Film As A Superior Medium For Engagement With Architecture Design?
This fantastic scholarly paper by Schawn Jasmann on The Info Tech Revolution In Architecture deftly juggles so many of the quasi-douchebag critical theory notions that are important to the research I’m doing for my book project… Here he is talking about some of the post-Char Davies possibilities for rendering architecture designs as multi-sensory synesthetic experiences:
Using the film as an exemplar, one could illustrate a further line of inquiry into the language/experience relation. This relation is frequently a source of tension within designers’ understandings and definitions of the manufacture of architecture today. However, the film as a cinematic experience is referred to not so much to illustrate that the experience of silently watching is superior to a linguistically-based interpretive moment. Rather, the film itself contains revelatory material that recruits both the viewer’s sensorial and linguistic modes of reception. Hence, the film is a dialogue of sorts between its own ideas (rendered as a set of fluid narrative encounters) and its own experientially-derived moments. That is, the moments that show viewers properties of the flesh-world, of architectural properties such as form, space, and light, and the transformation between these as a parallel to our own linguistic-experience dialogic encounter with the world of things.