Thursday, January 8, 2015

CINECITY 2015: RISK! Coming Soon!


THE REPRESENTATION OF ARCHITECTURE IN FILM and THE CINECITY PROJECT

THE REPRESENTATION OF ARCHITECTURE IN FILM and THE CINECITY PROJECT

By Louise Mackenzie & Sarah Breen Lovett

This article originally appeared in the Australian Insitute of Architects NSW journal Architecture Bulletin

In the Cinecity Project participants are asked to submit one minute films exploring spatial ideas. It exists in both cyber space and physical space. This year the theme is MAKING [1]. Over seventy films were submitted which the curators shortlisted to thirty. These 30x 1 minute films make the touring 2014 Cinecity Project. In the following text the curators, Louise Mackenzie and Sarah Breen Lovett, discuss the representation of architecture and different ways that MAKING architecture can be thought through the moving image.

The representation of architecture is often taken, it seems, for the thing itself; that is we profess to know and even to love buildings we have never been to, but we speak of them as if we have. This is the power of the image, both the representative and mental. We are able to create buildings in our minds through representative images, such as photographs and drawings. The moving image, contributes another layer of complexity to representation, continuing and extending relationships between the physical and the fictive.

The Oxford dictionary’s definition of representation suggests, that an object being represented described “in a particular way.” [2]  This is an instance of the real and ‘not yet’ real intersecting. That is, each particular representation adds another layer to our understanding, of the thing being described.  The moving image, itself allows for this exploration.  Typically, one might understand exploration of space/land in a colonial context, but here we can also think about it as an exploration through the time and space that the filmmaker constructs for us, in this case we’re “travel[ling] through,” [3] time and space, not only to experience the film but to understand something more, or different about architecture and city, in terms of our relationships to it and our experience of it.  This is taken in its broadest possible sense, to quote sociologist and film theorist Lorraine Mortimer,

“But we do not get far if we do not try to understand what we call the political, economic, cultural and the historical are intertwined with what we call the imaginary, the emotional and indeed the somatic.” [4]

Here Mortimer is discussing conflict between and within nation states, but this can also extend to other kinds of understanding. In understanding architecture one must necessarily, in this view consider, amongst other things the rational and irrational, the material and immaterial, the imaginary and indeed the very human body. It is this diversity of representation and understanding of MAKING architecture that The Cinecity Project produced in 2014.  This can be seen in films where various aspects of making architecture were explored, such as an interchange between building materials and the reflected image; making life; light making architecture; architecture making social constructs, and the making of cinematic architectural space.

The winning film from this years’ Cinecity Project was SOUND AND VISION by Francis Matthews. This film explores how the architectural environment is made up of layered, reflected and refracted images. How we are unconsciously embedded within, and constructed by these images, caught in a cross-fire of their existence. The intrigue of the ‘making’ of architecture in this way, is communicated in the ‘making’ of the image, where ones mind enters the representative space, but in the end one is sharply returned to the image space, and the construct of the representation.

A more personal, absent and off camera experience of architecture making life is evident in DUNWICH FISHING by Eleanor Suess. In this film, the stillness of the camera highlights the slow and timely movement of the fisherman. The lone fisher suggests contemplation. This architecture without architecture also suggests conviviality, if any fish are caught,  which set against the redundant looking wench and up turned boats points to a past industry – making a living this way is no longer sustainable, against the fished out sea. This film implies a solace and through the colours, especially, a beauty, in this life lived. The shed we see is a kind of architecture but to this film it is not as important as the architecture which remains unseen - that which is off screen where the fisher lives – the buildings and town which makes his life and memories, that which works with both a material and immaterial context.

In contrast, Sabine De Schutter, in SENSING SPACE, also uses a still camera, but with an ‘un-changing’ scene. The image appears to hum in its stillness, pregnant with potential. A representation of this kind alludes to the thick, dense experience of light in architecture, which, while transient and temporal has a heaviness. The fact that ‘nothing happens’ in Sabine’s film is the beauty of it, like architecture itself, appearing static, unchanging and un-moving conversely is full of movement imperceptible by the human eye.

