Journal articles: 'Architecture au cinéma'

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Moreno, Maria Pura. "Las salas Cinéac de Adrienne Gorska y Pierre de Montaut: adaptar un “tipo”." VLC arquitectura. Research Journal 5, no. 2 (October 31, 2018): 59. http://dx.doi.org/10.4995/vlc.2018.8900.

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From the 1930’s on, a variant in the western architecture of movie theatres built in previous decades came to light. This variant, smaller and more unassuming in its decoration and size, was the result of another economic context and, above all, of a novel programming of newscasts and documentaries in short sessions and continuous slideshows called, depending on the country of your projection, ‘newsreels’, ‘cinegiornali’, ‘actualités filmées’, or ‘wochenschauen’. The establishment of the chain of movie theatres ‘Cinéac -cinéma et actualités’ in French-speaking countries, mainly by the entrepreneur Reginald Ford, gave rise to the proposal of spatial and technical answers to the demands of aspects such as acoustics, optics, a continuous flow of people, safety or ventilation, from the sector of architecture which was most functionalist. In this article the Cinéac built by the architects Adrienne Gorska and Pierre de Montaut, pioneers in projects for this program of leisure, will be analysed. The aim is to demonstrate the technical rigor on which constructiveness, as the leitmotiv of longed for perception, was based. The critical re-reading of layouts and sections will reveal that, behind the prominence of bright facades, there were hidden spatial criteria different from those of the previous cinemas, leading to, as a whole, what was to be a typological adaptation to a function that had already been established

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Marantz, Eléonore. "L’architecture des cinémas en France pendant les années 1930: captation et mise à l’épreuve du concept de modernité." Apuntes. Revista de estudios sobre patrimonio cultural 31, no. 1 (September 23, 2018): 84–101. http://dx.doi.org/10.11144/javeriana.apc31-1.acfp.

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Au début des années 1920, l’architecture cinématographique en est encore à ses balbutiements. Si une poignée d’architectes (Henri Sauvage, Marcel Oudin, E. Vergnes, Charles Siclis, Auguste Bluysen) et d’exploitants aspire à la naissance d’une architecture spécifique, adaptée à la projection et affranchie de toute filiation avec l’héritage théâtral, l’éclectisme des solutions mises en oeuvre – parfois même leur archaïsme – témoigne de l’effervescence de ces années de recherche. En France, il faut attendre le lancement commercial des films sonorisés, puis leur généralisation au cours des années 1930, pour que le cinéma connaisse une seconde naissance. Les directeurs de salles deviennent les maîtres d’ouvrage d’un important chantier de sonorisation et de modernisation des lieux de projection. Saisissant cette opportunité pour inventer une architecture qui satisfasse pleinement aux exigences du spectacle et de l’exploitation cinématographiques, les architectes captent et mettent à l’épreuve le concept même de modernité.

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Simmons, Seymour. "Drawing in the Digital Age: Observations and Implications for Education." Arts 8, no. 1 (March 6, 2019): 33. http://dx.doi.org/10.3390/arts8010033.

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This paper looks at recent examples of how drawing is advancing into the digital age: in London: the annual symposium on Thinking Through Drawing; in Paris: an exhibition at the Grand Palais, Artistes et Robots; a conference at the Institut d’études avancées on Space-Time Geometries and Movement in the Brain and in the Arts; and, at the Drawing Lab, Cinéma d’Été. These events are contrasted to a recent decline in drawing instruction in pre-professional programs of art, architecture, and design as well as in pre-K12 art education due largely to the digital revolution. In response, I argue for the ongoing importance of learning to draw both in visual art and in general education at all levels in the digital age.

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Carani, Marie. "Francine COUTURE, (dir.), Les arts et les années 60 : architecture, arts visuels, chanson, cinéma, danse, design, littérature musique, théâtre." Recherches sociographiques 34, no. 2 (1993): 359. http://dx.doi.org/10.7202/056785ar.

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Macé, Pierre-Yves. "La messe de terre de Michel Chion : de la liturgie à l’autoportrait." Circuit 26, no. 3 (December 23, 2016): 43–56. http://dx.doi.org/10.7202/1038516ar.

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Renommé tant pour ses essais sur le son au cinéma que pour ses compositions de musique concrète, Michel Chion (né en 1947) produit également un travail cinématographique et vidéo qui s’inscrit dans le prolongement de son écriture musicale. Oeuvre-somme d’une durée de 2 h 30 min,La messe de terreest une véritable « liturgie audio-logo-visuelle » qui associe la musique concrète à une composition très sophistiquée des images. Si l’oeuvre est dominée par la césure, le clivage entre ce que l’on voit et ce que l’on entend, sa trajectoire fait peu à peu converger l’image et le son dans la constitution commune d’une « architecture de temps ». Dans les marges du genre de la messe se laissent alors deviner les traces d’un autoportrait vidéo croisant lehome movieet le journal de travail.

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Siagian, Morida, and Rumini Manurung. "Architectural Style Application of Mayor Office’s and Ria Cinema’s Building in Pematangsiantar." International Journal of Architecture and Urbanism 2, no. 1 (March 14, 2018): 65–73. http://dx.doi.org/10.32734/ijau.v2i1.298.

