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Cinematic Architectural Education: A Focus on Fourth Space

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Cinematic Architectural Education: A Focus on Fourth Space

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This talk sheds light on the notion of fourth space as a cinematic methodological tool for architectural design and interpretation. Fourth space deals with the in-between activities and events that socially construct space. Similar to film images, it portrays temporal and spatial narratives that are subjectively constructed by the viewers. Hence, this lecture proposes the adoption of cinema by academics to induce Fourth Space within the architectural products, in other words comprehend and reconstruct reality and spatiality.

This talk sheds light on the notion of fourth space as a cinematic methodological tool for architectural design and interpretation. Fourth space deals with the in-between activities and events that socially construct space. Similar to film images, it portrays temporal and spatial narratives that are subjectively constructed by the viewers. Hence, this lecture proposes the adoption of cinema by academics to induce Fourth Space within the architectural products, in other words comprehend and reconstruct reality and spatiality.

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Cinematic Architectural Education: A Focus on Fourth Space

  1. 1. C I N E M AT I C A R C H I T E C T U R A L E D U C AT I O N : A F O C U S O N F O U R T H S PA C E
  2. 2. O D Y S S E U S
  3. 3. T H E J O U R N E Y T O L D B Y H O M E R
  4. 4. T H E T R O J A N W A R L O T U S E A T E R S C Y C L O P S A E O L I A ’ S W E S T W I N D T E L E P Y L O S S C Y L L A S C H E R I A I T H A C A
  5. 5. N A R R AT I V E C A U S A L I T Y
  6. 6. N A R R A T I V E S T O R Y S E Q U E N C E O F E V E N T S
  7. 7. N A R R A T I V E S T O R Y S E Q U E N C E O F E V E N T S M E C H A N I S M
  8. 8. Wie der Würfel auf ist Kommen, 1489 Albrecht Dürer
  9. 9. Wie der Würfel auf ist Kommen, 1489 Albrecht Dürer E P I S O D E 1 E P I S O D E 2 E P I S O D E 3
  10. 10. I N - B E T W E E N E S S
  11. 11. I N - B E T W E E N E S S FOURTH SPACE
  12. 12. “ W H A T Y O U D O N ’ T S E E C R E A T E S M E ” ~ A R C H I T E C T U R E
  13. 13. U S I N G C I N E M A T O I N D U C E F O U R T H S P A C E
  14. 14. W E D O N O T T A L K A B O U T S P T I A L P R A X I S . . . .
  15. 15. O U R R E L A T I O N S H I P W I T H S P A C E B E C A M E A COMMODITY
  16. 16. O U R R E L A T I O N S H I P W I T H S P A C E B E C A M E A COMMODITY
  17. 17. O U R R E L A T I O N S H I P W I T H S P A C E B E C A M E A COMMODITY COMMODITY FETISHISM
  18. 18. O U R R E L A T I O N S H I P W I T H S P A C E B E C A M E A COMMODITY COMMODITY FETISHISM
  19. 19. JUNKSPACE
  20. 20. D I S C U S S I O N S W I T H T H E G R E E K S . . . .
  21. 21. K H Ô R A = M I D D L E S P A C E B E T W E E N P H Y S I C A L B O D I E S & I D E A S
  22. 22. S P A C E I S D I F F E R E N T F R O M M A T T E R I T I S P R I M O R D I A L B O U N D E D B Y T H E I N F I N I T E W O R L D
  23. 23. S P A C E = R E L A T I O N S H I P B E T W E E N B O D Y A N D O B J E C T
  24. 24. S P A C E A F F E C T S U S E R “ M O O D A R C H I T E C T U R E ” ~ P r o f . K h a l e d A s f o u r
  25. 25. D I S C U S S I O N S W I T H R E A S O N . . . .
  26. 26. A B S O L U T E S P A C E V S . R E L A T I V E S P A C E
  27. 27. U N I V E R S A L N O N - V E R B A L L A N G U A G E A R C H I T E C T U R E C O M M U N I C A T E S W I T H T H E V I E W E R
  28. 28. D I S C U S S I O N S W I T H T H E K I N E T I C S . . . .
  29. 29. D I S C U S S I O N S W I T H T H E K I N E T I C S . . . .
  30. 30. D I S C U S S I O N S W I T H T H E K I N E T I C S . . . . MOVEMENT
  31. 31. D I S C U S S I O N S W I T H T H E K I N E T I C S . . . . EINFÜHLUNG A U G U S T S C H M A R S O W A D O L F H I L D E B R A N D
  32. 32. M O V E M E N T S P A T I A L T E M P O R A L N A R R A T I V E V I S U A L I T Y
  33. 33. C I N E M AT I C A R C H I T E C T U R E
  34. 34. W H E R E I S E D U C AT I O N ?
  35. 35. P R E - S T R U C T U R I N G R E S E A R C H C O N C E P T U A L I Z I N G E X E C U T I O N L I N E A R T H I N K I N G P R O C E S S
  36. 36. R E P R E S E N TAT I O N A L T H I N K I N G P R O C E S S
  37. 37. H O W C A N F O U R T H S P A C E B E R E P R E S E N T E D ?
  38. 38. A N C I E N T G R E E K S 2 0 T H C E N T U R Y
  39. 39. A N C I E N T G R E E K S 2 0 T H C E N T U R Y 1 9 T H C E N T U R Y
  40. 40. R E P R E S E N T A T I O N
  41. 41. R E P R E S E N T A T I O N 1 8 7 2 F L Â N E U R
  42. 42. R E P R E S E N T A T I O N 1 8 7 2 F L Â N E U R 1 8 7 4 I N T E N T I O N A L I T Y
  43. 43. R E P R E S E N T A T I O N 1 8 7 2 F L Â N E U R 1 8 7 4 I N T E N T I O N A L I T Y 1 8 8 8 C I N E M A
  44. 44. FROM SPACE…
  45. 45. …TO PLACE
  46. 46. R E P R E S E N T A T I O N 1 8 7 2 F L Â N E U R 1 8 7 4 I N T E N T I O N A L I T Y 1 8 8 8 C I N E M A 1 8 9 3 A R C H I T E C T
  47. 47. C I N E M AT I C I N T E RV E N T I O N I N A R C H I T E C T U R A L D E S I G N
  48. 48. S E R G E I E I S E N S T E I N B E R N A R D T S C H U M I
  49. 49. M O N TA G E T H E O R Y
  50. 50. B R E A K I N G D O W N C O N V E N T I O N S
  51. 51. B R E A K I N G D O W N C O N V E N T I O N S
  52. 52. B R E A K I N G D O W N C O N V E N T I O N S
  53. 53. B R E A K I N G D O W N C O N V E N T I O N S
  54. 54. B R E A K I N G D O W N C O N V E N T I O N S
  55. 55. A V A N C A | C I N E M A T H E A R C H I T E C T U R A L PA R A D O X T h e P y r a m i d & t h e L a b y r i n t h . T h e M e n t a l & t h e E x p e r i e n t i a l
  56. 56. FA C T O R I N G S PAT I A L T E M P O R A L F E AT U R E S C O M M U N I C AT I N G F O U R T H S PA C E
  57. 57. A N A C H R O N I S M
  58. 58. B A Y T A L - S U H A Y M I – C A I R O T R I L O G Y
  59. 59. F R A C TA L I S M
  60. 60. T H E Y A C O U B I A N B U I L D I N G
  61. 61. M N E M O N I C
  62. 62. B E R L I N & T A H R I R G R A F F I T I
  63. 63. FOURTH SPACE
  64. 64. FOURTH SPACE S E Q U E N C E O F E V E N T S M E C H A N I S M S T O R Y N A R R A T I V E
  65. 65. FOURTH SPACE S E Q U E N C E O F E V E N T S M E C H A N I S M S T O R Y N A R R A T I V E

