This paper presents the findings, conclusions and results of my PhD research entitled, "The spatial context of the cinematic aspect of architecture". The purpose of this paper is to present the possibilities of adopting the cinematic qualities of architecture as an approach to tracing current modifications in contemporary architectural discourse in relation to the paradigmatic change of perception of urban space towards a movement perspective. The design process tradition, which comprises a standard series of procedural exercises aided by new technology, is in contrast to the experimental architectural research of the last decade that has clearly demonstrated the tendency to enrich the limited traditional approach in order to extend human vision beyond what is perceivable. Accordingly, I propose that we can test the cinematic aspect of architecture, first having harmonized the relationship between architecture and film through their common methodological and didactic approaches. To verify the cinematic aspect of architecture in theory, practice and education, and to maintain the level of creativity present in design practice, I initiated a reassessment of current design practice and proposed alternative architectural design strategies.

2016

This research focuses on the contribution of cinema to revealing and understanding design ideas and stimulating student cooperation in architectural design education procedure. The topic is based on the use of cinema films as a methodological tool in architectural design education leading to the comprehension of the meaning in space production and architectural design. It is suggested that the film's "truth" coincides with the designer's "truth" as they are both subjective and are communicated to their potential viewers or users. They both use visual and functional qualities for creating spaces that do not pre-exist. Through these paths and similarities, it can be argued that the cinema image can alter and enrich the vision of a designer.

Facta universitatis - series: Architecture and Civil Engineering, 2015

This paper presents the findings, conclusions and results of my PhD research entitled, "The spatial context of the cinematic aspect of architecture". The purpose of this paper is to present the possibilities of adopting the cinematic qualities of architecture as an approach to tracing current modifications in contemporary architectural discourse in relation to the paradigmatic change of perception of urban space towards a movement perspective. The design process tradition, which comprises a standard series of procedural exercises aided by new technology, is in contrast to the experimental architectural research of the last decade that has clearly demonstrated the tendency to enrich the limited traditional approach in order to extend human vision beyond what is perceivable. Accordingly, I propose that we can test the cinematic aspect of architecture, first having harmonized the relationship between architecture and film through their common methodological and didactic appro...

Journal of Architecture and Building Science - Transactions of AIJ (Architectural Institute of Japan), 2012

In this paper, a preliminary report is given on an architectural workshop entitled " Extended Cinematics: A Design Process Based on Architectural Interpretations of Narrative Film Structures " that was organized as a design experimentation platform for transforming film into architecture. Then based on structuralist semio-linguistic approaches to film analysis, and using the architectural designs resulted from the experiment, a mapping process that includes Design Derivation Diagrams surveying the transformation of narrative into architecture is introduced. Finally, using data from the latter diagrams, film-specific properties are identified to influence these transformation processes more than the design topics assigned to the participants.

2009

Architecture and film studies are interrelated disciplines, and architects can take advantage of existent commercial, dramatic, comedic or documentary films for inspiration and historical research. As examples of how existent films can be utilized innovatively in architectural research, this paper critically examines three contemporary Iranian films: "Ten" (2002), a realist docudrama directed by Abbas Kiarostami, "Chaharshanbe-soori" (2006), a melodrama directed by Asghar Farhadi, and "Dayere Zangi" (2008), a comedic urban drama directed by Parisa Bakhtavar. Through this examination, the paper argues that the lens through which a filmmaker looks at buildings and urban settings is unique, and that in every film, from the most abstract to the least, and whether the film maker is actually conscious of it or not, there is an underlying exploration and documentation of the way architecture affects and (re)shapes society. In Iran, film has always been one of the few poetic, enlightening, and powerful ways to explore, among other social and cultural phenomena, the issue of power in urban public space. Contemporary Iranian cinema has proven itself able to depict the natural and built environments as the loci for both private and public presentations of self, and these films reveal many suppressed, typically unexamined, issues surrounding the multiple meanings of place and identity. This research shows the aptitude of these filmmakers, or any filmmakers, to present views of contemporary society, supporting a broader understanding of contemporary urban life than is officially permitted or can be academically achieved. Hitherto, no other media has been found to be as great a resource as film to "freeze frame" the flow of life in an urban setting, or time in a space. With their unique lens, filmmakers are architects' fellows, making possible the observation of potential topics of inquiry; for instance, ethical and socio-political themes related to space and power.