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The development of architecture in Indonesia cannot be separated from foreign countries; we can see from the many forms of buildings in Indonesia that adopted the overseas architectural styles, one of them is Dutch Colonial Architecture Style. Pematangsiantar is one of the city that got influence from Dutch Colonial in architecture. The Building of The Mayor Office and the Ria Cinema is including the building of the colony’s historical relics around The H. Adam Malik Park Pematangsiantar that applied The Dutch Colonial Architectural Style. This research reviewed the application of Dutch Colonial Architectural Style in Indonesia in the building of The Mayor Office and Ria Cinema in Pematangsiantar. This research used the descriptive qualitative method that is, the data generated through direct observation of the object research and conduct literature study by studied the results of research and books related to Dutch Colonial Architecture Style in Indonesia. The results showed that the building of The Mayor Office in 1920, Pematangsiantar dominantly applied The Dutch Colonial Architectural Style in Indonesia in Period of 1800s-1902, Ria Cinema Pematangsiantar dominantly applied The Dutch Colonial Architectural Style in Indonesia in Period of 1920s-1940s.

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Melia, Matthew. "Cinemas in Britain: a history of cinema architecture." Planning Perspectives 27, no. 4 (October 2012): 647–49. http://dx.doi.org/10.1080/02665433.2012.709069.

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Menteş, Aliye, and Valentina Donà. "Transformation of Cinema Buildings and Spaces in Nicosia: Early-Mid 20th Century Heritage." ATHENS JOURNAL OF ARCHITECTURE 7, special issue (March 1, 2021): 199–226. http://dx.doi.org/10.30958/aja.7-0-4.

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Cinemas emerged as a new and genuine expression of culture at the beginning of the 20th century. In the 1920s cinema buildings became important for developing city life and especially as a social public space for entertainment. The period of great success of cinemas was inevitably destined to fade with the arrival of TV. However, this period left behind interesting architectural heritage. On the other hand, the “box of dreams”, the cinema industry, is a suggestive media contributing in defining other aspects of popular culture in a period of hectic changes and progress. The scope of this paper aims to investigate this specific building type, cinemas, within the context of modern heritage value in northern Cyprus. The purpose is to raise awareness on significance of cinema buildings thus to foster their protection and enhancement. The study also aims to investigate the historical relation of these buildings to their environments and neighborhoods as well as their transformed current situations. Some buildings were replaced with new ones, some were abandoned, and some others were converted into different uses. These transformed situations are results of changing economic, socio-cultural life styles and changing morphology of the cities. This paper aims also to stress the role of Cypriot architects and architecture in the international panorama within the Mediterranean area, in a peculiar multicultural context. Common features with other countries and local characteristics of the selected buildings are detected and analysed. Architectural qualities and solutions are studied to understand the reflections of the studied period. This study follows a qualitative research approach. The key discussions are made through investigating the cinema buildings and spaces in Nicosia, Northern Cyprus, as a case study method. This research investigates these buildings and spaces through historical archives, photographic surveys and producing maps for showing the location of these within the historic Walled City of Nicosia and its close surrounding. This stage provides significant data about their historic conditions and surroundings and comparisons with today’s current situations. In addition, interviews with local residents who used these cinemas in those periods are also carried out to support historical information and highlight the socio-cultural and economic understanding of those days.

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Bertrand, Denis, and Veronica Estay Stange. "Transversalité du sens et relations interartistiques : l’héritage greimassien." Semiotica 2017, no. 219 (November 27, 2017): 315–33. http://dx.doi.org/10.1515/sem-2017-0070.

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RésuméL’article évalue la contribution de la sémiotique post-greimassienne aux recherches sur les rapports entre les arts. Sa démarche est fondée sur l’hypothèse d’une fécondité conceptuelle de la théorie du langage pour construire un modèle généralisable des relations interartistiques. Ce projet théorique s’appuie sur de nombreux exemples, entre les XVIIIe et XXIe siècles, montrant les liens entre musique, poésie et peinture, entre musique et architecture, et entre peinture, roman et cinéma. Il conduit à dégager d’abord les transpositions qui, limitées au seul plan de l’expression, visent une spécularité sensorielle, formant une « mathesis du sensible ». Approfondissant ensuite les homologies entre les deux plans des langages, on examine la manière dont leurs liens peuvent être remotivés, ouvrant alors sur une conception élargie du semi-symbolisme. Puis, en envisageant la relation interartistique sous la domination du contenu, on s’intéresse aux modalités d’emboîtement et de capture d’une œuvre par une autre, à travers un réexamen d’un motif trans-artistique par excellence : l’ekphrasis. Enfin, eu égard aux spécificités des langages, à leur autonomie et à leur relative étanchéité, on interroge leur résistance au transfert, à partir d’exemples qui, entre tensions et conflictualités, narrativisent les rencontres interartistiques.

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Alves, Joana Gouveia. "Cinémas Choisis." Global Design, no. 47 (2012): 52–55. http://dx.doi.org/10.52200/47.a.43e7mt76.

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his essay analyzes the cinemas that were featured in L’Architecture d’Aujourd’hui from 1930 until 1939. This being one of the most influential magazines for the spread of Modern Movement ideas, its editorial line focused on the adaptation of building to function and on the distinction between European and American cinemas. Theoretical texts separated classic live theatre from cinema design since programme and features were completely different. Far from American euphoria and classic theatre sobriety, how was architecture for cinema envisaged?

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Ebrahimi Asl, Hassan, and Parinaz Mizban. "Visual Perception in Architecture and Cinema, Similarities and Differences." International Journal of Engineering and Technology 8, no. 5 (May 2016): 345–49. http://dx.doi.org/10.7763/ijet.2016.v8.910.

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Erbay, Muteber. "Modern architecture and cinema: an assessment through iconic buildings." International Journal of Academic Research 5, no. 5 (October 10, 2013): 14–23. http://dx.doi.org/10.7813/2075-4124.2013/5-5/a.2.

