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Architecture As a Screenplay1 Z. Herbert, Znaki na papierze , Wydawnictwo BOSZ, R.U. Russin, W.M. Downs, Jak napisa 4 scenariusz Olszanica 2008. [ lmowy , Wydawnictwo Wojciech Marzec, Warszawa T. Mann, Józef i jego bracia , Czytelnik, Warszawa 2005. 1961. W. Tatarkiewicz, Dzieje sze Vciu poj B4 : sztuka, pi Bk- I. Montagu, With Eisenstein in Hollywood , Seven Seas no, forma, twórczo V4 , odtwórczo V4 , prze bycie estetyczne , Publishers, Berlin 1974. PWN, Warszawa 1976. H. Rauterberg, Talking Architecture. Interviews with J. Wójcik, Labirynt Vwiat a, opracowanie Seweryn Ku- architects , Prestel Verlag, Munich, London, New York Vmierczyk, Wydawnictwo CANONIA, Warszawa 2006. 2012. W.J. Robinson, The Form and Structure of Architec- Czes aw Bielecki, dr tural Knowledge: From Practice to Discipline , w: A. Pi- ul. auawskiego 2 otrowski, W.J. Robinson, The Discipline of Architecture , 02-641 Warszawa University of Minnesota Press, Minneapolis 2001. tel.: +48 22 625 43 32 [email protected] ESSAYS ARCHITECTURE AS A SCREENPLAY 1 CZES AW BIELECKI “- So you proceed like a writer?” “- I listen to my inner ear and see what experiences I can call on to tackle a new (...) job. I often experience – as writers say – that the book writes itself. You make a start and then have to let go to fi nd out where the material is taking you. I fi nd it quite surprising how the images come up in my mind – sometimes it’s like in the cinema.” 2 Peter Zumthor Film people are keen on saying that a screenplay today we are reading the screenplays of Antonioni, is not something you write; it is something you Bergman, Kie Vlowski and Piesiewicz it is because constantly overwrite. It is a similar case with an their [ lms have come into existence. It is like that in architectural design. The initial idea is in subsequent architecture. An unrealized design, no matter of what stages clari [ ed and corrected. The trick consists genius, shall not become a true work until it assumes in sticking to the course and, while improving real, that is material shape. As long as a screenplay the project, in never losing the main idea and or a drawing determining the future production freshness of the initial design. I think screenplay and process do not come into daylight in material form, architectural design are comparable forms of art. there is no [ lm and no architecture. The realization of an architectural work resembles Today we deal with a tendency, I hope transient, the [ lm “screenplay visualization” 3. The record of according to which virtual architecture is more one and the other is not the work yet, however both important than the real one. I say however, that are protected by author’s license. For if on the basis this formula is being protected by people, who of the commissioned and bought screenplay no [ lm have not managed to achieve real architecture and is shot, it shall not exist in the consciousness of the who – like in his days Le Corbusier – want to gain recipients. It shall not evoke anybody’s interest, space in the market by the way of writing 4. This apart from the critics’ dealing with [ lm history. If virtual architecture can sometimes be recognized in 1 The text of the present article constitutes the [ rst chapter of the 3 J. Wójcik, Labirynt Vwiat a ( The Labirynt of Light) , book Sztuka budowania. Wspó czesny paradygmat ( The Art of Wydawnictwo CANONIA, Warszawa 2006, p.75. Building . A Contemporary Paradigm) . 4 Le Corbusier, W stron B architektury (Towards an Architecture) , 2 H. Rauterberg, Talking Architecture. Interviews with architects , Centrum Architektury, Warszawa 2012. Prestel Verlag, Munich, London, New York 2012, p. 153. 88 real works, usually built without any understanding Will the inhabitants be happy? Equally important is of materiality or scale, which decide about all the also how the building shall react to a change in the differentia speci [ ca of architecture. They look in character of the environment or perhaps some change nature as if (which very likely was true for those in its function. For instance, Wright’s Robie House cases) someone had enlarged a designed object on has been renovated by the architect’s foundation, the computer’s screen and then made a 3D print of it. presently serving as a seat of seminar meetings. Also It is not architecture, but its model in 1:1 scale. The this building had not aroused any enthusiasm on wallpaper of the materials has been stuck onto the the part of the original dwellers and for decades it wires de [ ning the building’s geometry. For another had been gradually collapsing. Among other things, thing which makes screenplay so much like a work the [ rst inhabitants wanted to have curtains