Through a sea of yellow raincoats and orchestrated movement TWINNING by Lena Obergfell alludes to a more ‘active’ and socially constructed architecture.  How people and their relationships across space and time can create the experience of architecture. How the transient, temporal aspects of urban environment have just as much hand in creating our urban and architectural environment, as the bricks and mortar of its physical construction.

Using the moving camera, SPINE by Susan Chan at once shifts the representation of a ‘bridge,’ to be an image space experience for the spectator. Through camera movement spines of the bridge pass overhead, wrap around the viewer, making one simultaneously aware of the construction of the bridge, and the construction of the moving image in relation to the space of the spectator. In this way, SPINE, and many other films in The Cinecity Project: Making, are not only the representation of architecture, but the construction of architecture, through the reception of the moving image. In doing this, through these explorations, the films make new ideas, bringing new understandings.

The films can be view via: www.thecinecityproject.com
  

END NOTES
[1]The Cinecity Project is a fringe event aligned with the theme of the National Architecture Conference and in 2014 the Creative Directors theme was MAKING.

[2]Representation:
[noun] 2. The description or portrayal of someone or something in a particular way

[3]Explore:
[verb] 1Travel through (an unfamiliar area) in order to learn about it:


[4] Lorraine Mortimer Terror and Joy: The Films of Dusan Makavejev, University of Minnesota Press, Minneapolis, 2009 (Page 188).

Cinecity 2014_Eleanor Suess_Dunwich Fishing

Cinecity 2014_Francis Matthews_Sound and Vision

Cinecity 2014_Lena Obergfell_Wasteland Twinning

Cinecity 2014_Sabine De Schutter_Sensing Space

Cinecity 2014_Susanne Chan_Spine

Monday, September 29, 2014

Cinecity 2014 Lisbon Architecture Film Festival


Cinecity 2014 @ the Lisbon Architecture Film Festival Portugal





CINECITY 2011 PANEL DISCUSSION [retrospective]

CINECITY 2011 PANEL DISCUSSION [retrospective]


CINECITY [RETROSPECTIVE]

CINECITY 2011 PANEL DISCUSSION

@

The Australian Institute of Architect’s National Architecture Conference 2011 "NATURAL ARTIFICE"

THE PANEL
Des Smith . Juhani Pallasmaa .Richard Sowada. Michael Tawa. Fooch. Sam Slicer + Daniel Flood.
View The Panel Discussion & Films


THE FILMS & FILMMAKERS



CINECITY 2011 _ Natural Artfice_Matt Pirrie


CURATED BY
Louise Mackenzie & Sarah Breen Lovett


Sunday, June 1, 2014

CINECITY 2014: MAKING 
The Winner, Judges Choice & Commended films for Cinecity 2014!

OVERALL WINNER

Francis Matthews
Ireland
Judge’s Choice: Francois Penz
Judge’s Choice: Geoffrey London
Judge’s Choice: Penelope Seidler

Highly Commended by Tony Hill
Highly Commended by Sam Crawford, Helen Norrie & Adam Haddow 

JUDGES CHOICES

Amy Czarkowski
USA
Judge’s Choice:  Sam Crawford, Helen Norrie & Adam Haddow
Highly Commended by Emma Williamson

Ted Sonnenschein
Germany
Judge’s Choice:  Zaha Hadid
Judge’s Choice:  Emma Williamson

Amy Lunn
UK
Judge’s Choice: Tony Hill
Highly Commended by Francois Penz

HIGHLY COMMENDED

Diogo Morato
Portugal
Highly Commended by Emma Williamson
Highly Commended by Francois Penz
Highly Commended by Geoffrey London
Commended by Tony Hill

Eleanor Suess
UK
Highly Commended by Geoffrey London
Commended by Francois Penz

Edward Couper And Allie Piehn
UK
Highly Commended by Sam Crawford, Helen Norrie & Adam Haddow