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Xu, Yongrui, and Peng Liang. "A Cooperative Coevolution Approach to Automate Pattern-based Software Architectural Synthesis." International Journal of Software Engineering and Knowledge Engineering 24, no. 10 (December 2014): 1387–411. http://dx.doi.org/10.1142/s0218194014400130.

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To reuse successful experience in software architecture design, architects use architectural patterns as reusable architectural knowledge for architectural synthesis. However, it has been observed that the resulting architecture does not always conform to the initial architectural patterns employed. Architectural synthesis using architectural patterns is also recognized as a challenging task, especially for novice architects due to lack of experience. In this paper, we propose a cooperative coevolution approach to automate architectural synthesis using architectural patterns. We first analyze several common architectural patterns and the constraints when using them. We then extend existing architectural synthesis activity with patterns based on the results of this analysis. Finally, we map the extended architectural synthesis to a cooperative coevolution model, which can optimize the resulting architectural solutions and avoid the violations to the pattern constraints automatically. We evaluate the proposed approach through a case study: architecture design of a cinema booking system. The results show that the proposed approach can generate architectural solutions which are closer to the expert design.

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van Oort, Thunnis. "Cinemas in Britain: a history of cinema architecture (revised edition)." Historical Journal of Film, Radio and Television 33, no. 1 (March 2013): 178–79. http://dx.doi.org/10.1080/01439685.2012.728337.

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Alkan Bala, Havva. "Reading of the Architectural Identity via Cinema." CINEJ Cinema Journal 4, no. 1 (July 13, 2015): 79–109. http://dx.doi.org/10.5195/cinej.2014.118.

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This study focused on the identity and proficiency of the profession of architecture via characters of “architect”, “student of architecture” and “having ambition to become an architect” in various films. Conclusions have been drawn about the professional applications and architectural life from the cinematographic level regarding the architect characters and their jobs via the seven films and a total of eleven different architect characters studied. This study aims to revise, through the cinema, the questions of what does an architect do? How does an architect work? What are the tools that an architect uses? How does an architect create their works? What is the mental map of an architect like? In short, who is an architect? New conclusions have been drawn, via a total of eleven different characters of architects in seven films, about architects and architects’ job from the cinematographic level to Professional practiceand architectural life.

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Véron, Nicolas. "Le cinéma d'un architecte." Commentaire Numéro 73, no. 1 (April 1, 1996): 254–55. http://dx.doi.org/10.3917/comm.073.0254.

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Robbers, Lutz. "Mies: A Fighter for Film." Bitácora Arquitectura, no. 40 (May 8, 2019): 48. http://dx.doi.org/10.22201/fa.14058901p.2019.40.69445.

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<p>At the beginning of 1931, a short article entitled “Film fighter from the outside” appeared in the industry magazine Film-Kurier. In the introductory sentence, the author, who remains anonymous, asks: “How does Mies van der Rohe come to film? - Not a difficult question to answer: As a person who takes a stand on the spiritual things of the time, he naturally also addresses questions of film.” But the article neither explains what Mies’s involvement with film was, nor how the architect and then Bauhaus director became interested in film. And even today the assumption of an affinity between Mies and film is anything but self-explanatory. Neither the research on Mies, nor the field of research of ‘architecture and film’ covered by architecture theorists and film scholars has so far dealt in detail with the question of a possible relationship between Mies and the new visual medium. This shortcoming can be explained above all by the fact that his buildings, drawings and published writings do not contain any direct references to film. Although he apparently was a regular moviegoer, Mies built neither cinema theaters nor film sets. Nor did he take part in film productions or wrote movie scripts. This is exactly what many other representatives of the avant-garde did in the 1920s: Hans Poelzig and Robert Mallet-Stevens designed film sets, Bruno Taut integrated film projectors into some of his buildings, built innovative “daylight cinemas”, patented a vertical cinema for reclining viewers, and wrote screenplays; Le Corbusier used film as a propaganda tool to spread his architectural and urban planning ideas.</p>

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Wang, Chen, and Heng Li. "Built Environmental Variations Between Regular and Imax Theatres." Open House International 43, no. 4 (December 1, 2018): 41–51. http://dx.doi.org/10.1108/ohi-04-2018-b0006.

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The movie substitutes such as home cinema, video on demand (VOD), and plasma televisions leaded to a declining attendance of patrons to movie theatres, which urged the invention of IMAX theatre to call movie lovers back to cinemas. Many cinemas plan to renovate their regular digital theatre auditoriums into IMAX theatre auditoriums, but there lack of study for built environmental variations between regular and IMAX theatres. Through the combination of a questionnaire survey and a case study on a leading cinema company in Malaysia, the Tanjong Golden Village Cinemas (TGV), this paper aims to identify the structural and architectural differences between regular digital theatre auditorium and IMAX theatre auditorium in the perspectives of acoustic and visual experiences. The most significant factor influencing the satisfaction of visualization in IMAX is “immersive of picture” followed by “sharpness of colour” and “feels as part of the picture”. The most significant indicators for audio experience in IMAX is “direction of object”, which enable an audience to trace the direction and position of an object on the screen without looking at it. The built environmental variations between regular and IMAX theatres in terms of screen, camera and projection methods, seating, architectural layout, wall design, and sound system arrangement were thoroughly compared in the case study.

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Ryzhkova, Natalia Viktorovna. "HISTORICAL AND ARCHITECTURAL FEATURES OF THE CITY CINEMAS UDMURT REPUBLIC OF THE EARLY TWENTIETH CENTURY IN THE CENTRAL STATE ARCHIVE OF THE KIROV REGION (CHACO KIROV)." Yearbook of Finno-Ugric Studies 14, no. 1 (March 27, 2020): 138–60. http://dx.doi.org/10.35634/2224-9443-2020-14-1-138-160.

