Moving Images – Static Spaces: Architectures, Art, Media, Film, Digital Art and Design AMPS Proceedings Series 14 AMPS PROCEEDINGS SERIES 14 AMPS, Altinbaş University 12-13 April, 2018 Moving Images – Static Spaces: Architectures, Art, Media, Film, Digital Art and Design EDITOR: Ayşegül Akçay Kavakoğlu SERIES EDITOR: Graham Cairns PRODUCTION EDITOR: Eric An © AMPS C.I.O. AMPS PROCEEDINGS SERIES 14. ISSN 2398-9467 INTRODUCTION : This publication is the product of the conference, Moving Images – Static Spaces: Architectures, Art, Media, Film, Digital Art and Design held in Istanbul in April 2018. Organised by Altinbaş University, the international research group AMPS, the scholarly journal Architecture_MPS and PARADE (Publication and research in Art, Architecture, Design and Environments, it offered a platform for multiple and diverse examinations of the city based on the following proposition: The relationship between architecture, urban environments and the moving image is deep rooted. It is also mutating. Born in the City Symphony films of the early 20th it was premised on the dynamic and mobile representation of buildings, streets and cities. Caught on celluloid, these architectures were the setting of news reels and documentaries. They were also settings projected on screen and presented like never before. This complex relationship continues today with interiors, architecture and cities still forming backdrops to action and being the subject of feature films, documentaries, news broadcasts and TV. Today, however, moving imagery and architecture coexist in multiple other worlds too: iphone screens and locative media; YouTube ‘news’ streaming of war torn cites; virtual reality spaces explored through headsets and haptic sensors; the animated environments of Second Life; the fantastical settings of the gaming industry; fly-through representations of architectural projects; and the real-time algorithmic formation of parametric architecture on a computer screen. All this has also been built on a an ever resent and still influential history of the static image. This complex traditional and new scenario will be explored at this event. As with other events in the series, it brought together people from diverse backgrounds to fragment, multiply and reconfigure our readings of the city; to offer multiple and conflicting discipline perspectives. The intention was to share views of the city as setting for film, physical entity, online community, film set, photographic backdrop, geographical map, sociological case study, political metaphor, digital or video game etc. It sought to examine the city as a mediated and shared phenomenon. The papers collated in this volume represent a sample of the research discussed and explored at the Istanbul conference. Special thanks for support on this conference goes to Tübitak 2223-B Program (The Scientific And Technological Research Council Of Turkey). TABLE OF CONTENTS Chapter 1 ...BECOMING MICROSCOPIC TO FIND SHELTER... 1 Concha García Chapter 2 SHORT-FORM VIDEO AND THE POSSIBILITIES FOR A NEW ARCHITECTURAL CRITICISM 10 David Cowlard Chapter 3 THE CONTEXTUAL SIGNIFICANCE OF ARCHITECTURAL RUINS IN THE CINEMA OF THE 19 2ND HALF OF THE 20TH CENTURY Dimitris Giozepas, Panagiotis Gouliaris, Giannis Tsaras Chapter 4 MOVING IMAGES IN DIGITAL HERITAGE: ARCHITECTURAL HERITAGE IN VIRTUAL 23 REALITY Hannah Rushton, David Silcock, Mark Aurel Schnabel, Tane Moleta, Serdar Aydin Chapter 5 THE PRACTICE OF CINEMATIC DRAWING IN GRASPING THE SETTING OF URBAN 35 INTERIOR : CASE STUDY OF OPEN MARKET IN ROTTERDAM, THE NETHERLANDS Noor Fajrina Farah Istiani Chapter 6 THE REPRESENTATION OF HETEROTOPIAS IN CINEMA 44 Özlem Demirkan Chapter 7 CENTRAL PARK IN FILM: ARCHITECTURE AS THE STRUCTURE OF DESIRE 53 Sadra Tehrani Chapter 8 DIGITAL ASSIMILATION. DIGITAL PARAMETERS AND ANIMATION TECHNIQUES AS 62 GENERATIVE TOOLS OF ARCHITECTURE FORM Severino Alfonso Dunn Chapter 9 BRIDGING THE GAP, FILLING IN THE VOID: PUBLIC ART AND DIVERSE COMMUNITIES 70 Sana S. Burney Chapter 10 ARCHITECTURE AS A SILENT STATIC SUPPORTING ACTOR IN FILMS 78 Zain Adil Chapter 11 FILM AS AN EDUCATIONAL TOOL TO UNDERSTAND THE ESSENTIALS OF ARCHITECTURE 96 Zain Adil Chapter 12 WHAT WILL BE THE FUTURE OF ARCHITECTURE WITH OUR INCREASING 104 PARTICIPATIONS ON SOCIAL MEDIA? Ameera Zahid Malik, Zain Adil Chapter 13 MELANCHOLIC ARCHITECTURES: THE CASE OF VIDEO GAMES 111 Angeliki Malakasioti Chapter 14 THE IMAGE OF ROME 118 Elena Rocchi Chapter 15 WHAT MODERN EYE DISPLAYS: “CINERAMIC” NARRATIONS OF SOCIAL SPACE 125 Gürbey Hiz Chapter 16 SKATEBOARDING, ARCHITECTURE AND PUBLIC PLACES: RHYTHMIC REFLECTIONS 136 FROM PERTH, AUSTRALIA Morgan Dyson Chapter 17 IMMERSIVE ARCHITECTURE.GENERATOR: FRAMEWORK FOR ADAPTIVE AUDIOVISUAL 146 ENVIRONMENTS Alexander