Vernon Cheung
Australia
Highly Commended by Geoffrey London

Amanda Morgan
Australia
Highly Commended by Emma Williamson

COMMENDED

Namfon Udomlertlak
Thailand
Commended by Francois Penz

Susanne Chan
France
Commended by Tony Hill

Alien Oosting
South Africa
Commended by Tony Hill

Situ Studio
USA
Commended by Tony Hill


Thank you  all the Filmmakers and Judges who participated in CINECITY: MAKING
from curators Louise Mackenzie and Sarah Breen Lovett

The shortlisted films, and other entries for Cinecity can be seen on the vimeo group 

Sunday, May 11, 2014

RETROSPECTIVE CINECITY WORKSHOPS 2010

CINECITY work shop format WEEKS ONE TO FOUR

Dates for Workshops 
Saturdays 1- 4pm 
WEEK 1: 26/06/10_Saturday_PERSEPCTIVE 
WEEK 2: 03/07/10_Saturday_PRACITCE 
WEEK 3: 10/07/10_Saturday_SONIC 
WEEK 4: 17/07/10__Saturday_CRITIQUE! 

Dates for Exhibition 
27 August 2010_Friday_EXHIBITION 
1 to 4pm (bump in) 6 to 7.30 (Exhibition) 

VENUE: Design Hub Gallery 

WEEK ONE: PERSPECTIVE(S) 
PRESENTATIONS 
-Dianne presents on her PhD research 
Title: Ancient Modernists: Spatial Mystery 15mins + 5 Q+A 

-Russell presents on Theoretical aspects of cinema 
from a design perspective 
Title: to be provided 15mins + 5 Q+A 

Q+A (all presenters) 15mins 

ACTIVITY ONE 30 mins 
Story Boarding 

ACTIVITY TWO 
Intro to Musicians so people can start thinking 15mins 
about working together 

WEEK TWO: PRACTICE 
PRESENTATION 
-Fooch presents art and practice 
Title: Squint Opera 30mins 

-Carolina presents discusses architecture and the channel 31 tv show she made/ place Melbourne 
and South America/the pros & cons regarding the logistics of film making 
Title: to be provided 15mins 

ACTIVITY ONE 
Open discussion with the presenters: Q+A on 30mins 
presentations and the ideas that the workshop 
participants have been working on. 

ACTIVITY TWO 
-Russell and Ceri and Dianne: 
Exercise with workshop participants - ...bring along objects 
...model making...miniature worlds...story ideas...filming (details 
to be confirmed) 
Title: to be provided 1.5hrs 

WEEK THREE: SONIC 
PRESENTATION 
Presenter One: to be confirmed 
Title: to be provided 15mins + 5 Q+A 

Presenter Two: to be confirmed 
Title: to be provided 15mins + 5 Q+A 

Q+A (all presenters) 30mins 

ACTIVITY ONE 30mins 
Discussion of listen exercise: 
take 10 mins to listen to the city in 3 different locations: 
 come to week three to ready discuss the 3 soundscapes 
 (Ask workshop people to do this in week 2) 
 AND 
Open discussion with presenters and Musicians and work shop 
Participants: 
 On the ideas that the workshop participants have been working on. 

WEEK FOUR: CRITIQUE!
-Workshop participants return with their 1 minute films, as last year, for final discussion of work 
with multi-disciplined people. 
Guest Crits Lee-Ann Joy and Peter R. 

Exhibition Friday 27/08/10 @ 6pm 

CINECITY RETROSPECTIVE 2010



CINECITY 2010
EXHIBITION
SPATIAL IDEAS EXPLORED WITH ONE MINUTE FILMS
THIS FRIDAY
27 AUGUST 2010 @ 6PM
BUILDING 91 RMIT

119 VICTORIA STREET (OPPOSITE THE CITY BATHS)

Tuesday, April 29, 2014

ACMI _ MEDIATHEQUE PROJECT The Shape & Form of Home [Melbourne + Beyond] 2011


Text by Louise Mackenzie: originally appeared in Architect Victoria: Quarterly Journal of the Australian Institute of Architects Victorian Chapter

