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Abstract
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| This paper aims at showing, in an objective way, how architecture and film intentionally manipulate the basic parameters of human perception: space and time, within the singular and creative discourse of each author from two concrete examples: The Porto Faculty of architecture (1983-1996) by the architect Alvaro Siza (1933) and a movie, Apocalypse Now Redux (extended version 2001) by director and screenwriter Francis Ford Coppola (1939) To justify this selection and as a starting point, we analyze the organizational scheme of spaces or being more precise, the scheme of spatial sequences along the temporal space speech (common to both disciplines: film and architecture), and as it is aiming to show, film and building are sharing. The River which works in the film as the backbone articulating spaces is clearly comparable to the "axis" that determines the ?comb? typological scheme as the building of the Faculty of Architecture is organised around. In both linear structures, a series of spatial and temporal events will be stringing, where Siza building have in turn, reflection at urban scale, in the river that structures throughout the city of Porto. It is a model where the program (architectural) or narrative content (film) can grow or decline without altering substantially the overall concept of the work. Furthermore, we examine specifically how through of controlling the perspective, linguistic resource in both examples used, our perception of space associated with the time, is manipulated. Through using different lenses in the case of the film or the skilful manipulation of spatial boundaries in the case of the architectural work. | |
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International
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Si |
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Congress
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INTERSECTIONS, a Conference on Architecture, City and Cinema. |
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960 |
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Place
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Oporto |
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Reviewers
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Si |
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ISBN/ISSN
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978-989-98494-2-6 |
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Start Date
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11/09/2013 |
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End Date
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13/02/2014 |
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From page
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63 |
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To page
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75 |
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INTER[SECTIONS] - a Conference on Architecture, City and Cinema Conference Proceedings. Porto, September 11-13, 2013 |