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The article deals with historical and architectural features of the city's cinemas that have appeared in the Vyatka Governorate in the territory of the modern cities of the Udmurt Republic in the early twentieth century. On the basis identified in the research work of the author of the documents of the Central State archive of the Kirov Oblast (Kirov), investigated the problems of the structure and construction of cinema buildings, characterized the role of local authorities in the formation and development of cultural institutions in cities. The author finds out the influence of cinema buildings on the folding of the architectural appearance of the cities of Udmurtia, analyzes their location and related problems of formation of urban space. In the Fund of the Vyatka provincial Board (Construction Department) found documents testifying to their reliable architectural appearance, the features of their historical development, design, stages of construction and reconstruction. A valuable component is the confirmation of the authorship of some buildings.

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Haralambidou, Penelope. "The architectural essay film." Architectural Research Quarterly 19, no. 3 (September 2015): 234–48. http://dx.doi.org/10.1017/s1359135515000524.

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Recent advancements in digital technology, have not only deeply transformed the production of film and architecture but brought the two disciplines closer than ever before. The digital has allowed ground-breaking, if not hasty, changes in the way that architecture is not only produced, but also designed and conceived. In contrast, however, to the extensive use of computational design to interrogate the formal, material and structural possibilities of architecture, this article explores how new time-based media and computer generated imagery in film can unlock the story-telling, political and philosophical potential of architecture. I will focus on three projects – Agit-Prop (2014) by Liam Davis, Wates House (2014) by Daniel Cotton and my project Déjà vu (2009) – which combine techniques and tropes from both cinema and design as a means for reflection and commentary in architecture.Originally coined by the German artist Hans Richter in the 1940s, the term ‘essay film’ describes an intimate, allusive and idiosyncratic genre at the margins between fiction and documentary. Richter poignantly suggests that the essay film makes the invisible world of thoughts and ideas visible on the screen; it produces complex thought-reflections that are not necessarily bound to reality, but can also be contradictory, irrational, and fantastical. Dealing with political and philosophical issues, the essay film is cinema at its most engaged and liberated.Examining the three projects in comparison to examples of essay films that reflect on architecture or the city, such as Dziga Vertov’s, Man with a Movie Camera (1929), Wim Wender’s, If Buildings Could Talk (2010), and Alain Resnais’s, Toute la mémoire du monde (1956), my aim is to propose a new hybrid genre lying at the boundaries between architectural design, theory and film, what I call: the ‘architectural essay film’.

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Moore, James. "The architecture of post-cinema." Design Ecologies 4, no. 1 (December 1, 2015): 92–110. http://dx.doi.org/10.1386/des.4.1-2.92_1.

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Humfrey, Peter, Michael Bury, John G. Bernasconi, Iain Fenlon, Bojan Bujic, Christopher Cairns, Cecil H. Clough, Kate Flint, and Philip Cooke. "ARCHITECTURE, ART, MUSIC & CINEMA." Italian Studies 49, no. 1 (January 1994): 146–56. http://dx.doi.org/10.1179/its.1994.49.1.146.

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Campaner, Miguel. "Cinema and architecture: Modern perception." SAJ - Serbian Architectural Journal 11, no. 3 (2019): 511–18. http://dx.doi.org/10.5937/saj1903511c.

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Walter Benjamin's essay on cinema expounds his prognostic values. By the time he wrote this article his critique of the capitalistic mode of production showed the direction in which capitalism was progressing: towards an increasing intensity in exploitation of the proletariat, but also its own decline. We are interested in these prognoses that affirm the transformation of art and its function, and which call our attention to the loss of transcendence and the decline of the aura of the work of art. At the same time, they show possibilities that affirm the continuity of art with a different role and the dislocation of the aura. The form of art that is suitable to this reflection is cinema and the parallel drawn by the philosopher between cinema and architecture. Our intention is to reflect on this parallel and the urban interventions as artistic forms of aesthetic modernity: that is, as products of this modernity that at the same time indicate the way the world is given to us and understood by us. We will also reflection cinema and theatre indications as a way to surpass corporal determinations that are imposed on us.

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Bergera, Iñaki. "Designing from cinema: Film as trigger of the creative process in architecture." Journal of Technology and Science Education 8, no. 3 (May 21, 2018): 169. http://dx.doi.org/10.3926/jotse.372.

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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.

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Satter, Todd Jerome. "James Stirling's Architecture and the Post-War Crisis of Movement." Deleuze Studies 6, no. 1 (February 2012): 55–71. http://dx.doi.org/10.3366/dls.2012.0046.

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Deleuze's cinema project identifies a crisis of movement, action and thought, established initially in the war-devastated spaces of neo-realist cinema. Indirectly these spaces subordinate architecture as the locus of crisis, which only new, temporal artistic practices can avert. However, an architectural model of the smooth and striated, revealing a sophisticated interplay of the two concepts, can reinstall design practice and the intentional built environment as part of a productive and affirmative image of thought. The designs of James Stirling, whose career unfolds alongside significant developments in post-war spatial thought, reveal sensual expressions of new modes of subjectivity and individuation to accompany the increasingly aleatory and lacunary nature of movement.

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Berglund, Eeva. "Exploring the social and political Are architects still relevant to architecture?" Architectural Research Quarterly 12, no. 2 (June 2008): 105–11. http://dx.doi.org/10.1017/s1359135508000997.

