Frame of L’Année Dernière à Marienbad, Alain Resnais, França/Itália, 1962.
The primary idea was to find a connection between architecture and cinema; to be able to tell a story with a course lined by architectural scenes, sequences, shots, images and rhythms. Making a movie with entrances, exits, corridors, rooms, streets, avenues... Places of permanency and motion. A story. Action, pause, action... Finite or not really... Cyclical, perhaps.
The assembly process of the films based on the process of architectural design and/or in facing an architectural project as a storyboard... Basically, the planning process of both, that intersect each other. An architectural project as the follow-up of a script and a film montage as the follow-up of an architectonic structure.
The influence of cinematic vision along a space. In this place where, unwittingly, we make our own movie, we have our own impression, our personal photography. We unconsciously follow a script and interpret it as a succession of shots. Just as our eyes, while traversing a sequence of a film transport us to a certain space. A mental space.
The possibility of looking at architecture as the one responsible for the initiation of cinema as a method of production, making of and assembly. Cinema as a stimulus of architecture and the need to realize how truly these two disciplines crossed.
The spatial narrative is ruled by time and motion, in a sequence of spaces, shaped and manipulated so that these moments can take place. In that place and not another. It consists on providing sensations, stimulating — and creating — memories, making our bodies and our minds travel side by side. The body sends sensory reactions to the mind while some mental processes make us feel certain things that the body is not truly experiencing.
The atmosphere of a space, its environment and the sequencing of its moments cause reactions in our intimate self and it is this spatial quality that we identify in this dissertation. This narrative ability and granter of subconscious and bodily stimuli.
The architecture was the basis of the scenic notions in cinema that, with technological advancements, has become more dynamic, exploring shapes and movements that a more tectonic and less abstract discipline would not be able to, opening the horizons of understanding space to architects — and philosophers — that, influenced and encouraged by the artistic manifestations of film makers also risked new languages and forms of expression.
Lisbon, June 2010.