The urban construct is formed around human activities and interactions, it is the set for which daily life plays out. Somehow disjointed for the lively city streets, Fort lane acts as a threshold, a space of transition between scenes. Connecting to the theatrical history of the site, using the existing car park building which links Fort lane with Commerce street I saw the opportunity to establish a sense of disruption of the normal rhythm within the lane by creating an intriguing arrival which draws people in. My idea for this space is to construct a moving image Centre within the building. Through cuts in the outer facade this allows a glimpse into the scripted space, which creates a secondary layer giving an element of temporality to the transpiring screenplay enfolding as the audience engages in the exhibited area. The main component of the design is the theatre space resembling an upscaled zoetrope, the illusion of a panoramic film reel communicating an experience to the audience. The still frames move in a mesmerizing loop causing the audience to understand the artist’s narrative. The cylindrical mechanism twists within the void revealing fragments of the panoramic image through the intermittent windows. Through the void you are able to see the static physical workings that become animated through the moving image.
Don't wanna be here? Send us removal request.
Statistics
We looked inside some of the posts by theatricalgaze-blog and here's what we found interesting.
Average Info
Notes Per Post
1
Likes Per Post
0
Reblog Per Post
1
Reply Per Post
0
Time Between Posts
4 days
Number of Posts By Type
Photo
9
Text
6
Video
2
Last Seen Tumblr Blogs
Fun Fact
BuzzFeed published a report claiming that Tumblr was utilized as a distribution channel for Russian agents to influence American voting habits during the 2016 presidential election in Feb 2018.
Photo
The eye is a powerful tool it is how we make cognitive connections
0 notes
Text
Lecture – thomas michael
Building- becoming – cyborg
Cyborg cinematic space –origin
-Assemblage
When you design a space its not something that just sits there but rather shows an evolution of time
Modernism is a construct
Aspiration of freedom
Mental construct
The construct reveals hidden knowledge
Through making you are giving the viewer a look inside your mind
-Way of thinking
Cinema – architecture
Film – social art
Spectacle, something you would dress up for
Plato’s cave – how the world operates as an illusion
You know film is unreal but you desperately want it to be real
Bernard shumi
Language between cinematic representations of space and spatial design
Shoot ratio
However, since the field of the eternal or nature is continuous, generation/evolution as the repetition of width along length becomes an unbroken field of transition: (spiral)
Watch film, just the sound/ just the image
Cinematic space is fiction
The uncanny valley – the idea that as robots as they become more and more realistic people start to buy into the fiction
Idea of what’s real and what’s not becomes twisted
The urban block and the cinematic scene
Structure of film and construction of the city are almost default settings
For Hitchcock film is design
Wender is hyper-open
-Hunter-gatherer approach anything can be designed
Sci-fi
“Science fiction should be renamed science prediction:
Sleep dealers
Inception- the world has plasticity to it
Adjustment bureau
You can only save a bad design with a good idea
Cyborg- Mechanical construction of what they think a human should be
Stelarc – artist – prosthetic extension
The terminator
The things that people interact with the most is the best designed
Mimetic Alloy terminator
Soft robotics
Mestizo technology
Café bongo Tokyo
Snohetta
Bio futures
The concept of the cyborg has been normalized
0 notes
Text
Atmospheres and felt spaces
Agoraphobia
Existential anxiety
Mankind creature that makes tools even further the creature that makes pictures and tells stories about the world.
Homo pictor- the creature that pictures its existential place
Cave paintings-
Mythogenesis-
Memory patterns give us the thoughts that make us understand
When people were planning to go to mars they didn’t know what it would be like it was just speculation
When we occupy a space we name things essentially telling a story/ making sense of things
We are creatures of reach – the world we hold in temporal death (in time)
Maurice merleau-ponty: what does it men to sense with a body?
We only understand something because we are able to experience it spatially.
How bodies shape how we see things…
A dog doesn’t see the world the same way we do.
Being of an not of the world – intertwining
The world itself is a body a kind of flesh
The conscious and unconscious self
Phenomenological psychology: a world seen and understood according to intentionality – seeing what you’re looking for a shared world experienced through empathetic structures – feeling what others feel.