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‘Alternate Currents’, held in Sheffield's Showroom Cinema in late November, set out to politicise architectural practice. Part of an AHRC-funded project on alternative architectural practices, it was convened by the University of Sheffield's Tatjana Schneider and Jeremy Till (whose introduction follows this report). The event was an invitation to go beyond the normative, specifically by dealing with architecture's economic, political and social dimensions. Although it was mixed in all respects, for me, trained in social anthropology, two issues emerged as particularly interesting.

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Van Montfrans, Manet. "Éditions Verdier : un lieu, un projet, un trajet collectif." RELIEF - Revue électronique de littérature française 15, no. 1 (July 7, 2021): 176–84. http://dx.doi.org/10.51777/relief10896.

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Verdier est une maison d’édition indépendante avec un siège social à Lagrasse, dans l’Aude, et une permanence à Paris. La maison est aujourd’hui co-gérée par Colette Olive et Michèle Planel. Ensemble avec Gerard Bobillier et Benoît Rivéro (qui quittera le groupe assez vite), elles ont été à l’origine d’une aventure éditoriale extraordinaire. Les titres (environ 700) du catalogue édité en 2019 à l’occasion des quarante années d’existence se regroupent en cinq grandes rubriques : littérature, sciences humaines, philosophie, art, architecture et cinéma, spiritualités. À la fondation de la maison en 1979, les éditeurs ont laissé derrière eux leur militantisme politique, sans pour autant renier leur volonté de contribuer à transformer sinon le monde, du moins les consciences. Le catalogue témoigne d'une exigence sans faille ainsi que d’une extraordinaire ouverture au monde. Né en plein cœur des Corbières, Verdier a voulu se situer au croisement de différentes cultures. En font preuve les collections de traductions de plusieurs langues étrangères, dont l’arabe et l’hébreu. Le fonds comporte des textes fondateurs tels le Guide des égarés de Moïse Maïmonide, Les Batailles nocturnes de Carlo Ginzburg, Les récits de la Kolyma (2003) de Varlam Chalamov, mais il montre aussi l’émergence d’auteurs français importants, tels Pierre Michon et Pierre Bergounioux. Comment une maison d’édition qui se caractérise par un fonds exigeant a-t-elle réussi à garder son indépendance sans faire de concessions ? Comment a-t-elle su survivre aux naufrages économiques, éviter d’être écrasée dans des reprises commerciales incertaines ? Comment a-t-elle fait face à la transformation radicale de l’industrie du livre, c’est-à-dire sa fabrication, sa diffusion et sa médiatisation ? Ce sont les questions que nous avons posées à Colette Olive, dans le cadre d’un entretien visant à mettre en lumière le travail accompli durant une quarantaine d’années par cette maison d’édition singulière.

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Shi, Qian Fei, and Yu Tao Wang. "Discussion on Guidance Space and Mediation Space Environment Design in Cinema." Advanced Materials Research 224 (April 2011): 12–16. http://dx.doi.org/10.4028/www.scientific.net/amr.224.12.

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In recent years, with the accelerating process of urbanization and increasing environmental problems, there has been increasing awareness of environmental quality for the taste of the importance of building space. Therefore, many buildings actively create the garden space environment in order to further improve the environment, enhance the image of architectural space and taste the environment. China has a rich cultural heritage and development advantages. Chinese contemporary landscape design should fully learn the traditional classical garden design, construction techniques and artistic expression, to guide the construction of indoor and outdoor landscape design. From the cinema users' point of view, the construction of indoor and outdoor space and intermediate space environment design are discussed, and this article introduced the two space environment to create the built environment means, and from the perspective of environmental psychology,cinema and architecture space environment lead the design of the space environment to improve the quality of cinema space.

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Anđelković, Katarina. "The cinematic aspect of architecture: The role of time in discussing alternative architectural strategies." SAJ - Serbian Architectural Journal 7, no. 2 (2015): 255–62. http://dx.doi.org/10.5937/saj1502255a.

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In the search for ways to overcome the negative connotations of applying characteristically traditional practice methods in the current regulation of spatio-visual parameters of the urban environment, we are moving towards discussing alternative 'architecture of relations'. The paper elucidates how film may offer an alternative position in architecture, where urban spaces are thought and designed in closer relation to the potentials of film to manipulate reality, change the mode of perception, provide vision and reconstruct unconscious impulses of the metropolis. The experimental designs show how resonating records of space, time and movement through space may simulate the mapping impulse that inspires an alternative approach to designing spaces. My approach relies upon various knowledge production platforms to detect temporal filiation between cinematic and real space. They are indicated here in the context of postmodern discussions to uncover a new interaction point between cinema and architecture, in order to support time-based modes of reception of architectural and urban ideas.

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Doglio, Federica. "Episodes toward a Fluxarchitecture. The work of George Maciunas, Shadrach Woods and Joachim Pfeufer." ZARCH, no. 9 (December 4, 2017): 208–17. http://dx.doi.org/10.26754/ojs_zarch/zarch.201792278.

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Fluxus, an artistic movement that emerged in 1960, crossed borders within the arts. Soon it expanded to include sculpture, poetry, performance, photography, and cinema, taking on a multi-disciplinary character that regularly crossed or erased borders within the arts. Its relationship to architecture, however, is more complex. In the 1960s, a few architects sought to resolve contradictions between the principles of Fluxus and the presumptions of their own field, and explored the possibilities of change —flux— in architectural practice. This article will investigate possible connections between Fluxus and the architectural practices. It considers three figures who were both theorists and architects: Georges Maciunas, Shadrach Woods and Joachim Pfeufer. Their practices, considered together, form what in this article I coin “fluxarchitecture”.