Notas del editor

  • Intro. First time face to face in 1.5 years. Hopefully it will be beneficial. Title of the talk. Start with a story.
  • The story o the Greek legend, Odysseus. Famous for his 10-year journey back home from the Trojan War.
  • Told by Homer, Odyssey. 8th Century BC. A poem.
  • Route is like 15 points. Different stories along the way. Change of character. Change of events.
  • Fast forward to 1968. Epic journey into the unknown. Also, Odyssey.
  • Existential themes. No story. No events. No plot. Minimal dialogue. Evolution. Human existence and form.
  • What’s the common element?
  • Narratives are not just a series of events. There is a mechanism composed. Structure of the narrative itself. Can take any form.
  • This is the linear form of a narrative
  • This is how a mechanism operates. Endless. Repetition.
  • Example. 1489 Woodcut. Albrecht Durer, German painter. How the dice is coming. Take a look at it closely.
  • Three episdoes. 1 approach, 2 fight, 3 execution. Life is never a gamble. Temptation and Punishment. But?
  • If we to look at the smallest details. The ones we do not know of? And can imagine what happens there?
  • In-between stories. Basic grounds for…
  • Fourth Space. It’s not a linear narrative. It’s not a single layer. It’s not 2D. Consists of episodes with meaning.
  • This is how our cities operate now. And this is how we should understand them. Nothing is clear. Hidden features. In-between activities.
  • What we do not see is scarier than what we do see. Horror films principle. In-between events create architecture
  • Cinema is a tool to be used. Why cinema? We will know later on. But first…
  • It’s not about Fourth Space. It’s about Space itself. What is it? Why don’t we talk about it?
  • Karl Marx, political economy, Commodity Fetishism. It’s the social exchange of objects, not people.
  • And this is true. We have become the objects. Society of the Spectacle, Guy Debord.
  • And what is left of this? Becomes junk space. The remains of modernity. Rem Koolhaas.
  • So what did the old people say about space?
  • Abstract and Utopian.
  • His close friend Archytas. No boundaries. Space is the beginning of time. He once said, if we had a man standing on a sphere and spread his arms. World moving into void
  • The annoying student Aristotle. Empirical and Practical.
  • Godfather of Architecture. Mood, not emotion. Both are different.
  • This argument was simply resolved.
  • Newton. 1500 years later.
  • Raumgestaltung (Interior design basics). Projection of viewer’s feelings into the static spatial form. Empathy. User will divide total appearance into several visual impressions.

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