Sifting through information and gathering only what you want to get from it.
Project into the life space of someone else we must project empathy to make informed decisions.
Project human emotions on to objects
-Gottfried semper (1803-1879)
-Carl stumpf (1848-1936)
-August schmarsow (1853-1936)
-Wilhelm worringer (1881-1965)
Gnostic knowing (the what of the object) to pathic knowing (the how of something being given).
Gernot Bohme – a concept concerning the in-between:
Between objective conditions and subjective states, between object and subject.
You feel the mood of the space through the atmosphere.
Mood can shift within a space depending on what kind of events unfold in the space.
Smell a powerful activator of mood
There are many kinds of spaces.
Spaces of representation vs. spaces of bodily presence.
Films are virtual spaces, are they bodily?
Virtual spaces are intuitive spaces that we enter through the body
e.g. video games we use the body to control the game, sense of bodily presence.
Gilles Deleuze I felix guattari
Movie- 2001 a space odyssey (1968)
Blade runner (1968)
Stalker (1979) Andrei Tarovsky
Stories / movie represent a mode of living
Make you look at the world in a different way
1 note
·
View note
Text
Montage moving image
Start making a blog
Course notes > blog guide
Archive documented work production – reflective narrative
-Weekly posts at least
-Title work
-Number models
-Name materials
- Apa referencing
- Word press and tumblr
blackboard > studio > wikiblog > blog url
1. YouTube - Battleship potempkin – odesa steps scene (Eisenstein 1925)
-What’s the role of montage in film?
What does the cut do/ reveal?
Montage is able to make a narrative image
A way of rearranging space
Splicing together of information – making connections and simplifying
Synthesizing and joining together scenes
2. Famous shower scene from psycho
Joining of moving and still shots
How can you create/tile a pattern to create more drama in the site
3. Markertext.com : Chris Marker : La jenice
4.La Jetee on Vimeo
5.Mccoyspacew: soft rains #2: cabaret
How to work with a pattern that is cut montaged
Film festival?
Market?
Surface inserted into fort lane
Cut symbolizes the end of something
One cut across the site and one through the site
0 notes
Photo
THE CINEMATIC LENS
-PSYCHO
Alfred Hitchcock uses montage in a very powerful way cutting together multiple angles to create the hugely iconic scene. The camera darting around the space as panicked eyes would alertly search the room.
0 notes
Text
Cine-montage: Connection between design and cinema
How does film help the designer?
What’s the equivalent to a cut or an edit in an urban space?
Two ways to approach connections between the art form of film/cinema and the art form of spatial design (architecture, urbanism, etc.)
- In what might we use knowledge about film to think about a design space?
- How does thinking about space and cities illuminate the nature of film and cinema and the moving image?
The arts of time and the arts of space can never meet.
In order to understand space you must be able to understand time and to understand time you must understand space.
Another 2 ways to approach connection between film and spatial practices
- Room scale
- City scale
Cinematic art forms has its roots in exhibition/ museum culture
Kinetoscope parlor, San Francisco, late 19th century > early cinema as an exhibition practice.
YouTube > ‘the kinetoscope’
The model is the museum.
Tom Gunning, “the cinema of attractions”, wide angle (1986)
Sees cinema less as a way of telling stories than as a way of presenting a series of views, with an illusory power
What precisely is the cinema of attractions? First, it is a cinema that bases itself on the quality that Leger celebrated: its ability to show something.
Panorama, Leicester square, London, cross section, circa 1793
Scene from letter from an unknown woman (1948, max ophuls)
Still from the cabinet of Dr. Caligari (German expressionist film, 1920, directed by Robert wiene.
“No longer an inert background architecture now participates in the very emotion of film” – Anthony vidler “the expression of space”
Stills from films:
Nosveratu
Metropolis
Erich Mendelsohn, Einstein tower, Potsdam, 1921
The architectural promenade (experience space across time) > Le Corbusier, villa savoye, 1927, poissy, France
Sergei Eisenstein, from Non-indifferent Nature
“Montage and architecture”
Space is experienced sequentially
How do you represent time when it is experienced spatially?
