Preconceived notions about the scope of architecture and its definition as a purely spatial dimension produced or analysed through one-to-one translated two-dimensional images and drawings do not convey the true experience of space. It lacks movements, emotions, human activities, memories, experiences and perceptions. Perceptions that transcend vision, however, are more of an issue for the film industry, which strives to provide sensory experiences for the immobile viewer. This study asks questions about experiential space, explores modes of narration, questions sequence, time, and spaces, and attempts to define it through theories that intersect with film and architecture. Ultimately, the reading of cities, typologies, and design approaches is based on the accepted value system inherent in the entire research, which is defined as "cinematic architecture". It demonstrates, through material examples, that certain architectural ensembles due to their spatial and ideological configuration can be more cinematic than others. On the other hand, also London was analysed with these acquired lenses.
Urban stories of metropolises, especially the ones like London, which have gone through various phases of destruction, show a constantly changing, dynamic character. This character allows us to consider the city in terms of narratives and scenarios rather than as a fixed city image. Especially in the period of urban change in post-war London, the utopian idea of connecting the city through elevated walkways is a focus of this study due to its experimental nature, morphology, and ideology associated with "cinematic architecture". Had the walkways been fully realized, the structure would have been a means to experience a city from a particular vantage point, located at the high level of the city. But the disconnect between the remaining pedways and their fragmentary quality is also an opportunity to think about complementary stories. The unfinished quality of these structures allows us to pose the "What if?" question. What are the events and emotions this kind of typology which is neither a building nor a landscape could trigger? How can elevated walkways narrate London`s story and redefine its identity through a visual and emotional connection to the city?
Based on the theoretical framework, these structures became a testing ground to show the subjectivity of perception using a method derived from Bernard Tschumi's manifesto "Manhattan Transcripts”. This test was expected to show how the fragmental approach to the architectural entity, similar to framed film images can narrate a story that each reader as each viewer can derive its own meaning. The design resulted in an intervention montaged into the city view of Blackfriars, where one of the leftover pedways is located. Its program is shaped based on the actions that these spatial, and urban qualities generate. As if the actions of viewing, walking, and performing carved a space for their movements.
All in all, the research consists of the theories that define "cinematic architecture," the testing of the theory, and the application of the theory that is the design proposal.