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Tiurikova, E., О. Pogorelov, V. Titinov, and О. Nedoshitko. "FORMATION OF THE COMMUNICATIVE AND OPERATIONAL GRAPHIC COMPETENCIES OF THE ARCHITECTURE STUDENTS." East European Scientific Journal 1, no. 4(68) (May 14, 2021): 18–26. http://dx.doi.org/10.31618/essa.2782-1994.2021.1.68.9.

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The publication is devoted to the problem of the formation of the communicative and operational graphic competencies of the architecture students. The parallels are drawn between the design and artistic activities of the students. The forms of search and implementation of a creative idea by the graphic means are studied. The paper reveals modern approaches to the professional communication by graphic methods, means of forming environmental mise-en-scenes, featuring the functional and activity, emotional and figurative, etc. components of the architectural concept. The parallels are drawn between the theatrical and scenographic approach, cinema storyboard and the method of featuring sequential environmental impressions in the architectural sketches. The potential of formal art in enhancing the emotional-compositional component of students’ works are researched.

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Wang, Zhen Jiang, and Feng Hua Lu. "The Acoustical Design of Conference Room Based on Speech Acoustic." Applied Mechanics and Materials 507 (January 2014): 127–30. http://dx.doi.org/10.4028/www.scientific.net/amm.507.127.

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Based on the the requirements of appropriate reverberation time for the speech acoustic-dominated conference room, which are stipulated in Code for architectural acoustical design of theater ,cinema and multi-use auditorium(GB/T 50356-2005), this paper is trying to redesign the conference room on the fifth floor of the college of architecture and civil engineering of Taiyuan University of Technology, on account of the problems found after the experimental measurement. And the author introduces Ecotect to simulate the redesigning plan, in the hope of providing reference to acoustical design for the speech acoustic-dominated conference room.

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Abadie, Shahram. "L’exotisme dans les cinémas parisiens entre les deux guerres." Apuntes. Revista de estudios sobre patrimonio cultural 31, no. 1 (June 18, 2018): 102–15. http://dx.doi.org/10.11144/javeriana.apc31-1.edcp.

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Cet article interroge, à travers l’étude du cas parisien, l’idée reçue selon laquelle l’exotisme aurait marqué une phase importante de l’architecture cinématographique pendant l’entre-deux-guerres. Il s’agit de mettre en lumière les raisons d’être et l’ampleur de cette tendance en analysant le parcours des architectes et des commanditaires de cinémas ainsi que leur architecture dans le contexte des échanges internationaux avant de terminer par la réception et le devenir de ces exemples d’exotisme. La méthode consiste à croiser nos recherches doctorales avec des travaux sur l’exotisme et l’orientalisme dans l’art occidental. Cette synthèse a montré que le recours aux motifs exotiques dans les salles parisiennes est relativement précoce, mais ce mode décoratif reste marginal par rapport à la tendance Art déco. Cependant, bien que leurs premiers exploitants aient tous fait faillite, la singularité de ces cinémas a été le principal garant de leur survie et préservation comme patrimoine architectural et cinématographique.

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Almantas, Samalavičius. "The Ambiguities of Iconic Design: Mo Modern Art Museum by Daniel Libeskind." Journal of Architectural Design and Urbanism 2, no. 1 (October 7, 2019): 13. http://dx.doi.org/10.14710/jadu.v2i1.4897.

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The article is focused on the cultural phenomena of architectural iconism that has become globally widespread due to the continuous pressure of ongoing economic, ideological and cultural globalisation and the reigning interests of the web of building industry that appropriates architectural design for its own financial purposes as well as local political stakeholders who often seek to replicate the success of previous internationally renowned iconic buildings by aspiring to the status of world-class cities. While discussing the global and local cultural contexts in which the so-called ‘Bilbao effect’ triggered the current pursuit of iconic buildings, the author of the article analyses the much publicized recent example of iconic architecture in Eastern Europe – the MO Modern Art Museum that was designed by Daniel Libeskind and opened in Vilnius, the capital of Lithuania in 2018 on the site of an abandoned and eventually demolished cinema in the vicinity of the historical Old Quarters. It is argued that despite of publicity and largely overcooked praises of international architectural media, the museum’s architectural design remains an example of ‘signatory architecture’ that largely ignores the aesthetics of its local urban environment and peculiarities of local historical and cultural context. It is suggested that that despite of claims of being contextual, in fact the building is not and on the contrary: it exhibits most of the aesthetics features that plaque iconic buildings in various localities on different continents.

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Paz-Agras, Luz. "Las exposiciones de El Lissitzky a través del Cine-ojo." VLC arquitectura. Research Journal 4, no. 1 (April 26, 2017): 151. http://dx.doi.org/10.4995/vlc.2017.6987.

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The Avant-Garde movements of the twentieth century explored the creative possibilities of new types of media in architecture, such as the photographic camera or cinema. In a series of experimental projects, authors such as El Lissitzky based their work on assimilating the human eye with a mechanical lens, making it possible to create new concepts of space. A simultaneous consideration of the resources of Vertov’s Cine-Eye in relation to the exhibition projects of El Lissitzky reveals some of his proposals as paradigmatic examples of the perceptive experimentation of the viewer in relation to art, and in a wider sense, to architecture. By analysing the cinematic resources of the film <em>Man with a Movie Camera</em> (1929), architectural aspects are analysed in the exhibition spaces of the Abstract Cabinet and PRESSA, identifying connections that break down the boundaries between the different disciplines.

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Lemieux, Pierre-Anthony. "D-Cinema Content Protection Architecture: A Primer." SMPTE Motion Imaging Journal 116, no. 2-3 (February 2007): 74–79. http://dx.doi.org/10.5594/j16096.

