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Las Vegas, Film, and the Mobilized Gaze
Wednesday, Oct. 19, 2011 · 6:33 p.m. · 01h 05m 08s
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syria uh or
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like a fair also we have numerous articles enough to know which generally
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data therapies erupting with the packer you see a l. p. f. l.
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uh so you have to know what it is they're look
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to look good actor that exposes to las vegas video compulsory
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ever occur uh you lurched regularly director views you mean tell pat greg here is
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uh you don't want to set a portion of colour was
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a record of sister it officially a it exposes sure a coup
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yeah there's a wise though and uh it's a fairer separate
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those don't come collect only see your level 'cause you were usually
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uh uh uh was it does you need your cursor terrorism a success story
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you uh you know what you're doing a very this you use the uh a bit back though
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um actually i'm not into it to both assistant uh uh sure this so the lead
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up to talk to you about the purpose of which who uh would get yeah institute
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you know to do list where the alleged actually visited those unit
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interface unless they are just a bit of sludge execute office serves only slows for mode
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no just because it's a no frills sir do uh from all those who uh similar to what shows is a
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professor for this survey to look uh so not that uh it's second is supposed to love they're going to be
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uh what uh i dunno was then it's simply because it's t.
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v. is gonna go to vision yeah don't step is the mess there
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a new key certitude roaming around rubber going to really room and post modernism
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want to push it don't cup s. m. s. there which you are key to last week's hoover
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pulse uses it to the philadelphia i noted above to more to circle around the lunacy to the pennsylvania
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you know who they are centre so for those that you'd have to do memo
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goodies actually didn't to use good one associates curative effect the u. penn when the music's
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says r. o. their common uh uh one of you but you don't
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do this to deserve this it could extremes of is you know exposes so
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well do you eat you know yes you could use that there's a doctor
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how difficult it actually took to delete it said that there's that'd too long unclear
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put into perspective aesthetics for and discourse over
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city inventor reasons good brown's learning from las vegas
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you do look on parallel who could to complement but it is that the most
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super chef sure that will surely no service you're never going to be as good bone
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but also new mobile contribute to tell a nested you just uh uh the letter
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village to try to give their that missus usually deserted the the regular do certain
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you're too stupid or whatever and you don't look at it and you don't know your
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program that's similar questions could take the mush you phone that's gonna lose you still are substantively
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but usually clearly a moment of dutch picture uh aligns itself vote
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i it was directed don't notice you're not demo or come over the border
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to talk you know there are it finds the you screwed are going up
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because we go plus you sell a newsletter do european architecture is thirty network but yeah there's
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very mobile for that to the the two additional or should talk to online aquino
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yep in you know there's you look at the longer exposes you left bigger studio that's got
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the logo for teletext the the that that's the
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mac tuesday really a a lesser extent measure um
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and the logo want her look at the uh room you could act um i'm swedish to waste
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uh it officially leftist it actually take them quite as you know text to the stem cells from was
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uh you know with c. p. u. u. or
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desert communities reliever las vegas emerged we'll be starting
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to really photograph you feel so you know it's it's you they're set there's the the doctor oh
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maybe that was you uh are books that there is no good i mean they don't get
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it if they're the repeater goofy show the temporal institutes for you push decision to i mean each
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they're yeah they're a note that said the usual and you don't have to close your uh so so you
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uh should probably connected to the uh to uh the
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it to um to do simple exposes sort ascension separate here
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uh what uh yes who uh in the when you have a new paralysis or is that about
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i have to go see a elicited traditional can't yeah
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embossed someone some interface some play tennis on t. f. t.
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v. ricochet shrunken to for an external simple where am
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i like on and see actually simple yeah nationality to to
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yeah what it taught internal takes positional usage and i think this is well on the sick today
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six coffeehouse jeff a yeah but ah oh yeah o. k. c.
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p. for simple machine spent quite a bit of a common see her
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yeah man initial uh and all of four motion voltaire
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chanted anything yet on the porch boss cosine label could imagine
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and serviceable thermo that banish
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ah one here it's easier than it to p. plus okay i'm
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um so fast again for a serial and artists whom and my paper j. has
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set a starry sections um i've in the first part of where where i'm analysts
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sort of new media such as photography and in particular film which is the main subject of light
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talk to jerry it's all that you need to use of new media
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for the analysis and representation of the city uh it learned from las vegas
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in the second part i will discuss some historical antecedents
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feel need to you of the city bottom or am i believe
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important form into in school around when they only took their own research
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and then finally to wrap things up i wear or am i finish with few theoretical remarks on the
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affinity of architecture and failings in which is set
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has been a major topic you have throughout modern age
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i would like to start with a quote from denise scott rap core
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las vegas is not a standard for
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future growth it's standard for conceptual analysis
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last i stated denny's good round indication of a panel discussion
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fast and forward referring to govern from las vegas research studio
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but you have conducted happy jail school of architecture in the fall of nineteen sixty eight
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together with her partner robert when to re enter teaching assistant steven eyes now
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the quote our mistake ably redirects attention from problems of contemporary organism
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two methodological aspects concerning the analysis of the city
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i would like to argue that such methodological issues warranty
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it at the core of to learn from las vegas project
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both in nineteen sixty eight research studio hunting in swing nineteen seventy two what
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publication of the same title or was because addressed it to fall to prop
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the visual analysis of contemporary or for on the one hand
