary structure secondary structure [vertical loading]loading] [vertical
cinema structure - steel [‘box in box’ concept for acoustics]
cinema structure - steel [‘box in box’ concept for acoustics]
primary floor structure - steel with concrete deck
primary floor structure - steel with concrete deck
strategy combined
strategy combined
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vertical legibility concept montage
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entrance concept montage
PROGRAMME ANATOMY: TECHNICAL STUDIOS
The provision of technical studios within the proposed scheme is essential. Students will have access to specialist equipment which will facilitate their education in relation to learning core camera and lighting techniques Workshops, closely situated, will permit the construction of props and set design. Acoustic conditions within the studios are addressed through the primary ‘buffer’ walls which bound the northern edge of the site. The internal environment should be similar to that of a typical studio [opposite] - albeit at a much smaller scale. An upper gantry level within each of the studios provides access to lighting rigs and provides a viewing platform from which assembled classes might observe.
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in ma
d
roa
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tech
nica
prim ary
sec
ond
ary
cine
ma
l stu
dio
s
cine
ma
acoustic buffer
PROGRAMME ANATOMY: DETAIL
‘God is in the Details.’ - Ludwig Mies van der Rohe, 1959
At over a half century old, the German architect’s world renowned phrase has been referenced on countless occasions. Still, there is relevance in referencing it for the nth time here. Achieving a refined, streamlined design in reality which appropriately projects the architect’s desired image, is not easy. The level of detailing required to achieve a ‘minimalist’ aesthetic is incredible. Ideas are great. Manifesting these ideas in reality is the challenge.
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PROGRAMME ANATOMY: STRATEGY
Fire The primary walls which bound the entire scheme do a number of things but act particularly well as a vessel for the fire cores. Two stair cores service all levels, while a third stair serves the primary cinema. The west end of the scheme is serviced by a large, central core.
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heat recovery unit
vrv system
displacement ventilation
mechanical system
PROGRAMME ANATOMY: STRATEGY
Heating + Ventilation Due to the complex nature of the scheme, several strategies have been considered with regards to ventilation. 1. Mechanical This will serve most of the building. The diagram [top left] highlights the primary areas [on the ground floor] where this method is necessary - technical studios, workshop, kitchen & toilets. Service voids are highlighted in red. 2. Displacement This method has been considered for integration into the primary cinema space: fresh air is brought in below the seats and is drawn out through the vents installed between the Ecophon acoustic ceiling panels. [expanded on following page] 3. VRV [variable refrigerant volume] System Integrated into the ceiling of the secondary cinema space. An underfloor heating system is integrated throughout the scheme.
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Displacement Ventilation Having previously highlighted that this type of system may be primarily used in the main cinema space, it would also be effective elsewhere in the scheme. The principle of the system, where cool, fresh air is brought into a space a low velocity and, usually, at low levels would be effective in higher volume spaces such as the bar and animation studios. This would achieve energy savings as only the occupied zones would be conditioned. Further to this, perimeter floor diffuser vents are integrated into the office and studio spaces.
potential for solar pv array [would supplement water heating]
PROGRAMME ANATOMY: STRATEGY
Environment: Lighting South facing, the scheme has an excellent aspect across the River Spree. Within the design, daylight is maximised from the south - though it is minimised in the Summer months due to solar shading from the depth of masonry walls. Skylights are used extensively throughout to ensure suitable natural light levels at the most central parts of the plan. A solar photovoltaic array may also be implemented to supplement water heating.
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SUSTAINABILITY STANDARDS
BREEAM™/ Passivehaus Standard As the project is located in Germany, where sustainable construction is fundamental, the building should be constructed to meet the appropriate standards. - The building employs a MHRV unit which should service the entire building efficiently. - 200-350mm insulation is used throughout to ensure minimum heat loss - Air-tightness is also a crucial factor for the same reasons Fixed triple glazed units are used throughout - though some skylights may be mechanically operated. Electrical lighting and appliances will be specified to meet high efficiency ratings. Throughout all stages of the design process, consideration to the environmental impact of the building will be consistent. Where possible materials will be locally sourced and will, in most cases, meet the Green Guide ratings of A or A+.
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cinema foyer
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north wall interior
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cinem final scheme: cinematic sequence
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‘As Architects we must both be part of and stand apart from the culture within which we operate. To be effective we must embrace power, but also distance ourselves; we must engage in dialogue and we must refuse to listen; we must explore the familiar and the unfamiliar; we must embrace history and reject it. Finally we must resolve our ideas in matter and form.’ - David Chipperfield
References Chipperfield, D. (1994) Theoretical Practice. London: Artemis Chipperfield, D. (2009) Form Matters. Cologne: Verlag der Buchhandlung Walther Konig Sharr, A. (2012) Reading Architecture and Culture: Researching Buildings, Spaces and Documents. Abingdon: Routledge Zumthor, P. (2006) Atmospheres. Basel, Switzerland: Birkhauser
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Image Credits 01. Berlin aerial view [online] Available at: http://www.tapetus.pl/188164,miasto-rzeka.php 02. Candida Hofer 03. David Chipperfield Architects 04. Steven Holl Architects [online] Available at: http://architecturerichmond.com/2012/10/12/ current-steven-holl-architects-forking-time/ica-model-steven-holl-2/ 05. Candida Hofer 06. Author’s image 07. Metropolis [online] Available at: http://planeringsbloggen.wordpress.com/2011/10/13/de-10coolaste-fiktiva-staderna/ 08. The Pianist [online] Available at: http://www.lahornacina.com/opinionruinas.htm 09. Inception [online] Available at: https://www.youtube.com/watch?v=SbE8ueKIfyk 10.-11. Screenshots from Don’t Look Now 12-13. Screenshots from Collateral 14. Paramount studios aerial view: Bing Maps 15. Map [online] Available at: http://www.paramountstudios.com/admin/uploads/Forms/475x300_ LotMap.jpg 17. Moabit [online] Available at: http://www.bilderbuch-berlin.net/Fotos/moabit_sch%C3%B6ner_ wohnen_architektur_graffiti_fassade_391710 18-20. Google Maps 21. David Chipperfield Architects 22. at103 arquitectos 23. Mitte [online] Available at: http://real.dctc.edu/fall2013/files/2013/02/berlin.jpg 24. Mitte night [online] Available at: http://commons.wikimedia.org/wiki/File:Berlin_ friedrichstrasse_night.JPG 25. Grafton Architects 26. David Chipperfield Architects 27-29. Google Streetview 30. Hugo [online] Available at: http://positive-thinking-greece.blogspot.co.uk/2013/06/ inspiration-from-movie.html 31. Yale University library [online] Available at: http://amis.org/meetings/2007/images/beinecke1. jpg 32. Bookstore [online] Available at: http://cdn0.lostateminor.com/wp-content/uploads/2013/01/ extra-large-architecture.jpg 33-35. Wiel Arets Architects 36. Digital media wall [online] available at: http://futuregiraffes.files.wordpress.com/2012/01/ doppler-effect.jpeg 37. Dominque Coulon et Associes 38. Vertigo [online] Available at: http://filmmakeriq.com/wp-content/uploads/2013/05/vertigo.jpg 39. Film installation [online] Available at: http://sigurdurgudjonsson.net/installation/ 40. Film installation 02 [online] Available at: http://www.vvork.com/?tag=bricks 41. at103 arquitectos