Technology in Architecture and Future Representations - Essay Example

? Technology in Architecture and Future Representations Introduction Film has become the most common form of media in the recent times. In the past, the role of film in architecture was restricted to the mere presentation of history and concepts during lectures. However, the media of film can be used to represent newer visions of architecture for the future. Suffice to say, film can be used to represent the possibilities of future architecture in a realistic and thought provoking manner. Further, the film media makes it possible for the audience to appreciate architecture in an experiential manner by moving in the architectural spaces (Boake, 2007). Previously, architecture was restricted to the simple two dimensional representations of drawings. Through film media, it is possible to create realistic and fathomable representation of architectural visualizations. The architectural designs create new avenues of creative thinking by analyzing the potential of the film depictions and the possibility of implementing the ideas in the real world (Hiller, 1996). Representing the experience of space Architectural designs are invariably communicated through representation. The link between the architect’s ideas and their implementation is through the process of representation. Traditionally, the most pervasive mode of representation has been through drawing of sketches to showcase the features that the architect wishes to express. In the final stages of architectural design, representation is done by technical drawings. However, these traditional representation methods are limited since they cannot allow one to fully experience space. Film has immense potential to add visual elements into architectural design. Through the use of film media, an architectural design can be experienced in an augmented reality (Aroztegui, 2010). It is possible to append the notion of motion into the representation of architectural design through film. Film allows for a multi sensual representation of space in architecture which helps to improve the perception of the architectural designs. Notably, experiencing of a space in architecture should be reproduced in a manner that allows for the utilization of all senses. Film media makes it possible for one to experience space through all senses by creating an illusion of motion and combining visual images with audio. Through the use of advanced computer graphics, architectural designs can be represented in films creatively to an extent that one feels to be transported to another space. By using a scripted narrative, film cultivates the concept of space in a compelling space. The interconnection of all senses during a film representation of architectural design makes experience of space to be near reality (Henzel & Menges, 2009). Also, space and body are closely related and they can be tied together through experience. Thus, film can bring futuristic architectural designs into perspective and help in the progress of architecture. Filming and architecture: Filming space and embodiment The core purpose of a film is to create compelling scenes that are as close to reality as possible to keep the audience captivated. The best films are those that immerse their audience in their narration and representation: so much that the audience feels to be actually transported to another place and time as depicted in the film (Awan et al, 2009). For true appreciation, architecture has to be experienced in the perspective of reality so that the audience can relate to it. The eye is primarily the means by which people relate and experience space. Architectural designs in film are sculpted through a combination of visual and audio narration. The audience identifies with the film’s representation first through the gaze of the camera and seeing architectural objects from a vantage point. As the audience is captivated by this vision, they are bound to engage other senses into the narration. Evidently, the narration and representation in the film can trigger the imagination of the audience to construct different hypothesis concerning what they hear and see. Hence, in filming space, there is need to create compelling scenes and narrations that assist to the audience to understand the implications of the architectural design being portrayed (Ihde, 2009). Filming techniques: architectural spaces and urban settings The art of film making has evolved rapidly over time. The depiction of architectural spaces and urban settings has greatly improved in films due to the exponential advances in technology. During the early stages of film development, there was limited room for creativity and enriched representation of architectural spaces (Jones, 2009). This was due to the restriction to a fixed camera position, the inability to zoom and a fixed depth of field. However, improvements in technology have made it possible for film to show an accurate representation of urban settings as well as futuristic ideas. For instance, there are filming techniques that allow a differentiated viewpoint of each character as well as the capability to shift the focus between the character and the visual space that surround them (Beckmann, 1988). The addition of color has also contributed to a much more accurate representation of the real settings of urban areas and other architectural spaces. Further advances in film technology through manipulation of graphics have opened more avenues for architectural representation of space. According to Boake, 2007: Filming techniques now have the ability to make visual images of environments that blend seamlessly from the physically constructed full sized set to realistically animated visions of characters speeding through highly complex urban cities set on earth or unknown planets. (p.4) Advances in special effects have made it possible for film to realistically depict disasters’ on architectural settings. The use of models to accurately represent architectural settings has been scaled up by the use of computer animations. Computer animations enable the realistic scaling of real models to vividly depict occurrences in urban settings (Deborg, 1992). Visionary architecture: mixed realities Unlike real life architecture, films have the advantage of never having to remain realistic and conventional. Thus films offer architecture the capability to escape reality and explore the realms of “what if” scenarios. This provision to escape from the boundaries of reality offers architects the chance to explore architecture from new perspectives beyond the confines of conventional architecture. Previously, only real life three dimensional models were used by architects to show how the design would appear in real life settings. Film has transcended the limits of traditional depictions and enabled the architects to use computer animations to provide a complete picture (Miessen, 2011). Further, it is possible to use virtual reality to offer dynamic walkthroughs in the architectural design. Film technology offers the audience a chance to not only experience architectural design as they are in real life but also add the element of imaginations. The film can depict conventional architectural design including other features that are presently nonexistent. Such depictions of mixed realities allow the audience to query the status quo and reinvent existing architecture. Dystopic future Perhaps the most provocative application of films in architecture is their use to depict future eventualities in architecture due to the present world situation. Science fiction movies play a great role in modeling the possibilities of the future of architectural designs. For instance, although real life architecture is constrained by the laws of science such as gravity, films have the liberty to explore the possibility of architecture in the absence of gravity. Yet the depictions of life in other imaginary planets without gravity can help in rethinking the present architectural models (Heidegger, 1977). Also, the creation of film dystopias helps to engage in intellectual analysis of future possibilities in light present trends. For instance, film can explore the kind of architecture that could exist if the world was cast into eternal darkness. Would there be a need for glass windows? Film dystopia helps in fuelling moral and functional discussions that can shape new ideas in the realm of architecture. Conclusion As film continues to be the most prevalent form of media, it is imperative that is should be integrated deeply into the learning of architecture. The application of films in learning the past, present and future architecture offers great potential to the overall growth of architecture. Film technology can help in the representation of architectural space in a much more comprehensive manner as compare to the traditional representation models. Also, film technology offers an opportunity to explore architecture beyond its conventional confines. Bibliography Aroztegui M, C.2010. Architectural representation and experiencing space in film. Montevideo: Universidad ORT Uruguay. Awan, A., Schneider, T. and Till, J. 2011. Spatial Agency: Other Ways of Doing Architecture. London: Routledge. Beckmann, J. 1998. The virtual dimension: Architecture, representation and crash culture. NY: Princeton architectural press.  Boake, T. 2071. Acrhitecture and film: experiential realities. Ontario: Univeristy of Waterloo. Deborg, G. 1992. The society and the spectacle of other films, London: Rebel press.  Eisenstein, S. 1989. Montage and Architecture. California. Goodman, N. 1978. Ways of worldmaking. Indiana: Hackett Publishing co.  Heidegger, M. 1977. The question concerning technology and other essays, New York: Garland Publishing.  Hensel, M., Menges, A and Hight, C. 2009. Space Reader: Heterogeneous Space in Architecture. Chichester, West Sussex: John Wiley & Sons.  Hillier, B. 1996. Space is the Machine: A configurational theory of architecture, Cambridge: Cambridge University Press.  Ihde, D. 2009. Technoscience and Post-phenomenology. NY: State University of New York Press.  Jones, W. 2009. Unbuilt Masterworks of the 21st Century.: Inspirational Architecture for the Digital Age. London: Thames & Hudson.  Merleau-Ponty. The phenomenology of perception. London: Routledge . Miessen, M. 2011. Nightmare of Participation: Crossbench Praxis as a Mode of Criticality. Berlin: Sternberg Press.  Read More