FIELD, LINE, FLOW:  ACTIVED FILM EXPERIENCE  Namik Kemal Blv, Fabrikalar, 07090 Kepez/Antalya, Turkiye  Critic: Sulan Kolatan  PRATT GAUD  I’m skeptical about the compositional norm of film.  Film viewership is passive, the viewer is static, waiting for the spectacle to happen at them. How can architecture be used as a tool to engage the viewer with film?  Two juxtaposing systems were used to physically engage the body of the viewer: the field and the line.   THE FIELD   According to Stan Allen, field conditions are “any formal or spatial matrices capable of unifying diverse elements.” In this scenario, different elements of film.  Shifting the organization of different theaters and screens, destroying barriers between different theaters and opening the building plan into a field, suggests liberation from the norms of film. By expanding beyond the conventional composition of the theater typology by engaging the body of the viewer, we open new opportunities in dynamic viewership. By abandoning both form and directionality, shape becomes more fluid, emphasizing the internal relationships between screen and viewer.  The audience is open and encouraged to wander on an undisturbed field facing floatin, V-shaped movie screens. The movement of the individuals within that space creates swarms, flows and currents within the field. Consumption of the medium is now driven through curiosity, not force.    THE LINE   In opposition to the field, exists the line. The line is a connection between two points with a strict directionality. Below the field of open viewership exists a linear zoetrope that parallels a bike lane. The speed of the rider on the bike activates the otherwise static image on a wall into an animation that responds to the viewer.
       
     
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  FIELD, LINE, FLOW:  ACTIVED FILM EXPERIENCE  Namik Kemal Blv, Fabrikalar, 07090 Kepez/Antalya, Turkiye  Critic: Sulan Kolatan  PRATT GAUD  I’m skeptical about the compositional norm of film.  Film viewership is passive, the viewer is static, waiting for the spectacle to happen at them. How can architecture be used as a tool to engage the viewer with film?  Two juxtaposing systems were used to physically engage the body of the viewer: the field and the line.   THE FIELD   According to Stan Allen, field conditions are “any formal or spatial matrices capable of unifying diverse elements.” In this scenario, different elements of film.  Shifting the organization of different theaters and screens, destroying barriers between different theaters and opening the building plan into a field, suggests liberation from the norms of film. By expanding beyond the conventional composition of the theater typology by engaging the body of the viewer, we open new opportunities in dynamic viewership. By abandoning both form and directionality, shape becomes more fluid, emphasizing the internal relationships between screen and viewer.  The audience is open and encouraged to wander on an undisturbed field facing floatin, V-shaped movie screens. The movement of the individuals within that space creates swarms, flows and currents within the field. Consumption of the medium is now driven through curiosity, not force.    THE LINE   In opposition to the field, exists the line. The line is a connection between two points with a strict directionality. Below the field of open viewership exists a linear zoetrope that parallels a bike lane. The speed of the rider on the bike activates the otherwise static image on a wall into an animation that responds to the viewer.
       
     

FIELD, LINE, FLOW: ACTIVED FILM EXPERIENCE

Namik Kemal Blv, Fabrikalar, 07090 Kepez/Antalya, Turkiye

Critic: Sulan Kolatan

PRATT GAUD

I’m skeptical about the compositional norm of film.

Film viewership is passive, the viewer is static, waiting for the spectacle to happen at them. How can architecture be used as a tool to engage the viewer with film?

Two juxtaposing systems were used to physically engage the body of the viewer: the field and the line.

THE FIELD

According to Stan Allen, field conditions are “any formal or spatial matrices capable of unifying diverse elements.” In this scenario, different elements of film.

Shifting the organization of different theaters and screens, destroying barriers between different theaters and opening the building plan into a field, suggests liberation from the norms of film. By expanding beyond the conventional composition of the theater typology by engaging the body of the viewer, we open new opportunities in dynamic viewership. By abandoning both form and directionality, shape becomes more fluid, emphasizing the internal relationships between screen and viewer.

The audience is open and encouraged to wander on an undisturbed field facing floatin, V-shaped movie screens. The movement of the individuals within that space creates swarms, flows and currents within the field. Consumption of the medium is now driven through curiosity, not force. 

THE LINE

In opposition to the field, exists the line. The line is a connection between two points with a strict directionality. Below the field of open viewership exists a linear zoetrope that parallels a bike lane. The speed of the rider on the bike activates the otherwise static image on a wall into an animation that responds to the viewer.

20160825_M.ARCH PORTFOLIO_DIGITAL_SPREADS-5,jpg
       
     
20160825_M.ARCH PORTFOLIO_DIGITAL_SPREADS-4.png
       
     
20160825_M.ARCH PORTFOLIO_DIGITAL_SPREADS-6.png
       
     
20160825_M.ARCH PORTFOLIO_DIGITAL_SPREADS-7.jpg
       
     
20160825_M.ARCH PORTFOLIO_DIGITAL_SPREADS-10.jpg
       
     
bike view 91_2.jpg
       
     
theather view 3.jpg
       
     
ANTALYA BOOKLET v 3 text outline PDF FOR WEB-11.jpg