in the of architecture is the fact, that one as well as the other windows, whereas the architect thought that the is a result of a certain creation process, taken into the function of shielding from intruders’ look was well frames of some very strict rules. The materialization ful [ lled by the stained glass set into the windows. of the work is too expensive an enterprise for the The architect de [ nes the starting point, which we can artist to pass immediately from the phase of the call the concept, and in a screenplay – the so-called sketch of the idea straight to its realization. This, treatment. Sometimes it happens that going from this with the exception of a small shed or a documentary point, de [ ned as the starting point, to the next one, the etude, is technically impossible. The contemporary artist does not go along the straight line connecting ease of [ lm recording or generating spacial forms the two, but goes in circles along a complicated curve. thanks to friendly technology do not cause the record It is de [ ned by a spiral, [ nally reaching the goal. automatically to become a work of art. I used to show my diagram of activities as a bunch of Let us have a look at the model of the Fallingwater vectors aiming at an aim, situated in a certain [ eld. by Frank Lloyd Wright. The architectural screenplay On the way to the goal, I must all the time take care is the design at the stage of a model and its plans. for the communication never to stop between all the Another photo shows the house in the building stage participants of the enterprise. Partners in creating with scaffolding. Finally, we see the architectural [ lm architecture often have “inverse vectors” – different, already shot, that is, a ready building in the changing even contradictory interests, which I have to take into scenery of the seasons. The building is regarded account. The executor wants to do everything the as a masterpiece, an icon of architecture. It is an simplest way possible and at the smallest cost, in order example of masterly realization of the screenplay. to make the biggest possible money. The investor’s Through fragmentarization of the stone vertical and desires are dependent on the building’s destination. the massiveness of the ballustrade, the scale of the The developer may, for example, want it to be building is completely lost. A daring corbel makes possibly ef [ cient and to sell quickly, for a suitably for the impression of a mass suspended over the high price. But if he is thinking about spaces to rent, waterfall. Looking at Wright’s house from above, and not for sale, he will pay attention to some other we shall see that it has in fact only one condignation, features. The architect, however, must reconcile those whereas from the lower perspective it seems to be a competing interests and see to it that the whole team monumental, piled-up, cascade-like solid. It’s worth ef [ ciently strives after the set goal. This is exactly mentioning here that the Fallingwater, literally built what should distinguish him from a construction on top of a waterfall, stood usually empty, because producer: having a vision, the consciousness of what no one wanted to live there on a regular basis. The is going to happen as well as supervision over the space in which it was situated proved to be noisy and executors, so that they do not stray from the chosen upsetting for the inhabitant – Edgar J. Kaufmann. path. Just like with a [ lm, which not only has to On the example of the Fallingwater one can see last throughout the projection time, but also carry a another, very important common feature between speci [ c message, as well as attract new spectators. architectural design and screenplay. Just like a [ lm “What we are after, is a situation in which, thanks maker is wondering whether his work is going to to co-operation, one can raise something higher, meet the likings of the public and whether it shall show something in a wiser way and recreate in the move the spectators’ emotions, so the architect must [ lm set in such a way that the future spectator will take into consideration how one is going to live in say: ‘That’s what I thought’”, as the cameraman Jerzy the building he creates. Is it going to be comfortable? Wójcik, the co-creator of Kana and Eroica , writes. 89 “It is very hard. This is the proper understanding of “The cameraman was the one who started the a profession which [ rst of all should be treated as a camera and knew how to expose a negative,” craft. Benvenuto Cellini was a craftsman, too. One ennumerates Jerzy Wójcik 6, “The second one is the should understand craftmanshift in such a way that one who told the actors what to do.
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