OB
O.I. Bierens
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2 records found
1
'Transitional territories: architecture of (post)-extraction in the Ağaçlı coal fields, Istanbul' revolves around the interaction between soil, extraction and architecture. The project addresses the ephemerality of extractive landscapes, imagining new ways of relating to the earth. Seeing soil not as a static being, but as a dynamic vehicle of becoming, a medium constantly in transition.
Throughout the history of Istanbul, the city has used different forms of energy supply for heating and electricity. The Ağaçli coal fields have been extracted for coal to supply the energy to Istanbul during a large part of the twentieth century. Although the rate and volume of extraction have since then reduced, the landscape is still a a testimony to the changing grounds. The history
of extraction still remains clearly visible in the topography, which is formed by different types of extraction sites. The project considers architectural modes of extraction, changing the logic to incorporate and legitimate the soil in a way that constructs new spatial relations and forms. The project questions the standard reclamation narrative by positioning itself on the frontiers of cultivated and wild land, between past and present.
...
Throughout the history of Istanbul, the city has used different forms of energy supply for heating and electricity. The Ağaçli coal fields have been extracted for coal to supply the energy to Istanbul during a large part of the twentieth century. Although the rate and volume of extraction have since then reduced, the landscape is still a a testimony to the changing grounds. The history
of extraction still remains clearly visible in the topography, which is formed by different types of extraction sites. The project considers architectural modes of extraction, changing the logic to incorporate and legitimate the soil in a way that constructs new spatial relations and forms. The project questions the standard reclamation narrative by positioning itself on the frontiers of cultivated and wild land, between past and present.
...
'Transitional territories: architecture of (post)-extraction in the Ağaçlı coal fields, Istanbul' revolves around the interaction between soil, extraction and architecture. The project addresses the ephemerality of extractive landscapes, imagining new ways of relating to the earth. Seeing soil not as a static being, but as a dynamic vehicle of becoming, a medium constantly in transition.
Throughout the history of Istanbul, the city has used different forms of energy supply for heating and electricity. The Ağaçli coal fields have been extracted for coal to supply the energy to Istanbul during a large part of the twentieth century. Although the rate and volume of extraction have since then reduced, the landscape is still a a testimony to the changing grounds. The history
of extraction still remains clearly visible in the topography, which is formed by different types of extraction sites. The project considers architectural modes of extraction, changing the logic to incorporate and legitimate the soil in a way that constructs new spatial relations and forms. The project questions the standard reclamation narrative by positioning itself on the frontiers of cultivated and wild land, between past and present.
Throughout the history of Istanbul, the city has used different forms of energy supply for heating and electricity. The Ağaçli coal fields have been extracted for coal to supply the energy to Istanbul during a large part of the twentieth century. Although the rate and volume of extraction have since then reduced, the landscape is still a a testimony to the changing grounds. The history
of extraction still remains clearly visible in the topography, which is formed by different types of extraction sites. The project considers architectural modes of extraction, changing the logic to incorporate and legitimate the soil in a way that constructs new spatial relations and forms. The project questions the standard reclamation narrative by positioning itself on the frontiers of cultivated and wild land, between past and present.
The historical architecture of Wes Anderson
The Grand Budapest Hotel
This thesis explores the relationship between architecture and film through the analysis of the cinema of Wes Anderson.The research focuses specifically
on the understanding of the spaces which Anderson has created in a historical per- spective. First, the relationship between architecture and film is explored through lite- rature research.The articulation of lived space forms the basis and common ground for architecture and cinema. Being both arts of the author, cinema and architecture have the potential to generate emotions, awaken our soul and to shift the attention of the viewer from the inside to the outside. Both cinema and architecture have the ability to construct spaces in the mind, articulate the surface between the world and our own mental experience, where meaning and value are blend.
The architecture, which plays a central role in the films of Anderson, is analy- zed. Anderson introduces spaces through the habits, ideals and aspirations of the indi- vidual, bringing buildings to life. Anderson balances stories between reality and fantasy, transcending the rules of geometry. The architecture in The Grand Budapest Hotel (2014) is analyzed as a case study. The film depicts the glory days and the fall down of a grand hotel in different eras but is above all a story of decay, loneliness and personal loss.Anderson intended to give homage to European Grandeur at the turn of the 19th century on the one hand and communist architecture on the other hand. The observations and research show contradictions and paradoxes in the blend of architectural styles depicted in the film. The conflicts and contradictions between foreign influences and ideological structures are both visible in the 1940s and the 1960s version of the exterior of the hotel. In the interior, the contradictory usage of material on the one hand and the rational floorplan and technological developments on the other hand shows the changing ideas about the function and definition of the hotel. Most important, the hotel resembles the personage of the characters who live in a forgotten and lost world.Anderson shows that spaces can question our narrative and imagination. When architecture can evoke this experience, the true quality of the practice is utilized and a level of consciousness is reached where dream, feeling and emotions reside. ...
on the understanding of the spaces which Anderson has created in a historical per- spective. First, the relationship between architecture and film is explored through lite- rature research.The articulation of lived space forms the basis and common ground for architecture and cinema. Being both arts of the author, cinema and architecture have the potential to generate emotions, awaken our soul and to shift the attention of the viewer from the inside to the outside. Both cinema and architecture have the ability to construct spaces in the mind, articulate the surface between the world and our own mental experience, where meaning and value are blend.