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and the adequate visual representation of the form of this form on the up
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what brought into rents got round to las vegas in the first place plus their interest in a new
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optimal perl oriented or conform that had evolved in the post
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war years and that increasingly dominated the image of the cities
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of the american west and it's the rabbit he's got brown
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here driving all uh in their car m. along those because
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the last because script they argued represented the archetype of this form known as opens right
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for them traditional conceptions of this city based
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on an idealised image of the medieval european town
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we're no longer adequate to describe this evolving x. open landscape
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in contrast the prevailing opinion in the nineteen sixties
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the authors of learning for most biggest someone
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urban sprawl not the chaotic productive basis for politics
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but rather self regulating or perform with the
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heat water assisted and its own spatial logic
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in their search uh for such a hick whatever media
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such as photography and film surface major epistemology cool tools
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the materials we captured for that was because w. execution currently on show here dark assume
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are but a small selection of thousands of slides spend many hours of film
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footage driving towards got round us now and the students from that day studio
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that they produced during their field trip to las vegas in october of nineteen sixty eight
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in the following and has already said i would like to focus on
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film in particular as a tool for the conceptual analysis of the city
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then it's got brow repeatedly voiced her interest in
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filming techniques for the analysis and representation of urban for
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in her nineteen seventy one text learning from pop she commented quote
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new analytic techniques must use film and video tape
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compare the dynamics of sign architecture
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and the sequential experience of last landscapes
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in her have you feel most capable of representation of representing or conform much
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better than such relatively static media such as carter coffee or even for talk
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the contemporary city presented itself tune ups
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over as a spatial temporal experience and
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for this reason it was best understood by means of a visual my ration
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that is a sequence of images comparable to a cinematic experience
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in her view image of the content per city was best characterised as a sequence of bestows
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of a mobile that is autumn about observer but that is why
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i filed the last the research and also in the exhibition here about
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several of these sequences which try to simulate these cinematic approach to sit
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it's interesting to note that scott brown also hinted at the
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potential of commercial movies to produce strong or been in each
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in our nineteen sixty nine his say entitle on
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pope park from stiffness and planning she wrote quote
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planners and urban designers should be leading the way
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but this the movie makers for example on on
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on the you know no the and red desert and more effect it more effectively and blow up
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we have investigated the architectural implications of the local c. in school
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scott brown at this point could not reach for two michelangelo onto new
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owners remote movie to briskly point yet i feel released in the following year
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featuring it travelling sequence through los angeles by ca car
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which is actually quite similar to those on the take
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that into an scott brown and the student students in las vegas a couple of years earlier um according to them
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architects had fails to understand the implications of a changing or conform for
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the profession and could learn from the arts from photographers and filmmakers in particular
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what started to develop adequate representation techniques for
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these new are open and visual phenomenal it's
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but just a automobile oriented urban form of
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las vegas but the city's iconography guess well actually
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the mean imagination of movie makers had
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had challenged imagination makers but the nineteen sixties
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sneak yell out how they would talk a vital part
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and she in shaping and disseminating the image of listening
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i'd a very early stage the movie industry have portrayed las vegas as the playground
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of the mafia which just see the allegedly out much of its existence and financial success
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and then showing a few of the posters of an early movies uh the commercial
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productions which feature rich a mosaic us or which were at least and sit waiting list
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this helped building up the myth of the city then in many
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ways to get the part of a common alaska and exotic counter crotch
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to the dominant white anglo saxon protestant puritanism of the rest of the united states
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at the same time he's comedies such as ocean's eleven
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from nineteen sixty number of course referring to the original not
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at the remake with uh which which one you know one
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the past few years best even sober so and oceans eleven from nineteen sixty start starring frank sinatra
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and um and his rat pack promoted las
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vegas asked the entertainment capital of the west
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to watch state nice well known nineteen sixty four production viva las vegas
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starring elvis presley is particularly interesting with regards to
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than to worry and scott brown's learning from las vegas
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with this film the city entered into american pop culture for good
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the movie let be colours make us which you probably
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all know opens with applied to drive over freeman street
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in downtown los vegas as well as the script at
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night stating the visual exuberance of thing your mates i sit
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signals visualisation not only provided the classic image of nineteen sixties las vegas
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it also anticipated insurance the browns obsession with this remarkable open static and
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i'm going to show you a a is such a with some sick
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oh
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yeah yeah
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coming back to the question of or for insurance good brown made clear that for them was
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baker's represented in essentially new type of city
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that required to new means of graphic and visual
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representation i quote from aren't most biggest this study will help to define and you time
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form emerging in america and you rock radically different from that we have no one that we
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have been ill equipped to deal with them part from ignorance we define today as well can scroll
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and name of the studio will be through open minded and non judgemental investigation to
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come to understand this new form and to begin to involve techniques for its hat
