Design Keyword

2016

This research focuses on the contribution of cinema to revealing and understanding design ideas and stimulating student cooperation in architectural design education procedure. The topic is based on the use of cinema films as a methodological tool in architectural design education leading to the comprehension of the meaning in space production and architectural design. It is suggested that the film's "truth" coincides with the designer's "truth" as they are both subjective and are communicated to their potential viewers or users. They both use visual and functional qualities for creating spaces that do not pre-exist. Through these paths and similarities, it can be argued that the cinema image can alter and enrich the vision of a designer.

Architecture is the art of creating habitable and soulful spaces which can be utilised and looked upon by the masses. Mass media, in this case films, theatres and TV series is a source of prominent mass communication gizmo which aids people all across the globe to stay connected and acquaint to each other's' lifestyle. Architecture has always played an important role in enhancing the beauty of films and conveying the plot as well as sentiments of actors playing their respective roles better. Similarly, cinema has always influenced the architecture of the world and how people react to different architectural spaces. This research will aim to expose the liaison between architecture and film media and how the two art forms influence and transform each other. The study will cover transformative impact of this concatenation on the society which gave rise to a new typology known as 'cinematic society'. The two major disciplines of space, i.e. the architectural space and cinema space will be comparatively analysed. Several case studies of movies such as Jumanji, Captain America, Bajirao Mastani, Bahubali etc. will be covered in this research. Adding to this, few architects of the screens, i.e. set designers and production designers and their works will be briefly conferred.

Production Design & the Cinematic HOme, 2022

There is something about the medium of film that enables it to implant images in the mind that are more real than the real world; to stage-manage our perception of the facts of everyday life. Southern plantation houses look like Tara; airports look like the last scene in Casablanca; motels look like the Bates motel. How are these film worlds constructed? As audience members, we often forget that the spaces we see on screen are mostly an illusion, created for the sole purpose of serving a cinematic narrative. Behind the scenes is the production designer, in charge of imagining and creating this fictional universe with the help of a large team including drafts people, carpenters, painters and graphic designers who are supervised by the art director. Film architecture involves traditional skills such as drafting, rendering and model-making and unconventional challenges unique to each project. The private environment of the home is a significant setting in film, often providing the key to character, where ideas can be distilled and accentuated. Personal space can mirror a character's psychology, the interior décor reflecting inner landscape and layers of backstory. Character and story are closely entwined in the domestic setting, which is often the place that undergoes transformation to signify transition in the narrative arc. The house has also been cultivated as a site of anxiety and disturbance in the tradition of the Victorian novel and appropriated by filmmakers such Fig. 1.1 Screen homes externalise the interior landscapes of our dreams, desires and fears

Screen, 2011

interest in film studies, the experience of city life and its spaces can lead to more grounded, historicized analysis and a political reinvigoration of the discipline. This book contains promising glimpses of such an engagement, and showcases some of the myriad forms it might take.

Jotse. Journal of Technology and Science Education, 2018

The present paper examines, in a case study format, the use of films, short films and audiovisual documentaries as reasoning and references for design assignments during the first years of an architectural degree course. The aim of this fruitful and comparable experience is not so much to study and verify the well-known synergies between film and architecture, but to emphasize the methodological importance of endowing students in their first experience of design projects with realistic and feasible support – through visual references – that can increase their awareness of the desire for realism to which every project aspires. Project simulacrum finds an ally in the realistic fiction present in film. The association between film and architecture is thus placed at the service of learning and design methodology, as a means, not as an end.

Journal of Design History, 2013

Book Reviews 337 thought environmentally, essentially a (complex) history of our (often failing) search for 'good mediations'? The remaining papers in the DPP collection to one degree or another suggest that this is the case (that the history of design is 'the history of unsustainability as designed'; Jaschke, p 11)-but with this twist, that it is now tied to the simultaneous evolution of a sufficient understanding of what it would mean to adequately 'design' (constitute, configure, arrange) the sustainable. This places us in a quite different historical context. It is this context we must now examine.

This research focuses on the contribution of cinema to revealing and understanding design ideas and stimulating student cooperation in architectural design education procedure. The topic is based on the use of cinema films as a methodological tool in architectural design education leading to the comprehension of the meaning in space production and architectural design. It is suggested that the film's " truth " coincides with the designer's " truth " as they are both subjective and are communicated to their potential viewers or users. They both use visual and functional qualities for creating spaces that do not pre-exist. Through these paths and similarities, it can be argued that the cinema image can alter and enrich the vision of a designer.

Artifact, 2015

The aim of this article is to show how the design process influences the planning and development of moving images, i.e., live-action movies, animation, and television. The paper documents the significance of design in the early stages of film and television production and shows how industry practitioners value the contribution of designers in developing the narrative through visual support. The paper suggests a comparison of design and screenplay research and analysis. In addition, it touches on the subject of design fiction in the case of a project involving collaboration of production design students from The Royal Danish Academy of Fine Arts, School of Design, and screenwriting and producer students from The National Film School of Denmark. Finally, this article provides insight into one of the newer trans-disciplinary developments in design, namely the cross-pollination taking place between the fields of design research and film research. As a result, the paper contributes to o...

2009

Architecture and film studies are interrelated disciplines, and architects can take advantage of existent commercial, dramatic, comedic or documentary films for inspiration and historical research. As examples of how existent films can be utilized innovatively in architectural research, this paper critically examines three contemporary Iranian films: "Ten" (2002), a realist docudrama directed by Abbas Kiarostami, "Chaharshanbe-soori" (2006), a melodrama directed by Asghar Farhadi, and "Dayere Zangi" (2008), a comedic urban drama directed by Parisa Bakhtavar. Through this examination, the paper argues that the lens through which a filmmaker looks at buildings and urban settings is unique, and that in every film, from the most abstract to the least, and whether the film maker is actually conscious of it or not, there is an underlying exploration and documentation of the way architecture affects and (re)shapes society. In Iran, film has always been one of the few poetic, enlightening, and powerful ways to explore, among other social and cultural phenomena, the issue of power in urban public space. Contemporary Iranian cinema has proven itself able to depict the natural and built environments as the loci for both private and public presentations of self, and these films reveal many suppressed, typically unexamined, issues surrounding the multiple meanings of place and identity. This research shows the aptitude of these filmmakers, or any filmmakers, to present views of contemporary society, supporting a broader understanding of contemporary urban life than is officially permitted or can be academically achieved. Hitherto, no other media has been found to be as great a resource as film to "freeze frame" the flow of life in an urban setting, or time in a space. With their unique lens, filmmakers are architects' fellows, making possible the observation of potential topics of inquiry; for instance, ethical and socio-political themes related to space and power.