FILM SPACE: COMPREHENSIVE ARCHITECTURAL COMMUNICATION THROUGH FILMIC REPRESENTATION

Abstract

Architectural representation is currently in a dilemma. It has arrived at stagnation because factors such as capitalism and technology have compelled the discipline to adhere to a code of efficiency. Coupled with the advent of digital means, the new form of digital representation is being strained and overburdened – resulting in architectural representation becoming sterile and void of discernible emotions. This creates a schism between the architect and his audience. The emotional input the architect lends to the project is not being transferred to the intended audience effectively, due to issues of communication. Contemporary digital representations are crucial to the discipline; they disseminate information to the relevant parties efficiently and effectively. But this is only partial communication; it can be supplemented by emergent tools of representation to become more comprehensive. There is a potential for film to fill the supporting role in architectural conversations. Film and digital representation can be paired to provide a more comprehensive representation of architecture. Film and architecture share numerous commonalities. They manipulate space and movement. Architecture also lends meaning and context to filmic imagery. But more importantly, film might be able to incite emotion or evocative reactions. Film has the capacity to look past the technical intricacies of architectural representation and appeal to the emotive and evocative aspects of human life. It does so by articulating ‘lived space’ – spaces we can experience, spaces that are stored in memories. Film prompts the viewer to activate his imagination, filling in the gaps created by the unrevealed parts of architectural representation. By filling in those gaps, the viewer is emotionally bound to the film. Film also has the potential to advance architectural academic discourse because film is able to suspend reality and push the envelopes of spatial experimentation by disregarding the rigours of reality – functionality, gravity, budget, etc. Additionally, film has the ability to harness sound. With another mode of sensing activated, boundaries of what is possible in architectural representation open up. With more senses involved in architectural representation, one is able to form a more complete mental depiction of architecture. This paper is a query into how exactly does film accomplish a comprehensive communication between the architect and his audience – specifically how film may be better equipped to incite emotional reactions in people so that there is emotional transference between the architect and the audience.