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uh like earlier treatises on weapon isn't meant to inscribe brown
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in their analyses particularly stressed the perceptual and phenomena logical aspect for
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the office of learning from las vegas argued that the content per city was a consequence
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of to change perceptual conditions brought about by
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the mobile ice case of the optimal by observer
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the image of the city last year for not a matter of single chain is an instantaneous perception
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part of a sequence of moving images itself best represented in film and image sequences
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these methodological concerns what the core of the nineteen sixty eight ga researched studio
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it's preliminary program specifically asked students to use
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cinematic techniques for the analysis of the city
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this focus on film become if it's of representations they didn't within a box well
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but most explicitly in a two page spread of black and white
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film stills okay put a quarter of on the strip and that
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project it's use of course the first uh edition of that set it all thing looks
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a little different than the more well known and paperback edition which came out later and
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also in french page of early seventies
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the temporal succession of individual images that cannot be depicted in
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this topic meeting for box here translated into a special order
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the reader is setting virtual motion similar to a cinematic experience
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it is not surprising perhaps that out of the learn from us because we searched would
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you re so to to and number of films produced by the student of the game studio
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and those who have already i visited the expression uh in the other
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room have already seen in parts and of these films that were pretty
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amanda several assignments into in scott brown gave it to
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their students at least to explicitly called for feel make experimentation
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one of the assignments for example writes quote our representation techniques learn from architecture
00:19:53
planning in heat aren't understanding of las vegas since they are static where this dynamic
00:20:00
contain where does open two dimensional ladies three damage
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you you students are asked to take over graphics coordination task for the class which
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involves expecting the production of a film script for sixteen millimetre feeling by the class
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so during that nine change research director was angel some of the biggest
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mistake and spent to a full pace producing these grapes produced in the forties
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the first film i would like to look at is entitled
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plus because that ham has a running time of twenty one minutes
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it isn't on commended track out of a drive along the
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las vegas strip interrupted by a number of cots and cross fades
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the scenery changes several times from data ninety what effect
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of the illuminated million signs is the most striking elements
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moreover short sequence from helicopter around it is interest pierced after which hard drive ratios
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so this is an excerpt from oops sorry well what it is that uh
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of course also besides the yam theoretical and
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methodological implications are very interesting a historical document
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if anybody's ever been to a las vegas and and visited the strip
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which of course everybody does who goes to las vegas well that is that
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there's nothing there anymore right it looks and totally different it's
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a metallic build up and city nowadays with high rises and
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that and nothing uh compared to the suburban environment that we
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see here as a as opposed to be founded nineteen sixty eight
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the main theme of this film is to inanimate registering of
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the day times it escape of the let's make a straight
00:22:37
the film tidal let's make us that and indicates
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that is immobile impression was a deliberate representational techniques
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the adjective deadpan was originally composed out of the words the edge and hand
00:22:52
the colloquial expression for the face in nineteen century english usage
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the adjective deadpan describes estate market's
00:23:00
been complete absence of expression what mobility
00:23:05
and giving no sign of emotional or personal commitment were involved
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in an article written in nineteen seventy denise got brown clarified the
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meaning of it panning for their conceptual approach to starting button for
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quote
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what new techniques are required to document new forms we should
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aim to ten and the material so that it speaks for itself
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uh_huh she has pioneered this treatment is mono grass inches referring to the
00:23:39
forked over for actually she and whom i will be talking about the means
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commercially as tiny piece treatment in his monogram studies go prancing comes
00:23:49
on it is a way to avoid being upstaged by wrong subject matter
00:23:57
as pointed out in her text that they're having taken into spa remote from pop artist attache
00:24:03
and this type of logical photographic research document it in such monograph since twenty twenty
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six gasoline stations from nineteen sixty three some
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los angeles apartments from nineteen sixty five which
00:24:16
double page spread here or thirty four parking lots in los angeles on nineteen sixty seven
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insurance cup brown adopted we chaise method of arriving at that time in each of the c. d. by
00:24:29
filming with the aid of a camera mounted on the hood of a car and equipped with an engine
00:24:35
a procedure reached reshape instead of cold continues motorists for talk
00:24:42
for the artist this technique was a way to overcome artistic comes races considerations
00:24:48
such a selection composition and proportion as well as the selective perception of the human
00:24:55
re shay repeatedly underlined his intention to take only have to suffer news
00:24:59
reporter whose primary objective is to faithfully recall which presents itself to the ah
00:25:07
through deadpan being the facts would allegedly the reduced to their
00:25:12
sexuality while creative interventions by the artist would be largely repressed
00:25:19
returning to dallas because they're handy it should be stressed element
00:25:23
that is common concept is in itself a highly artificial and artistic sit up
00:25:29
depending pursuit should clearly produces an image on available
00:25:33
to human on without the aid of a prosthetic apparatus
00:25:37
in other words does not simply reprise and
00:25:39
reality reconstruct it's cool new visual real reality
00:25:46
learning from us because not only repeated you first two procedures such just detect handing techniques
00:25:51
the study also emphasise to the commitment to scientific standards
00:25:56
that's specific use of the camera as a reporting tool seems to be directly related to the concept
00:26:03
of mechanical objectivity in nineteen century positive positive this time it's
00:26:10
as the m. irritations of signs loading into fast and
00:26:15
peter townsend have show the scientists from the nineteen century
00:26:19
just sitting photo photographic devices as a means to over calm subjective value judgements
00:26:25
and to arrive at the more precise representation of reality and truthfulness
00:26:30
to nature and will be possible by conventional scientific techniques such as drawings
00:26:36
to positive is science portrait photography seem to
00:26:40
offer any time it transparent medium battery present
00:26:44
subject matter faithfully and i'm influenced by the research cognitive interest in projects
00:26:51
at first sight detect penny procedure and the use
00:26:54
of a camera which that's important insurance rounder student
00:26:59
seem to imply limit time at objectively documenting the outside world missing away
00:27:06
however instead of a documentary or even check different view of the
00:27:10
world that panning should rather be understood this of rhetoric of objectivity
00:27:15
it's got brown recently commented on this problem quote a it was a subjectivity
00:27:21
cart as objectivity a wolf in sheep's clothing we were quite a way of
00:27:28
in other words depending uh_huh go back again to the image that kind you must not be confounded with
00:27:37
nine thirty two words issues at stake which in this case is the commercial american support and c. d.
00:27:43
but on the contrary that's in a tent of cultivating and in fact performing ninety t.