Bernard Tschumi, “the architectural paradox” in architecture and disjunction
Experience something all at once or experience as one walks through it.
Viewing sequentially like we do in cinema
Surrealist cinema going as a derive/depaysement
Tutorial notes
Exegesis explanation and justification
Start research question with: In what way can… instead of how can
Breakdown of jewel Yan’s exegesis
-Research question – How can a spatial threshold be articulated as a zone of cognitive change? In particular, how can I program subtle design interventions to provide a visitor a sense of calm and certainty to orient oneself into the site?
-Research contexts (position)- In the brief, I was asked to apply a definition of “thresholds” to begin the design process. My version of threshold sees it as a transitory state, or a zone of being in-between. This zone is punctuated with a series of moments that all contribute to a contextual change affecting a person passing physically and mentally.
-Intention- this project is for a West Auckland community trust, Vision West, who provides services to low-income families. Threshold as a transitory state is first explored through drawings, which then help inform a landscaping design to make the entry more approachable and the main reception area easy to find.
-Method (synonymous with process)- Threshold as a transitory state has been a central idea through this project. An initial drawing exploration tries to physically reflect how the Trust helps people transition to independence, and a developed set of drawing languages explore connections on the existing site. These drawing languages are later translated into physical interventions on the site. A welcoming and permeable entrance is needed to make an effortless transition into and through the site. Anxiety is reduced by having a clear path to the canopy marking where the hub is. Subtle moments of pause are created with shifting horizontal lines of sight as you walk along the curve of the path. The threshold zone is also explored with vertical lines of sight as you move down the steps to the green space.
0 notes
Text
ASHLEE MASTERSON
14869841
Man paved the streets he walks, a synthetic nature crafted by the hand. The city is evidence of the advancements of humanity. Fort lane is a radically shifting environment, the people who inhabit the space transform it. I am interested in the connection from body to ground and the energy people bring to a space. How one action can make an everlasting change. Each mark is a record of history and one small event creates a ‘ripple effect’. Through my model making I explored the idea of the ripple capturing the form through wax. I would drip the wax into a cup of water, the first drops making the most dramatic movements breaking the surface and freely diving into the water the following drips pushing further and further past the surface. As I lifted the wax from the water they created organic forms setting to look like the flow of disrupted water.
The idea of layered histories came to mind when viewing the site the layers of wax bonding together to make a solid surface overlayed with an abstract image. Resembles a distorted view of history how we only see fragemnts, the remnants of what once was.
Noticing how the atmosphere altered with the types of people passing through the space I wanted to create a surface that adapts as the space shifts. I researched a few artists that associate with what I am trying to achieve through the creation of my project. Serge Najjar created a photographic series that show highly contrasted naturally lit spaces; the photographs capture the geometric patterns cast by the light. Similarly, I want to create divides of space through lighting. Najjar created powerful shots showcasing light, the dark spaces remaining blank and the light spaces displaying texture and depth. Similarly, through installation of the surface within fort lane I imagine the scattered light to create divides within the space highlighting points of focus. As the natural light rises and sets the patterns cast will dance across the pavement. As darkness falls the screens shift again illuminated by the famous fort lane neon lights enhancing the moody vibe of the space.
In what way can the concept of space be reconfigured to reimagined and perceived through dissection of the urban site?
In this project I aim to reconfigure and reimagine the fort lane site dissecting the space with light and darkness, fragmenting the thoroughfare pathway. The cut represents the threshold between realized realities and the unimagined. When you cannot physically see a space we then must envision what it would look like.
“Space and spaciousness are closely related terms, as are population density and crowding; but ample space is not always experienced as spaciousness, and high density does not necessarily mean crowding. Spaciousness and crowding are antithetical feelings. The point which one feeling turns into another depends on conditions that are hard to generalize. To understand how space and human number, spaciousness and crowding are related, we need to explore their meaning under specific conditions” (Tuan, 1977)
We rely on our cognitive recollection to allow us to appropriately process a situation, place or action.
0 notes
