Cinema creates a visual frame for the viewers, that the viewers can co-relate only when the fundamentals of architecture are applied to the entire process of film making.
Architecture defines vividly, “the cinema” in its self explanatory but different lingo of spaces, forms, shapes, colours, textures, volume etc, so a layman may conclude that it is an artistic-scientific-logical approach that broadens the vision and gives direction to one’s thinking. In general, Architecture helps cinema to come close to reality or fly in the mythical land in a way that makes the film more acceptable by the audience.
“A frame” in a movie would be a dull, flat projection and perception of an incident if it was to be in 2-D. But, architectural elements give the desired 3-D to the plain film plane, thus making it worth watching. A provision for proper lighting, a perfect colour scheme and ofcourse, the structural elements like walls, floors, ceilings, arches, lintels, beams, pillars,piers, buttresses, and column. These not only add on to the grandeur of the film aesthetics but also help in defining the movement of the characters and understanding the space and scale.
At times, creating space for cinema in a restricted area becomes a very interesting job. Film studios are constructed with respect to the available area, the maximum cost of construction (allowable). It is quite possible that the studio space is insufficient for the purpose. In such cases, the creation of a particular environment is a tough job. This is art direction: a field that’s very closely connected with architect’s job. An art director should be a good designer and planner, apart from that he should have technical knowledge about lighting, camera moments, and the minimum space to be kept for the movement of people and equipments, after set errection.
Most importantly, the other spaces that are required in an institute for film education that support the major activity areas need to be well placed, planned and treated with proper consideration of the users namely: students, staff ( teaching and non- teaching), the production members, the actors etc.
An architect’s role is similar to that of the art director, so he has to understand every activity and its importance to design spaces and create conditions favourable to the user. The designer has to make an imperical study of the various requirements and hence finalize on the construction techniques, the construction materials, the treatments etc and thus modulating a space that shall stand upright to the test of time.
Moreover, cinema becomes a joy when we see the structural elements being emotionally and situationally being connected to the film characters played by distinguished actors and actresses on screen. For e.g., films like “devdas”, “ taj mahal”, “mugal- e-azam” etc would be unimaginable without those lavish sets and monuments in real because of the impact they create and keep us stuck to our seats during those two or three hours of shear technical magic to the wonderland in reel of reality!
The “sheesh mehel” becomes an immortal and integral part of Anarkali’s song of rebel and the acceptance of her eternal love for Salim. The architectural impact is visible in the gem studded seat and throne of the emperor which is later translated to emotional variations in form of the mirror reflections. So architecture and cinema are the two sides of the same coin, inseparable yet different.
At times architecture creates symbols for cinema and conveys the filmmaker’s perceptions of a particular expression or emotion. Aesthetics that architecture describes are quite different from the film aesthetics. As per film aesthetics, a girl sitting on the banks of a river with her face in her hands would depict sadness.
But, the same girl sitting in front of a huge, massive stone arch and a flight of stairs leading to the flow of the river would endorse the emotion of sorrow in a better way. It is almost like, Aishwarya Rai endorsing the donation of eyes in contrasts to the plain posters campaigning for the same! In ad world this is using one’s star status to publicize for a social cause.
Thus, cinema closely connects with art, literature, poetry, and in general aesthetics, then architecture lends cinema scientific approach in the form of constructive technology.
TFC
Architecture defines vividly, “the cinema” in its self explanatory but different lingo of spaces, forms, shapes, colours, textures, volume etc, so a layman may conclude that it is an artistic-scientific-logical approach that broadens the vision and gives direction to one’s thinking. In general, Architecture helps cinema to come close to reality or fly in the mythical land in a way that makes the film more acceptable by the audience.
“A frame” in a movie would be a dull, flat projection and perception of an incident if it was to be in 2-D. But, architectural elements give the desired 3-D to the plain film plane, thus making it worth watching. A provision for proper lighting, a perfect colour scheme and ofcourse, the structural elements like walls, floors, ceilings, arches, lintels, beams, pillars,piers, buttresses, and column. These not only add on to the grandeur of the film aesthetics but also help in defining the movement of the characters and understanding the space and scale.
At times, creating space for cinema in a restricted area becomes a very interesting job. Film studios are constructed with respect to the available area, the maximum cost of construction (allowable). It is quite possible that the studio space is insufficient for the purpose. In such cases, the creation of a particular environment is a tough job. This is art direction: a field that’s very closely connected with architect’s job. An art director should be a good designer and planner, apart from that he should have technical knowledge about lighting, camera moments, and the minimum space to be kept for the movement of people and equipments, after set errection.
Most importantly, the other spaces that are required in an institute for film education that support the major activity areas need to be well placed, planned and treated with proper consideration of the users namely: students, staff ( teaching and non- teaching), the production members, the actors etc.
An architect’s role is similar to that of the art director, so he has to understand every activity and its importance to design spaces and create conditions favourable to the user. The designer has to make an imperical study of the various requirements and hence finalize on the construction techniques, the construction materials, the treatments etc and thus modulating a space that shall stand upright to the test of time.
Moreover, cinema becomes a joy when we see the structural elements being emotionally and situationally being connected to the film characters played by distinguished actors and actresses on screen. For e.g., films like “devdas”, “ taj mahal”, “mugal- e-azam” etc would be unimaginable without those lavish sets and monuments in real because of the impact they create and keep us stuck to our seats during those two or three hours of shear technical magic to the wonderland in reel of reality!
The “sheesh mehel” becomes an immortal and integral part of Anarkali’s song of rebel and the acceptance of her eternal love for Salim. The architectural impact is visible in the gem studded seat and throne of the emperor which is later translated to emotional variations in form of the mirror reflections. So architecture and cinema are the two sides of the same coin, inseparable yet different.
At times architecture creates symbols for cinema and conveys the filmmaker’s perceptions of a particular expression or emotion. Aesthetics that architecture describes are quite different from the film aesthetics. As per film aesthetics, a girl sitting on the banks of a river with her face in her hands would depict sadness.
But, the same girl sitting in front of a huge, massive stone arch and a flight of stairs leading to the flow of the river would endorse the emotion of sorrow in a better way. It is almost like, Aishwarya Rai endorsing the donation of eyes in contrasts to the plain posters campaigning for the same! In ad world this is using one’s star status to publicize for a social cause.
Thus, cinema closely connects with art, literature, poetry, and in general aesthetics, then architecture lends cinema scientific approach in the form of constructive technology.
TFC
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