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Sarawadekar, Kishor, and Swapna Banerjee. "Area Efficient, High Speed EBCOT Architecture for Digital Cinema." ISRN Signal Processing 2012 (July 10, 2012): 1–9. http://dx.doi.org/10.5402/2012/714176.

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Embedded block coding with optimised truncation (EBCOT) is a key algorithm in digital cinema (DC) distribution system. Though several high speed EBCOT architectures exist, all are not capable of meeting the DC specifications. To meet this challenge, the relationship between contents of a code block (CB) and context generation is studied. Our study reveals that it is difficult to predict number of contexts generated in a bit plane. Even the nature of number of contexts produced varies from CB to CB. In such a situation, it is difficult to ensure the frame rate requirement of DC. To avoid this uncertainty, a pass parallel, concurrent sample coding EBCOT architecture is proposed in this paper. It is capable of encoding one bit plane in 288 clock cycles under any circumstances. This design is prototyped on XC4VLX80-12 FPGA with multiple clock domains. After synthesizing, the bit plane coder (BPC) and MQ coder operate at 450 MHz and 123 MHz, respectively. In order to maintain synchronism among different clock domains, the BPC and MQ coder units are operated at 432 MHz and 108 MHz, respectively. This entails that the proposed design is capable of processing size 57 DC frames in a second.

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Asciuto, Nicoletta. "Intimacy and Hedonism: The Aesthetics of the Terrazza in Italian Cinema." Space and Culture 23, no. 4 (February 24, 2019): 394–408. http://dx.doi.org/10.1177/1206331219830324.

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This article discusses the developments of the terrazza (“roof terrace”) as a cinematic space in post-war and contemporary Italian films. By taking a historical approach, I show how the terrazza has evolved, from the post-war years to the present, to become an architecture of intimacy and hedonism. In Italian film aesthetics, the terrazza replaces the piazza (“square”), the space normally assumed to represent quintessential Italian life. This article considers the cinematic and aesthetic development of elevated architectural space in five key films, ranging from the post-war classics Mario Monicelli’s I soliti ignoti ( Big Deal on Madonna Street, 1958) and Michelangelo Antonioni’s L’avventura ( The Adventure, 1960), through Una giornata particolare ( A Special Day, 1977) and La terrazza ( The Terrace, 1980) by Ettore Scola, to Paolo Sorrentino’s very contemporary La grande bellezza ( The Great Beauty, 2013), a film clearly indebted to the aesthetics of its ground-breaking predecessors.

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Guerin, Frances. "Re-presenting histories." Alphaville: Journal of Film and Screen Media, no. 21 (August 5, 2021): 13–34. http://dx.doi.org/10.33178/alpha.21.01.

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This article rereads Alexander Kluge and Peter Schamoni’s short film Brutality in Stone (1961) in light of more contemporary scholarly interest in the architectural ruin. This leads to an analysis that challenges, or recasts cinematic assumptions about the past. I begin my analysis through attention to Brutality in Stone’s radical strategies of montage, marriage of archival stills and newly-shot documentary moving images, merging of real and imagined, past and present, sound and image. These formal strategies are observed through the lens of theories of ruin, Kluge’s own writings on cinema and history, the references to the historiography of Nazi architecture, and contemporary theories of ruination in architecture. I then reveal the film as a type of counter-memory, promoting a critical awareness of, rather than espousing an ideologically motivated enthusiasm for the histories and memories of the past as they have been represented in architectural monuments, cinematic and historical narratives. Specifically, a contemporary reconsideration of Brutality in Stone contributes to rethinking the relationship to the ongoing lessons of German history and its cinematic representation in the contemporary moment. Keeping alive the memories of the past has never been more urgent as we move into an historical moment when memories of the Nazi past are becoming ever dimmer.

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Gómez, Leila. "AMANDA HOLMES. Politics of Architecture in Contemporary Argentine Cinema. Cham, Switzerland: Palgrave Macmillan, 2017. 162 pp." Revista Canadiense de Estudios Hispánicos 43, no. 3 (October 24, 2020): 754–56. http://dx.doi.org/10.18192/rceh.v43i3.4887.

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McCann, Ben. "The Social Architecture of French Cinema: 1929–1939." French Studies 69, no. 3 (June 30, 2015): 423.1–424. http://dx.doi.org/10.1093/fs/knv113.

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Lerner, L. Scott. "Davide Ferrario’s architecture of cinema: Body, building, line." Journal of Italian Cinema & Media Studies 7, no. 2 (March 1, 2019): 233–48. http://dx.doi.org/10.1386/jicms.7.2.233_1.

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O’Shaughnessy, Martin. "The Social Architecture of French Cinema, 1929–1939." Modern & Contemporary France 24, no. 1 (November 5, 2015): 98–99. http://dx.doi.org/10.1080/09639489.2015.1069803.

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Sutton, D. "Skyscraper Cinema: Architecture and Gender in American Film." Screen 52, no. 1 (March 1, 2011): 136–40. http://dx.doi.org/10.1093/screen/hjq059.

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Carolina, ALBERTO, DELFINO Clara, GONZALEZ LOPEZ Ramiro, and NICASIO, Cristina. "The Weblog. A Log Used as a Complement to the Paper Log. Subtopic: New Pedagogical Techniques for the Teaching of Times." Urban Studies and Public Administration 2, no. 4 (November 6, 2019): p217. http://dx.doi.org/10.22158/uspa.v2n4p217.