00:27:49
it has to do in other words with taking on a certain attitudes towards the subject matter in
00:27:54
order to arrive at the image of the c. d. plus four on available to the human nine
00:28:01
contrasting yeah detect can movie a second film produced by the students of the
00:28:07
learning for most because research to do is in time and that's because election
00:28:11
this time the subject is the spectacular nights cape mainly around to down scam
00:28:17
downtown freeman street and the transformation of architectural form
00:28:21
into the family clearances of colour and line it's
00:28:25
which the architectural hardware seems nothing with candy is necessary infrastructure
00:28:31
thinking that seemingly it cause we need balance contemporary writings on the
00:28:35
transformation of architecture into on market on architects owning an amorphous into its
00:28:43
and then it's perhaps no coincidence that traitor battle
00:28:46
and most i was uh interested that had problems
00:28:51
about las vegas at the very us they know
00:28:54
that utterance go round also became interested in this option
00:28:59
showing a a page it's a essay for that
00:29:02
six seven what's in in in a million multiplied
00:29:07
with the black and white shot of about a a freeman street in downtown aspects
00:29:14
on like at that time we discussed before this fee on linux electric
00:29:19
and this character i spend emphatically artistic an expression is the courage
00:29:25
it suggests that how she apart expression if dream of indescribable mine supplied from
00:29:30
the early twenty century may finally become
00:29:33
reality in the nineteen sixties less because that
00:29:42
it's a little bit
00:31:51
there's a quasi surreal sequences which is you right here
00:31:55
within your own signs along the roads i mean it horizontally
00:31:58
in in our another passage which we just saw in the middle of the film
00:32:03
the bright neon lights on the software tip off the side morgan freeman street are transformed
00:32:07
internal most psychedelic abstraction of colours form semblance
00:32:13
in contrast to the automobile overview of the first
00:32:16
film this movie also includes the protest in perspective
00:32:21
and several of two takes clearly recall the introductory
00:32:24
sequence of learning from las vegas which we watched earlier
00:32:28
uh_huh and finally and the third movie documents a helicopter rights over the strip during daytime
00:32:37
we
00:32:42
section
00:32:54
the focus of the camera is predominantly on the large high reader signs along the route
00:33:00
logistic stardust which you see here which attract the attention of the driver from a large distance
00:33:06
the main theme of the film is the displacement of architectural form
00:33:10
by the symbolic dimension of architecture so signs rather than architecture
00:33:15
at the same time it's the only film from it yeah studio but does not focus on the view from the root
00:33:22
in so to when it adapts a relatively conventional perspective for the depiction of the city
00:33:28
that that's the birds eye view what had already been experimented back in the nineteen twenties for example
00:33:34
in a german production of the series of short films in the modern housing that showed the whole
00:33:39
the shape commonly berlin it's that little towns and marching or wagner
00:33:46
this is a nineteen twenties right german production you know that is a good sign
00:33:52
again the artist had to say served as a direct source from into is pulled into it's got brown
00:33:59
also used to put to you for its artists book
00:34:02
thirteen parking lots in los angeles from nineteen sixty seven
00:34:09
this brings me to the second part of my uh my lecture by focusing their attention on
00:34:15
the image of the c. d. and the question however punch space is perceived by an automobile spectator
00:34:21
into in scott brown opted for a phenomenal logical approach to organise
00:34:26
using the terminology of the french to irritation on effect
00:34:31
their approach of the shift away from common c. space as possible to to perceive spaces best best
00:34:38
this methodological shifted click here antecedents imposed or architectural discourse
00:34:44
and i'm going to talk about some of the sources that
00:34:48
among them was the english town skate movement which was propagated in the british magazine
00:34:54
to know architectural review between the late nineteen forties and into the mid nineteen sixties
00:35:01
the time scale movements had its roots in
00:35:04
touched on theory and was preoccupied primarily with quote
00:35:08
the visual aspects of architecture as distinguished
00:35:11
from the technical professional sociological aspects in
00:35:17
gordon column spokesman of can skate movement and later author of
00:35:21
the book of the same type of which is your page here
00:35:25
i wouldn't call them haven't statistically did not present itself as a static
00:35:30
image but is it then then experience of of you were in motion
00:35:35
that's in the introduction to spoke common stated that
00:35:38
quote although the pedestrian walks through town it uniform speed
00:35:43
the scenery of time just off maybe you'd in a series of sharks and revelations
00:35:49
consequently he argued for senior vision as you called it
00:35:54
as a basic pretty condition for the perception of the city and called for quote
00:35:59
designing our towns from the point of view of the moving person
00:36:04
and caught you don't i anticipated essential aspect of learning have promoted
00:36:09
because although of course without taking into consideration the optimal but sort of
00:36:16
sequence reality of film of city perception is
00:36:18
illustrated in various in some instances within columns publication
00:36:23
most notably in his elaborate drawings of town studies such as
00:36:28
the one here for a town called sam or also in
00:36:32
the meeting of photography and not just in the sequence um
00:36:37
discipline not to you about your opinion as we could call
00:36:40
it and what an adopted child i called plan for it for
00:36:46
despite when two reasons got brown's reservations that town