Civil Engineering and Architecture, 2022

Movies represent society's dream, which is to tell a story; characters interact with each other to create this story, their mere presence on screen creating space. Thus, filmmakers become architects in their effort to communicate these spaces, whether they are interior or urban, to enhance and add to their story telling. They are not constrained by the limits of the architect nor, especially in the case of Sci-fi and Fantasy movies, even by the constraints of reality, imagining and creating architecture from a wholly different perspective: a story perspective. The characters interact with their hypothetical spaces and this shows what they require of the architecture to convey their story. Thus, the hypothetical spaces represent people's aspirations and their deepest fears for architecture. Part of an architect’s job is making dreams a reality. However, in the architectural industry, design is accomplished in a step-by-step process that has undergone little change since its establishment. While this makes the job easier, it also leads to recycling, putting limits on architects’ imaginations. This research analyzed an array of fantasy and sci-fi movies from an architectural point of view and explored the inspirations behind them. Patterns were found in the arrangement of spaces and the urban characteristics in the films. Then, the themes and messages behind the architecture were explored. Findings indicate how the cinematic architectural designs have played off of real life architecture and inspired one another since the creation of moving pictures. From a practical lens, these findings reignite architects’ imaginations, proposing new tools to achieve the fulfillment of society's dreams.

The director's desire to make his picture as true to the tale and place as feasible necessitates the use of architecture to bring out the authenticity as well as realism aspect. This paper is based on Architectural involvement in to theatre and film making process. To understand the important role of architecture, first go through by the glimpse of history of world theatre to Indian Sanskrit theatre. How Indian cinema were origin and presently film making processes involving with architecture, try to present in this paper. The relevance of visual design has been stressed by theatre directors, filmmakers, and animators. Designers have researched the influence of character placements, lighting configurations, and camera movements on transmitting the story, eliciting emotions and moods, and engaging viewers. Many research initiatives concentrated on adjusting the narrative material to the interaction, while the visual presentation received less attention. Authors introduce a novel method to interactive storytelling based on filmmaking theory in this article. The structure is based on principles derived from filmmaking, cinematography, and visual arts theory. Such adaptation, the authors propose, will result in improved engagement and a more interactive story experience.

Journal of Design, Planning and Aesthetics Research

Architect candidates must undergo a qualified aesthetic and cultural education in a professional field such as architecture that outweighs the artistic side. This idea originates from the belief that architectural projects and designs by architects with a profound artistic-cultural education enriched by global culture would enhance aesthetics and liveability. Understanding great works of art is pivotal to reshape societal and architectural aesthetics. The relationship between architecture and cinema starts primarily with the spaces.Thus, exploring the interplay between architecture and cinema within spatial designs is crucial. This article aims to establish an evaluation set uncovering the original architectural and artistic elements in movies that heavily rely on architecture. Our objective is to equip architects, interior designers, urban planners, industrial designers, and landscape architects with the tools to analyze films referencing architectural art and derive insights. The ...

Jotse. Journal of Technology and Science Education, 2018

The present paper examines, in a case study format, the use of films, short films and audiovisual documentaries as reasoning and references for design assignments during the first years of an architectural degree course. The aim of this fruitful and comparable experience is not so much to study and verify the well-known synergies between film and architecture, but to emphasize the methodological importance of endowing students in their first experience of design projects with realistic and feasible support – through visual references – that can increase their awareness of the desire for realism to which every project aspires. Project simulacrum finds an ally in the realistic fiction present in film. The association between film and architecture is thus placed at the service of learning and design methodology, as a means, not as an end.