other drawings things to remember...

like miralles...

or some of these...

drawings without paper...

these are gego's...

other examples can be found here...

some examples seen...

peter greenaway, the cook, the thief, his wife, and her lover

dziga vertov, the man with a movie camera

chantal akerman, hotel monterey

chris marker, la jetée

wim wenders, wings of desire

alejandro gonzalez iñarritu, write the future

readings by eisenstein on montage and architecture...

are up at the google docs site...

readings...

cinema museum tour

if you wondered what would a cinema museum house, here is one example... around 2:31 you can see what the "archive" looks like...

petrol station aka cineroleum

yup, those brits and their petrol stations that turn into cinemas...

some contemporary ideas of film festivals...

and the buildings to house them....
toronto’s bell lightbox and new york’s film center - http://nyti.ms/cRrhOP

possible architectural operations...

Activation

Canalization

Claustration

Cryptic Architecture

Depolarization

Habitable Circulation

Instabilization

Oblique Function

Orientation

Overhang

Spatial Contraction

The Continuum

Vertigo

collages...

expressionist collages... some call them urban acupuncture...

... and more maps...

that changed the world

more machines...

an awesome collection of machines

maps and other maps

mapping, petra kempf

other maps here

drawings and assorted things

the link to the drawings is here

machines for seeing architecture

The Third & The Seventh from Alex Roman on Vimeo.

before the freedom towers...

there were architectural-inspired machines (as lebbeus woods defines them)

libeskind's machines remind me of other ones... that seem to express their essential machine-like characteristics... like this:

sx-70

eames' view of the machine for seeing

and then... her eyes moved

chris marker's "la jetée"

michael graves did it...

so, you said you forgot about the studio presentation...?!?

introduction

That the true function of Architecture is to oppose the Vitruvian Triad of commodity, firmness, and delight is a radical proposition. Yet, its radicality lies precisely in relation to an outmoded conception of architecture. Instead, new programs and forms of representation –present since development of cubism at the beginning of the twentieth century– demand new notions of space and architecture.

The function of this studio is to explore these conditions and the Potentiality of Architecture to challenge and displace; to shock and to heighten awareness. Its “cruelty” lies in the fact that it serves to disturb the social order that masks the realities of new architectural concerns and paradigms. This is similar to the project of the cinematic avant-garde which, as we will explore, is closely linked to this architectural project.

Specifically, the operations that will be used in this studio to denaturalize architecture, space and perception have their historical origins in the 1966 investigations of Paul Virilio and Claude Parent and the Architecture Principe research. The investigations of the studio will rely on their theoretical manifestos, propositions, and operations in order to continue their research into the radicalization of dislocation and its materialization in “real” space. In addition to these formal propositions, cinematic operations might be explored architecturally to offer a condition of spatial or temporal displacement similar to that of film.

The Harvard Film Archive in Cambridge, MA needs a new structure to house their facilities as they are being displaced from the Carpenter Center. Having been in a radical building, they demand the most contemporary of architecture. In effect, the designer must design a “double” of what exists – architectural space, programmatic elements, etc. – within this new context and time frame. Yet, because of the venerable context of Harvard University, the designer must use cunning to propose the new – in short, the designer must be and design “a fox in sheep’s clothing.”