00:36:50
skate ideology was purely what they called picture rats
00:36:54
it's got brown acknowledged the architecture reviews articles see reason pound cake
00:36:59
as an important input for their own architectural underpinning stick think
00:37:04
moreover in two respects first publication critical assessment of the really at the open
00:37:11
when you all around to compete on your in rome from a historical perspective
00:37:16
was published by the architect to you as a contribution to the task tape series
00:37:22
so a hasty and based label task they had their uh what follows is uh
00:37:27
that the very first an essay ever published by by rule between two it's rubber too
00:37:34
the content of this article and argument were clearly informed by that time skate approach to the city
00:37:41
the town skate movement is probably the single most important
00:37:44
instance wilfully phenomenal logical approach to post work weapon isn't
00:37:49
and i was a major inspiration not only forwarding most
00:37:52
biggest but for other american research in this field as well
00:37:58
one of them that that should be singled out is a research project conducted at mit at the
00:38:03
massachusetts institute of technology in the late nineteen fifties
00:38:08
that wasn't tied into the perceptual for after sitting
00:38:12
again this focus on questions of perception and of open for
00:38:17
this program was cool directed by your ticket cache and kevin lynch
00:38:24
just like the town skate movement the perceptual form of the city a research program
00:38:30
must be considered an important point of reference for men to read and got brown
00:38:34
kevin lynch so have famous study the image of the balk at that image of the
00:38:39
city was published in nineteen sixty then is
00:38:43
the most widely known result from this research
00:38:47
the relationship between baltimore button movement and the form of the city was the central focus of
00:38:53
the entire research project and certainly at the key or at the central sort of kevin lynch start
00:39:01
in the space the notes on expression and communication in the seat escape from nineteen sixty one
00:39:07
to up the main author of this project you'll get calculation the hungarian artist and research it
00:39:14
refer to the cinematic to remove this sequence of distance which
00:39:18
characterised as quote the basic unit of our urban day she so
00:39:24
cinematic at this sequence of this does is the
00:39:27
basic unit so for urban the she says capture
00:39:32
likewise distress the potential offered by cinematography for
00:39:36
the analysis of the form of the city
00:39:40
kevin lynch again the other key figure in the mit program argued in similar terms
00:39:46
he spoke with you from the remote published in nineteen sixty
00:39:49
four in collaboration with donald happily art actually is in them
00:39:55
we actually started to get the within the scope around ninety eight back in the fifties
00:40:00
so and with donald happily out and john meyer
00:40:03
is particularly relevant with regard to learning for most begins
00:40:07
they started the new from the road focused on the mobile
00:40:10
nice gaze of the automobile observer of the post war city
00:40:15
its goal was to develop at least not design strategy for urban highways
00:40:20
that would allow the driver to experience to c.
00:40:22
t. s. where what it aesthetically pleasing and meaningful well
00:40:27
that's going to rinse got around the perception uh of the city was conceived this is sequential
00:40:33
experience of a moving set spectator at the gay
00:40:36
also in baseball like five set photographic see budget
00:40:41
here you then uh with uh with um with a such a
00:40:45
feature which shapeless which pastor later out or to understand these things see
00:40:52
no something that was later adopted implement most weeks
00:40:57
um and uh i would like to quote i'm just one sentence from from and from this book
00:41:03
the experience of the cities basically moving view and this is the view
00:41:07
we must understand if you wish to be formed don't lock of our cities
00:41:14
the idea of such an affinity between architecture and feel is implicitly present both in the view
00:41:20
from the roads and learning from us a big centre outcome is actually quite similar in this respect
00:41:26
the potential be distracted film each case of the cartwright conference devoting junior
00:41:33
or the working design uh with the task of directing and for mean
00:41:37
his perception of the city quote from signal from the view from the road
00:41:43
the cinema so there's a very direct reference to the
00:41:47
cinema cinema tells its story with dramatic changes in the separation
00:41:52
between cameron director from close up too long shots depending on
00:41:57
what is being said so it is on the city highway
00:42:01
the designer can decide what he wants to emphasise the total
00:42:05
skyline a distinct characterising a landmark
00:42:10
and the justice viewing distance accordingly
00:42:13
asking the cinema contrasting distances will keep you sequences let you put an event and
00:42:22
das engineer and architect become back pictures of the case
00:42:27
the school could crush him of the post were see
00:42:29
the start of the automobile observer driving at titan speech
00:42:34
and if we're can sprawl is to be understood this this mean mention has to be taken
00:42:39
into into account is that joint lesson by learning from las vegas and t. v. from the road
00:42:45
which brings me to the third and final and short part of might have like true
00:42:52
which i would like to conclude with a few theoretical for what's on the affinity of architecture and feel
00:42:59
historically speaking the oblong got had really discovered
00:43:02
the potential film for every presentation of the city
00:43:06
already in eighteen ninety six can remind often union
00:43:10
brothers mounted his camera on the comptroller while moving
00:43:14
food it can it can also very nice in order to feel
00:43:17
the policy on the backs and i'm going to try to show these
00:43:35
oh yeah it's
00:43:37
oh sorry sorry
00:43:41
e.
00:43:44
i
00:43:54
e.
00:43:56
e.