CINESCAPES......MA|A


As a part of MAA, CINESCAPES, developed by Delia Teschendorff and Helen Sutton, is a program of events which aim to engage the public with their city through the medium of film. The CINESCAPES program forms a filmic journey along the north bank of the Yarra River. It will have several components including the Signal Workshops & Screenings, the Bridge Project, ACMI Mediatheque Project: The Shape and form of Home [Melbourne + Beyond], the AMCI Screen: Liquid Stone and, the FED SQUARE SCREEN.
                                                                                                                                                 


SIGNAL
In September, artists, architects and young people came together for a 2-day workshop to explore the question: “What makes a home?” through film and sound. Their films will be screened for the duration of the MAA Festival. During the SIGNAL workshop, the participants also worked with a sound artist to produce a sound installation to accompany the Signal screenings. Sounds of the City will be played, in conjunction, with the films, through the 18-speaker sound walk.
SCREENING MA|A: OCTOBER 24TH-30TH AFTER DARK 2011

BRIDGE PROJECT
A projection installation by Delia Teschendorff (AUS) and Helen Sutton (UK) will transform Princes Bridge during MAA week. http://www.deliateschendorff.com.au/bridge-project-2/
8pm Tuesday 25th October 2011

ACMI _ MEDIATHEQUE PROJECT
The Shape & Form of Home [Melbourne + Beyond]
Curated by Des Smith & Louise Mackenzie
A program of short films featuring Melbourne on film will be screened daily in the Mediatheque at ACMI.
7 days a week _ 12pm to 6pm. 2011

The theme of this year’s MA|A (National Architecture Week) is “home”, in terms of architecture and the city what could this mean? Helen Gibson* wrote, almost 10 years ago, that she thought the problem with urban planning and design in Australia was that it did not engage with the people who are indented to live in these, proposed, spaces.
In what ways does the form of the city shape our experience of home? What is home _ are we referring to the central city of Melbourne or the house where we live? Perhaps both - the two being intertwined and interconnected, what shapes and forms will Melbourne take? - will we continue to sprawl or densify? - how else could we live?
How do you live? What do you want your home, at an architectural and urban scale, to be like?
The following films tell different ways of how we have lived and do live in Melbourne and other places - perhaps we can take all our experiences and ideas to suggest how we might live. What shapes and forms do we want Melbourne [home] to be? And how do we want to live in theses spaces?
*Helen Gibson “Planning and Communicating to Achieve Sustainable Strategies” in Take 1: Urban Solutions: Propositions for the Future Australian City, Editors Michael Keniger, Geoffrey London, Carey Lyon Ian McDougall Stuart Niven, Peter Williams, The Royal Australian Institute of Architects, Canberra, 2002.

HOME (2007) 2.25 by Zephlyn Neilsen
this film asks is it physical or something intangible?

OLYMPIC GAMES, MELBOURNE, AUSTRALIA 1956 (1956/1999) 9.41 by Straford Brothers
filmed during the games and edited in late ‘90s the film takes us back and also connects us to a more recent Melbourne – collectively linking us all through images of central Melbourne (& Sport!). The Pool, by architects McIntyre, Boland, Murphy & Murphy, has a starting role - the images of which are beautiful

A PLACE TO LIVE (1972) 10.43 by Aust. Gov.
describes to migrants the housing options in Melbourne & Australia in the early 1970s.

WORLD TO CONQUER (1952) 6.06 by Frank & John Straford
takes us to a suburban home with backyard in the 1950s – it brilliantly references classic Hollywood and the silent tradition and it is an outer space experience.

NARRAPUMELAP (1974/2007) 3.42 by Gracemary Cumming & Grace MacGugan
describes the experience of a home – in between states – an almost empty house with strong experienciential memories.

TRIPOLI, MELBOURNE, ME! (2007) 2:07 by Dania Dabliz
describes, two homes, Dania Dabliz tell us what it is to emigrate for her, she also talks about city shapes – density & sprawl – and the experience of these city types.

FROGGIE (2001) 12.22 by Joan Robinson
describes and shows the importance of place lived and how types of living change over time – the young girls in the share house are a new addition to Brunswick, not so much seen in the 1950s.