The architecture, which plays a central role in the films of Anderson, is analy- zed. Anderson introduces spaces through the habits, ideals and aspirations of the indi- vidual, bringing buildings to life. Anderson balances stories between reality and fantasy, transcending the rules of geometry. The architecture in The Grand Budapest Hotel (2014) is analyzed as a case study. The film depicts the glory days and the fall down of a grand hotel in different eras but is above all a story of decay, loneliness and personal loss.Anderson intended to give homage to European Grandeur at the turn of the 19th century on the one hand and communist architecture on the other hand. The observations and research show contradictions and paradoxes in the blend of architectural styles depicted in the film. The conflicts and contradictions between foreign influences and ideological structures are both visible in the 1940s and the 1960s version of the exterior of the hotel. In the interior, the contradictory usage of material on the one hand and the rational floorplan and technological developments on the other hand shows the changing ideas about the function and definition of the hotel. Most important, the hotel resembles the personage of the characters who live in a forgotten and lost world.Anderson shows that spaces can question our narrative and imagination. When architecture can evoke this experience, the true quality of the practice is utilized and a level of consciousness is reached where dream, feeling and emotions reside. ...
This thesis explores the relationship between architecture and film through the analysis of the cinema of Wes Anderson.The research focuses specifically
on the understanding of the spaces which Anderson has created in a historical per- spective. First, the relationship between architecture and film is explored through lite- rature research.The articulation of lived space forms the basis and common ground for architecture and cinema. Being both arts of the author, cinema and architecture have the potential to generate emotions, awaken our soul and to shift the attention of the viewer from the inside to the outside. Both cinema and architecture have the ability to construct spaces in the mind, articulate the surface between the world and our own mental experience, where meaning and value are blend.
The architecture, which plays a central role in the films of Anderson, is analy- zed. Anderson introduces spaces through the habits, ideals and aspirations of the indi- vidual, bringing buildings to life. Anderson balances stories between reality and fantasy, transcending the rules of geometry. The architecture in The Grand Budapest Hotel (2014) is analyzed as a case study. The film depicts the glory days and the fall down of a grand hotel in different eras but is above all a story of decay, loneliness and personal loss.Anderson intended to give homage to European Grandeur at the turn of the 19th century on the one hand and communist architecture on the other hand. The observations and research show contradictions and paradoxes in the blend of architectural styles depicted in the film. The conflicts and contradictions between foreign influences and ideological structures are both visible in the 1940s and the 1960s version of the exterior of the hotel. In the interior, the contradictory usage of material on the one hand and the rational floorplan and technological developments on the other hand shows the changing ideas about the function and definition of the hotel. Most important, the hotel resembles the personage of the characters who live in a forgotten and lost world.Anderson shows that spaces can question our narrative and imagination. When architecture can evoke this experience, the true quality of the practice is utilized and a level of consciousness is reached where dream, feeling and emotions reside.
on the understanding of the spaces which Anderson has created in a historical per- spective. First, the relationship between architecture and film is explored through lite- rature research.The articulation of lived space forms the basis and common ground for architecture and cinema. Being both arts of the author, cinema and architecture have the potential to generate emotions, awaken our soul and to shift the attention of the viewer from the inside to the outside. Both cinema and architecture have the ability to construct spaces in the mind, articulate the surface between the world and our own mental experience, where meaning and value are blend.
The architecture, which plays a central role in the films of Anderson, is analy- zed. Anderson introduces spaces through the habits, ideals and aspirations of the indi- vidual, bringing buildings to life. Anderson balances stories between reality and fantasy, transcending the rules of geometry. The architecture in The Grand Budapest Hotel (2014) is analyzed as a case study. The film depicts the glory days and the fall down of a grand hotel in different eras but is above all a story of decay, loneliness and personal loss.Anderson intended to give homage to European Grandeur at the turn of the 19th century on the one hand and communist architecture on the other hand. The observations and research show contradictions and paradoxes in the blend of architectural styles depicted in the film. The conflicts and contradictions between foreign influences and ideological structures are both visible in the 1940s and the 1960s version of the exterior of the hotel. In the interior, the contradictory usage of material on the one hand and the rational floorplan and technological developments on the other hand shows the changing ideas about the function and definition of the hotel. Most important, the hotel resembles the personage of the characters who live in a forgotten and lost world.Anderson shows that spaces can question our narrative and imagination. When architecture can evoke this experience, the true quality of the practice is utilized and a level of consciousness is reached where dream, feeling and emotions reside.