00:43:57
what are we
00:44:01
oh okay
00:44:04
ooh e. e. a. or
00:44:09
ooh
00:44:11
ooh ooh ooh ooh
00:44:17
oh
00:44:18
oh
00:44:21
yeah
00:44:23
oh really oh
00:44:28
oh ooh
00:44:34
uh_huh
00:44:35
so and that was already it
00:44:39
eighteen ninety six
00:44:42
uh_huh uh
00:44:52
uh_huh
00:44:59
okay one of the earliest manifestations of a preoccupation with the user
00:45:04
fee only architecture and urbanism is a short essay by somebody called
00:45:09
h. w. you just that was published in the german journal the shape around
00:45:14
town friend in nineteen sixty according to this all for certain yeah haven't you
00:45:21
phil was to clear your to quote
00:45:23
lifeless photography for the representation of urban experience
00:45:28
particularly in the german background film received a great deal of
00:45:33
attention as well as evidence not only the cologne direct an
00:45:36
exhibition of nineteen fourteen but also in the nineteen twenty nine
00:45:40
exhibition feel and what tool that propagated thing see any vision
00:45:46
indeed the infinity of architecture and film or act architecture and
00:45:51
the city and film has been a stereotypical notion of modernity
00:45:56
film scholar do your mobile one or reflected in this respect which
00:46:02
film is a product of modernity the air of the metropolis
00:46:06
and is expressed in or can viewpoint from to one gene
00:46:10
on the eve of the invention of the cinema and network of
00:46:14
architectural forms but you just spit in spatial usual how that's it
00:46:19
sides of transit such as okay it's reaches department stores
00:46:24
pay billions of exhibition holes incarnated new geographic geography of modernity
00:46:30
mobility the foremost in in attics was the essence of these new architectures
00:46:37
or changing the relation between spatial perception and not to mention the
00:46:41
architect of transit prepared the ground for the invention of the moving image
00:46:48
these deliberations by three on the balloon or correct tennis page two discrete chief
00:46:53
of the two transitory would have been instantiated in the modern metropolis
00:46:58
to its characteristic spatial faculties disgruntled by
00:47:01
people actual yeah about the pain and others
00:47:05
spatial configuration that into unprepared the field for
00:47:09
the person to this positive of the moving image
00:47:13
it is ten l. text perry's capital of the nineteenth century about opinion mean
00:47:19
characterise the figure of teflon uh as a representative of a total cinematic gaze
00:47:26
the imaginary fondly of the cinematic spectator could be set
00:47:31
it's a more or less direct descendant of the mobile last case of the phone or
00:47:36
it was this regime of movie last vision but into an scott brown were interested in
00:47:41
although applied the form of the post war city and ribbons problem and not the nineteenth century which opens
00:47:48
as they are cute it may take new factoring disturbing for most people to mobile
00:47:53
according to their concept the automobile out wasn't apparatus that enhances vision and
00:48:00
that is capable of rendering visible the hidden order of contemporary open for
00:48:06
despite obvious me get differences filament architecture
00:48:10
share similar praxis of perception and reception
00:48:14
again quote from the optimal an architectural ensemble is read as it is traversed
00:48:21
this is also the case for the cinematic spectacle for feel
00:48:25
misread as it is traversed unshakable in so far as these covers
00:48:31
both of cinema and post war american open
00:48:34
sprawl a technical apparatus is constitute for perception
00:48:40
i liked imaginary fluently of the cinematic spectator
00:48:45
the body of baltimore that observers not mobile honest but is being moved by a
00:48:50
mushy the car in order to produce an illusion of the sequence of moving images
00:48:56
and on like to flounder of the nineteenth century the mobile
00:49:00
eyes gaze of the core drivers based on the technical discussions
00:49:04
carson machine for new perception of city over the she emotion
00:49:11
instead of the camera it services across the seas for the human hand
00:49:15
which was held can be made visible hidden order of the contemporary city
00:49:20
it brings to the fore what's been you mean called the optical on conscience
00:49:27
it should be sent that a number of problem got architectures architects antibody to shove
00:49:31
to early twentieth century besides opinion deliberate deliberated on the relationship between architecture and film
00:49:38
in particular the soviet filmmakers sergei eisenstein or also lost whom we know which
00:49:44
eisenstein himself a trained architect developed these theories in the
00:49:49
text post you must be published last month harsh and architecture
00:49:58
in which you wrote quote eisenstein film cameras on doubt ancestor he's architecture
00:50:05
the key category for this assertion is that sequence which is fundamental not only for as it stands
00:50:12
the real feel movement harsh but also an essential
00:50:14
prerequisites in the perception of architecture and the city
00:50:19
eisenstein supported tease pieces every flooring himself to boost what
00:50:25
is this product you from eighteen nineteen now see here below
00:50:30
this is what is your age
00:50:33
using the across all these in athens as an example
00:50:37
which was a developed the theory of picturesque ancient openings
00:50:42
the ancient greek chorus was according to him and using eisenstein terminology
00:50:47
started by their montage of individual visual impressions
00:50:50
into six succession of images and expect spectator emotion
00:50:56
consequently the acropolis we've been resigned so as to be present sequence of
00:51:02
images with approaching spectator was movement is guided by complex administration of the case
00:51:09
i have i of course i don't have to point that it's basically that copy c. also m.