MARVELLOUS MELBOURNE 1910 (various)
this film takes us all back to a place - 1910 only 75 years, since white settlement (1835) – at the beginning of the gold rush era - in the 1850s - people would have held in living memory a “Melbourne” as home that figured differently, and not in an insignificant way, these experiences of home should also be considered in any proposals we have, in looking presently and forward, for Melbourne as home.

ACMI SCREEN
Liquid Stone: Unlocking Gaudi’s Secrets
A documentary film by Polly Watkins where Mark Burry Architect discusses his work at Gaudi’s Sagrada Familia, Barcelona Spain
Screening during MAA at
ACMI Saturday 29 October at 4pm 2011

Tuesday, April 22, 2014

CINECITY SHORT LIST 2014

CINECITY ARCHITECTURAL FILM PROJECT 2014

"We are delighted that the annual Cinecity Architectural Film Competition will be screened as part of the Australia Institute of Architects Conference Events program, we are intrigued to see how the films will explore the Conference Theme: Making."             
 Sam Crawford, Adam Haddow and Helen Norrie Creative Directors the National Architecture Conference 2014

In a fringe event aligned with the 2014 Australian Institute of Architects National
Conference, Cinecity Architectural Film Project has invited local and international submissions of films which are a 60 second continuous in camera shot. These are architectural films which explore the Conference Directors theme: MAKING. This theme explore ideas about making architecture, which extend upon traditional practice approaches, challenging relationships between architecture and the cultural, the economic, the social and the political. The Conference subthemes are: making culture: to process, making life: to transform, making connections: to engage and making impact: to act.

30 shortlisted films* which explore the conference theme and adhere to the Cinecity submission format, are put forward to the panel of esteemed judges. Each judge will choose and score their top film; signed certificates will be issued to each judges first choice, with an overall first place prize of $1000 AUD.

JUDGES:
We are proud to announce that the Judges for Cinecity 2014 are:


National Conference Directors Choice by:

* SHORTLISTED FILMS *

Atelier Red + Black, Alex Chomicz, Alien Oosting, Amanda Morgan,
Amy Czarkowski, Amy Lunn, Arya Sukapura Putra, Diogo Morato,
Donald Daedalus, Edward Couper and Allie Piehn, Eleanor Suess,
Eric Mukalazi, Alex Lyons, Mugeni Mukanga and Thomas Aquilina ,
Francis Matthews, Hannah Wenham, Ian Aw, Imogen Birch,
Jakub Gozdziewicz , Juan Zamora, Lena Obergfell, Marty Bignell and
Andrew Steen, Myles Prangnell, Namfon Udomlertlak, Philip Ma,
Sabine De Schutter, Situ Studio, Susanne Chan, Ted Sonnenschein,
UDMK, Vernon Cheung, Yeliz Yorulmaz and Baki Kocaballi.
SCREENINGS

The First Prize Winner + Judges Choices will be announced at first screening in Perth.


PERTH - 9th May from 6pm
Making:Fun Festival Fringe Event, at Perth - State Theatre Centre
This is a free open screening event.

SYDNEY - 30 May from 8pm
Vivid Ideas, Museum of Contemporary Art, Sydney.
This is a free event, but numbers are limited register your name on the door here.

MELBOURNE  - 25 July time TBC
Testing Grounds, 1-23 City Road, Southbank Melbourne
Free open screening event.

CANBERRA  -  12th August 6pm
EmAGN- Civic Pub, Whiskey Room
Free screening event email RSVP to emagnact@gmail.com

FOR MORE INFORMATION CONTACT:
Curators: 
 Louise Mackenzie & Sarah Breen Lovett

Cinecity 2014 is supported by The University of Sydney, Metropolitan Re-development Authority Western Australia, and The National Architecture Conference Fringe Events team Making:Fun.


The judges decision is final and further discussion will not be entered into. The judging criteria is based on the technical parameters laid out in the brief and thematic engagement with the Conference Theme "Making."