Peterhaensel Chapter 18 ARCHITECTURAL LAYOUTS AS A PROJECTION OF LINEARITY IN A FILM NARRATIVE 158 Syed Hussain Ahmed, Zain Adil (Co-Author) Chapter 19 THE BLACK HOLE CITY 171 Toby Reed Moving Images – Static Spaces: Architectures, Art, Media, Film, Digital Art and Design ...BECOMING MICROSCOPIC TO FIND SHELTER... Author: CONCHA GARCÍA Affiliation: FINE ARTS FACULTY, DEPARTMENT OF DRAWING AND ENGRAVING, COMPLUTENSE UNIVERSITY OF MADRID, SPAIN "... the geometrician sees exactly the same thing in two similar figures drawn at different scales." Gaston Bachelard1 "But I live only from the interstices... that are narrowing..." Peter Handke2 INTRODUCTION The project described here, "... becoming microscopic to find shelter...",-henceforth and in order to simplify BMTFS-, aims at the depiction of 30 micro-cities camouflaged in common structures of contemporary urban landscapes, specifically in the city of Madrid. The succession of images is accompanied by the soundscapes of the various sites, but not in a direct correspondence relationship, but using for the sound material reversing procedures of scales and levels, making audible what is usually inaudible, and rejecting the normally audible sound that could, therefore, be easily identifiable. THEORETICAL DEVELOPMENT BMTFS is a project of Architectural fiction, faced from an artistic perspective. Art has always been erected as the main creator of fictions and narratives of subjectivities, and within this context, our project is developed, but at present, there are many disciplines, even scientific, that consider the need to use the subjective enunciation and a narrative element as indispensable to theorize3.. Also, the experimental architecture has orientated its attention towards new practices that include the use of computerized simulations and new tools for creating systems, but also creation of fictions and lines of subjectivity, according to The New Territories Architectural Organization: “Experimental architecture has shifted toward a new corpus of instrumentations, made out of tools, computation, mechanization, but also and simultaneously of fictions and lines of subjectivity, synchronous with our symptoms; of fears and great escapes in the “here and now”.4 Here is where our project is located. The production of the space We firmly believe that space is not something that is already given to us. Each society, following Henry 5 Lefevre , produces its space -which he calls social space-, and develops as well, a logic of its 1 visualization, which is cultural and political and implies an act of creation. This must be understood as a process, based on a constituted conceptual triad: first by space practice, which ensure the continuity Page AMPS | Altınbaş University Moving Images – Static Spaces: Architectures, Art, Media, Film, Digital Art and Design of that space and a certain degree of cohesion. The spatial practice of a society advocates its space and presupposes it in a dialectical interaction; secondly, the representations of space, which constitute the dominant forms in any society, by means of which is defined the conceptualized space; and finally, the representational spaces6, which embody complex symbolisms, codified or not. They are related to art and the clandestine part of social life, and with them, imagination seeks to appropriate of the space and change it. We wonder then, what will be the spatial practices, the representations of space and the representational spaces in the context in which we are now: the so-called Anthropocene. Figure 1. One of the micro-cities Anthropocene and Ecomimesis BMTFS takes as a necessary context the consideration that we are in the so-called Anthropocene Epoch, and raises epistemic questions around the construction of the imaginary in this context, in which the human can be re-imagined from Biology and Geology. Although Anthropocene is a geological concept, it can be considered a "collective assemblage of scientific enunciation that is also an inherently political concept"7, because capitalism is both the context and instrument of the geological inscription. Since the thesis of the concept of Anthropocene undermines the epistemological distinction between nature and culture, art and architecture must take as an element of fundamental reflection the context. Contemporary art evokes and makes a call to what is outside the work: in that sense, we can talk about environmental works. The environment, therefore, is the fundamental element in which our reflections are made, using a device that Timothy Morton calls Ecomimesis, understood as an atmospheric exploration focused on the context and the ecological attitude of “listening”, or focusing on the environment and space: a context where shapes are not the important issue, because