00:51:13
m. v. thirteen self directed to always twenties theory
00:51:17
of picturesque openings and which them or spend also um
00:51:21
taken up by eisenstein for his idea of
00:51:24
a cinematic and understanding for detection to sit
00:51:29
the translation of the engine concept of the procession to the century integrate colleges into
00:51:35
modern theories of urbanism eastland latin latin p. present in looking for most of because
00:51:41
into in scott brown and their students hinted at a tradition of perry good to
00:51:46
take vision engaged c. d. by including in their study schematic map battery that interpret
00:51:54
that interprets las vegas trip as ceremonial space aspect of it
00:52:01
dusty for us to representational techniques from had borrowed
00:52:04
from john but is done only four barrel roll
00:52:08
scott brown has recently commented on that score to if not only mark the pilgrims
00:52:14
ways room then ours showed the tourists waiting
00:52:18
on discrete cross sectional punctuated by the casinos
00:52:23
very much line in the procession when the hotels and
00:52:28
casinos along the street or strong to power really just station
00:52:34
in capitalist consumer culture uh the centuries of the engine procession
00:52:39
sorry place like a signals for promising retention through material well
00:52:46
seen this when the spatial water of the street
00:52:49
isn't architectural instantiation of a ritual of consumer coach
00:52:54
if it's inscribed instead of into the open topography just organised according to
00:52:59
the mobile ask these of the autumn about so thank you very much
00:53:16
oh
00:53:40
yeah that that's and it's one yes
00:53:45
uh i i i. e. yeah on that i thought you see
00:53:52
in a bit and got around that age
00:53:57
that and i and then there are shunned bracket
00:54:01
oh that that i should be well so what that was all the way up on the board
00:54:13
um you
00:54:16
it away yes i've never thought about that but it's an interesting point would
00:54:20
you say you basically sit decorated shed has is a very graphic on thursday
00:54:26
a two dimensional understanding of course but this very
00:54:30
artificial technical setup produces a very i mean it's
00:54:36
it's it's uh it in a way a very flat and representational that
00:54:42
often and plays a open space any item interesting observation i thought that
00:54:47
but yes i perhaps there is a connection
00:54:52
interesting point things pointing that out
00:54:56
what you did you have any
00:54:59
afterthought avoidable i think you may think
00:55:04
it is a good one i think because i mean i've read that's a
00:55:09
age uh and that's the way the shape that that and i thought oh uh
00:55:16
bill or a in relation to the degraded chad but i'll send looking at all the
00:55:22
then in the beep at that but i don't know i mean that
00:55:25
that you well you about this you wouldn't say that maybe it's them
00:55:30
it's way of law and in each is um yeah it it at the base of the to the to the their question uh
00:55:39
i made perfect sense to me i'm also obviously because all the signs
00:55:44
that would be visible they they said that value or of course absolutely um
00:55:50
and what's the or thought orthogonal to the to the to the viewing perspective uh
00:55:58
an interesting observation
00:56:01
because they this is what of course one of the main problems so or has been one of
00:56:05
the main problems uh many people have or study and always what so what is the point what's what
00:56:13
what is uh oh okay to just think that it it is
00:56:16
research but how they fix what what effects on and on architecture
00:56:21
on the island actually on the side and on their project them of course for
00:56:25
awhile i thought that there are very strong i collections but actually tried to almost uh
00:56:32
take this example of like of las vegas want one of course to make something very very different out
00:56:37
of it but it's very clear effort but in a chair uh there is that after that i think uh
00:56:44
includes because slices
00:56:46
it's not such a nice collection to be made between the research and their design
00:56:56
thank you
00:56:59
no comment or question
00:57:08
where a simple question to your t. v. and it is the low me to ask you in french
00:57:14
i'm sure they said well let's see what what it all the way the delay filament bounties
00:57:20
you know if people be evil you is the k. o. on open to put those will be
00:57:26
we get abilities you much logistic that big that long i thought so
00:57:31
to get to know you will be shape about blah it need a laughable update
00:57:36
to keep them in it it up i didn't get to see if you can yeah
00:57:43
i it get triple double a and puts you know to like him so
00:57:48
much with it you did you yeah yeah yeah but it will take advantage of
00:57:53
the little like that that you don't even thought well don't e. a. e. up
00:57:58
quite a bit yeah the knowledge usable e. c. park was it easy to to
00:58:06
that you get you maybe it'll be a and people will continue on the third one
00:58:15
m. may ask are you talking about the the popcorn was because his yes the original edition of course
00:58:22
because i actually didn't show this i think almost i mean one
00:58:26
of the few images that that showed from this the original and
00:58:30
this is of course film stills but the feel of the block
00:58:34
and that there's another thing i showed which is kind of a
00:58:39
maybe maybe maybe this is helpful if that show you this one image
00:58:46
yeah
00:58:48
okay perhaps you can't make it to heaven
00:58:51
so i i really understand what's what your question yeah refers to
00:58:56
and i don't see that your body it in a way in which one
00:59:03
no it yep with you if you think about what
00:59:07
the but the the the the yeah i tell the
00:59:14
the the the
00:59:18
it's a lot with at least some it was like to
00:59:22
learn and use it nationally but all these all of mobile okay
00:59:27
it i
00:59:29
q. w. e. e.
00:59:33
it's not that but it can be able to get that oh well it's not it's not it's just yeah sure educated
00:59:41
but i'm yeah it'll it also you've uh that that that
00:59:45
data to use tosca yeah i don't see i say to yeah
00:59:50
that there was this great in misunderstanding somehow between the graphic
00:59:54
design and your pupil from mit press and people with special needs
00:59:58
it is good projects not at all happy with it the way i'm images were handled in this book
01:00:05
yeah she thought and she thought that
01:00:08