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Within the framework of the subject of Representation in the course of studies in Architecture at Blas Pascal University (UBP), the following teaching object is proposed, which claims to continue the work began in Egrafia 2016 “Challenging the sketch, beyond a log”, regarding the new Technologies in Architectural Representation.It is presented as a complement to the freehand draw and to learn other intuitive and sensory techniques of representation by using technological devices and editing applications.It suggests the use of the mobile device, cell phones, tablets, etc., in the workshop and possible drawing APP: Adobe Draw, Adobe Ideas and Tayasui sketches.Scope and possible teaching applications:Students can work on a weblog as a complement to a paper log. It suggests the integration of other courses of studies at the university, for example with students of the course of studies in Graphic Design, Cinema, Engineering, etc.In the course of studies in Architecture, its objective is the integration of different subjects, such as Representation, Visual Language, Landscape, Interior Design, Electives of Representation, etc., by generating a common digital format for presentations in different stages of the project.

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Anisimov, Alexander V. "The environment of the cinematic spectacle. The architecture of the early Russian movie theaters." Journal of Flm Arts and Film Studies 11, no. 2 (June 15, 2019): 8–20. http://dx.doi.org/10.17816/vgik1128-20.

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The emergence of cinema brought about the issue of forming a comfortable environment for film screenings. This essay analyzes the characteristics of the first spaces used for film exhibition in St. Petersburg and Moscow and the architecture of the movie theaters built in these cities in the first decades of the 20th century and characterized by a combination of theatrical architectural traditions, eclectic restaurant design and elements of the fading Art Nouveau style. Film exhibition was a profitable business. Initially, screenings were held in rented spaces but soon specialized buildings were designed and constructed. The essay looks at the largest and most popular movie theaters built in St. Petersburgs main street, Nevsky Prospect, and in the center of Moscow, discussing their architectural features and their historical development. Thus, during the 1920s and 1930s, large movie theaters included a foyer with a stage for variety shows and a theater-like auditorium with a high-mounted, dark-framed screen; the spectators entered the auditorium via the main entrance and, after the screening, exited directly to a street or a yard.

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Uffreduzzi, Elisa. "Tarantella Dance in Early Cinema: A Pillar of Neapolitan Urban Architecture." Nineteenth Century Theatre and Film 46, no. 2 (August 5, 2019): 210–23. http://dx.doi.org/10.1177/1748372719865552.

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In the early years of the twentieth century, cinema joined the multitude of images (such as paintings, photographs, and engravings) which were spreading worldwide postcard stereotypes of Naples and its surrounds. The icons of this topographical myth included the natural beauties of the region and the monuments of the city, but also the citizens themselves. In fact, from macaroni eaters to tarantella dancers and brigands, they were an essential part of the urban landscape. This paper especially focuses on the Neapolitan tarantella dance and its local variants in silent cinema, examining how they were strictly linked to the city and its environs.

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Trifan, Aurelia. "Integrative reflections in the contemporary approach of the architecture of buildings for shows." Arta 30, no. 1 (August 2021): 118–23. http://dx.doi.org/10.52603/arta.2021.30-1.17.

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The current approaches, materialized in studies and research programs, further explain and complete the general picture regarding the identity of buildings for shows in the Republic of Moldova. The need to update existing information and correct errors and unconfirmed assumptions arises as a result of identifying new data. The research carried out in the field of buildings for shows focuses both on the detailing of its constitution and on the revelation of the architectural-artistic value – starting with the 19th century. The first buildings for shows (the Nobles’ Meeting Club and the „Pushkin” Auditorium), the refurbished buildings („Patria” Cinema and the Organ Hall) and adaptations to new programs such as soviet cinemas are highlighted. Thorough research of the history of construction and reconstruction of the two most famous buildings for shows, which were the headquarters of the Romanian National Theater in Chisinau, contributes to the identification of valid novelties in the correct and coherent dating and interpretation, as well as the names of the authors of the projects. Programs based on appreciating the value of the cultural heritage of the Soviet period are submitted to the attention of the professional environment, the interested public and the administrators of the built heritage and represent an attempt to raise awareness of the importance of re-evaluating this heritage.

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Musiyevska, Veronika. "FORMATION OF ARCHITECTURE OF CINEMA STUDIO COMPLEXES. US EXPERIENCE." Current problems of architecture and urban planning, no. 56 (February 21, 2020): 335–44. http://dx.doi.org/10.32347/2077-3455.2020.56.335-344.

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Ben Shoshan, Liat Savin. "Architecture, cinema, and images of childhood in 1950s Britain." Architectural Research Quarterly 22, no. 2 (June 2018): 115–26. http://dx.doi.org/10.1017/s135913551800043x.

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In 1956, Independent Group member Eduardo Paolozzi, close friend and collaborator of Alison and Peter Smithson, starred in the film Together, directed by Lorenza Mazzetti, who had met him while a student at the Slade School of Fine Art. Strikingly, the imagery and setting of the film shares much in common with the images used by the Smithsons in their work, particularly those by Nigel Henderson, of children playing in the East End. Together is a 52-minute film screened in 1956, as part of Free Cinema programme. East London, with its narrow streets, riversides, docks, and multiple bomb sites, as well as the manner in which this location was shot, expressed the sense of disharmony – even chaos; a scenery patched together out of the remnants of prewar daily routines; a mix of dwellings, cranes, industry, and children running among the ruins. Looking more closely at Free Cinema's use of image and at the postwar concern with childhood allows us to better understand how and why children figured in the Smithsons’ work and how they came to inspire a new creative consciousness in New Brutalism more generally.

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Journal articles on the topic 'Architecture au cinéma'

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