i had a hard time finding the article, but here is the url (after
you register your name and password):
http://www.nytimes.com/yr/mo/day/artleisure/matrix-film-arch.html
>How did Muschamp's Sunday "degradation" of movie-multiplex and
>design ambitions read to readers here? Pretty good list of the 27
>architectural
>varieties of self-imprisonment conceits, eh? Including his own crit soup,
>as he self-laceratingly lashed in closing the lid to his foxhole.
my view is this:
i think Mushamp exists in an architectural Matrix of the sort he
describes because his analysis is similar to Plato's allegory of
the (electronic) cave.
the 2 worlds are, one, the Tradition Order of architecture, of
form, light, material, and structure of the one design. and a
second Electrical Order, of the Movie and Movie Theater, which
has a new use of form, light, material, and structure.
between them is the gap, the illusion of the movie projector,
sending image and sound upon the screen, or cave wall, while
outside exists the "real" world.
i think that until architecture, history-criticism-&-theory,
rationalizes this new electrical order, and its attachment to
a centralized powerstructure (Niagara NYC?), then the real sub-
stance of this new kind of building will only be judged by the
old standards of architecture.
that is, deconstruct the movie theater, its structural connection
with Hollywood, with Advertising, with Media, with the Star system,
with the e-infrastructure, with SUV's and the Oscar Awards, and
then we will be talking about the Movie Theater as architecture.
bc
you register your name and password):
http://www.nytimes.com/yr/mo/day/artleisure/matrix-film-arch.html
>How did Muschamp's Sunday "degradation" of movie-multiplex and
>design ambitions read to readers here? Pretty good list of the 27
>architectural
>varieties of self-imprisonment conceits, eh? Including his own crit soup,
>as he self-laceratingly lashed in closing the lid to his foxhole.
my view is this:
i think Mushamp exists in an architectural Matrix of the sort he
describes because his analysis is similar to Plato's allegory of
the (electronic) cave.
the 2 worlds are, one, the Tradition Order of architecture, of
form, light, material, and structure of the one design. and a
second Electrical Order, of the Movie and Movie Theater, which
has a new use of form, light, material, and structure.
between them is the gap, the illusion of the movie projector,
sending image and sound upon the screen, or cave wall, while
outside exists the "real" world.
i think that until architecture, history-criticism-&-theory,
rationalizes this new electrical order, and its attachment to
a centralized powerstructure (Niagara NYC?), then the real sub-
stance of this new kind of building will only be judged by the
old standards of architecture.
that is, deconstruct the movie theater, its structural connection
with Hollywood, with Advertising, with Media, with the Star system,
with the e-infrastructure, with SUV's and the Oscar Awards, and
then we will be talking about the Movie Theater as architecture.
bc