and i or their conception theoretical framework was
01:00:14
actually totally distorted by the way the city was it presented in these days in baseball
01:00:21
uh i am would argue that it's not really true i i i think actually
01:00:26
and they that that aircraft decided that very good shop at trying to see new mates
01:00:32
and this mold bayou and each one of the small t. perspective eighty
01:00:37
what i what am i going very much within the scope
01:00:40
brownies at that the first edition which is he's almost on read
01:00:45
it's really more picture people and the theoretical part becomes uh
01:00:49
a graphic ad on which is obviously a couple if if you
01:00:54
want to say and and of course the texas of varying pork
01:00:58
some that was actually ten reversed and and into in the in the in the paperback edition
01:01:04
as for your question really concerning how if the if the if the
01:01:08
images were caught that sell for the most part that would say no
01:01:13
they bore left uh in the in the original small small
01:01:17
am skate format as they have been asked to have to take
01:01:22
at of portable there's also beside stuff out across i also have to say many other sources they also include
01:01:29
score it's more an advertisement material and almost except so
01:01:36
but there is this a beautiful example it's not in the book i think within the division of this
01:01:42
colours if photography is vote that's showing up the street and coming from that the function yep
01:01:49
well obviously there said that that that's special ready to close a seductive yeah i and it's a collage panic
01:01:56
it's a view of the city and the the show but i think it actually don't like them
01:02:02
which which tries to reprise same it's uh every building along the strip about everything of interest
01:02:08
really just everything haven't at this is of course if you that
01:02:11
it cannot be presenting one single photograph so it's uh continue let's say
01:02:16
an elevation of a whole you want there of course it's a very strong uh uh and
01:02:24
manipulation manipulation absolutely and it's a production of
01:02:27
again of a of a highly um artificial
01:02:32
image of the city which i was also trying to argue argue with that that
01:02:37
pat and they they cut us is it's really the the medium is the message
01:02:42
one point it's something that will be visible without its apparatus and with this many polite if it so
01:02:54
technical questions on a wide and long pictures colour pictures that are yes yes
01:03:03
charted like yeah right which is an interesting point yeah yeah that's that's only
01:03:09
ooh they they went with an output camera were white and black which was the square format right
01:03:17
with the open not as we're born that a six six to eight
01:03:21
yeah yeah yeah yeah yeah yeah so i i think you stack and
01:03:24
of camera okay is just a very good news show yes the common
01:03:28
one here and venture some pictures from colour to black what exactly yeah
01:03:33
which is an interesting point uh obviously they they will try and also assay now in dating to paperback edition
01:03:40
almost everything is black and white as a two page spread which is caller course also for costs i spot
01:03:46
and the impression given is really quite different it's it's in it's
01:03:50
in a way less daring i i learned today from only viewed or
01:03:54
that's a taking colour photographs and actually reproducing them back in the sixties wasn't talking no go
01:04:01
first time ever and our tastes used uh i mean i'm successful used colour photographs
01:04:09
was only nineteen seventy six in a joint a show by them by okay i am
01:04:18
it wasn't uh it within easy movement okay not not that was a
01:04:22
penny for the first time that some serious photographer actually tried to show cell
01:04:28
they sketch due of the city was also of course as supported by this site is a buddies
01:04:34
of quality that's probably also a deliberate lightning which perhaps take another look back at the second edition
01:04:41
like
01:04:48
thank you uh_huh
01:04:50
uh if there is no more questions but i invite you to have a drink and
Conference Program
Vernissage de l'exposition Las Vegas Studio
Sept. 21, 2011 · 6:09 p.m.
Quand l'architecture et le cinéma transforment les territoires délaissés
Sept. 22, 2011 · 6:36 p.m.
PechaKucha 'Lumière
Sept. 24, 2011 · 8:22 p.m.
Las Vegas, Film, and the Mobilized Gaze
Oct. 19, 2011 · 6:33 p.m.
Metaphors We Live In
Oct. 26, 2011 · 6:33 p.m.
Craftsmanship
Nov. 8, 2011 · 6:34 p.m.
L'épaisseur des lignes
Nov. 9, 2011 · 6:32 p.m.
La controverse Learning from Las Vegas
Nov. 16, 2011 · 6:46 p.m.
Dans le paysage urbain
Nov. 22, 2011 · 6:38 p.m.
An Aggregate Body
Nov. 23, 2011 · 6:46 p.m.
Curating Postmodernism
Nov. 30, 2011 · 6:41 p.m.
Pièces à conviction – Une périphérie prend forme
Feb. 22, 2012 · 6:05 p.m.
Pechakucha 20x20
Feb. 23, 2012 · 7:03 p.m.
Espace, Lumière, Structure. 7 Concepts
Feb. 28, 2012 · 6:32 p.m.
Suburbia does not exist. Strategies for dense city growth
March 14, 2012 · 6:38 p.m.
CONSTRUCTIVE REACTIONS. The Architecture of Kurtogpi
March 27, 2012 · 6:32 p.m.
Les coulisses de Malley
March 28, 2012 · 6:38 p.m.
Débat critique - Projets de première année
April 3, 2012 · 5:15 p.m.
Ensamble studio
April 16, 2012 · 6:36 p.m.
Le travail d'ingénieur et le projet de modernité
April 18, 2012 · 6:35 p.m.
RUR: PROJECTS
April 24, 2012 · 6:20 p.m.
Conférence du cycle 'Pièces à conviction
May 8, 2012 · 6:34 p.m.
259 views
Paysages intérieurs
May 15, 2012 · 6:35 p.m.
Yona Friedman, Genesis of a vision
Sept. 19, 2012 · 6:13 p.m.
Working in Mumbai
Oct. 4, 2012 · 6:40 p.m.
Yona Friedman and the Gost of Utopia
Oct. 10, 2012 · 6:13 p.m.
Global Holcim Awards 2012 Gold
Oct. 12, 2012 · 6:06 p.m.
Just what is it that makes Friedman so appealing ? hier et aujourd'hui
Oct. 17, 2012 · 6:07 p.m.
Pour une histoire culturelle de la construction
Nov. 12, 2012 · 6:35 p.m.
Partage d'expérience
Nov. 21, 2012 · 2:17 p.m.
Hall Of Mirrors
Feb. 20, 2013 · 6:09 p.m.
Happy Street
March 13, 2013 · 6:29 p.m.
Pier Luigi Nervi : l'architecture comme défi
April 17, 2013 · 6:09 p.m.
Pier-Luigi Nervi, entre ingénierie et architecture, chantier et images: Part 1
April 24, 2013 · 6:34 p.m.
110 views
Pier-Luigi Nervi, entre ingénierie et architecture, chantier et images : Part 2
April 24, 2013 · 7:22 p.m.
Présentation de Riccardo Morandi
May 1, 2013 · 6:30 p.m.
Présentation des conférenciers, MM. Aurelio Muttoni & Mario Alberto Chiorino
May 8, 2013 · 6:31 p.m.
Présentation de Robert Maillart
May 8, 2013 · 6:33 p.m.
131 views
