Motion Architecture

Oliviu Lugojan-Ghenciu (author)

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Title	Motion Architecture
Contributor	Oliviu Lugojan-Ghenciu (author)
DOI	https://doi.org/10.21983/P3.0053.1.30
Landing page	https://punctumbooks.com/titles/the-funambulist-papers-vol-1/
License	https://creativecommons.org/licenses/by-nc-sa/3.0/
Copyright	Lugojan-Ghenciu, Oliviu
Publisher	punctum books
Published on	2013-10-23
Long abstract	Analyzing Eadweard Muybridge’s work and Vladimir Veličković’s painted motion studies would offer a too-easy way to find a relation-ship between the still objects of architecture and the dynamics of motion. Jean-Luc Godard is also waiting to be taken apart from this perspective, just as is Bruno Zevi’s idea of archiving space through cinematographic methods. Rem Koolhaas is known for his transition from film to architecture. Why is there such a brotherhood between film and architecture? Maybe it is because they share the common idea of assembling building blocks in order to build something that is more than just the sum of its elements. The concept to be proposed has little to do with these remarkable people and their studies, but builds upon their experience. What I am interested in is not the cinematographic expression, but a fourth dimension added by motion in graphics and how movement can further an architectural product.
Page range	pp. 160–163
Print length	4 pages
Language	English (Original)

Analyzing Eadweard Muybridge’s work and Vladimir Veličković’s painted motion studies would offer a too-easy way to find a relation-ship between the still objects of architecture and the dynamics of motion. Jean-Luc Godard is also waiting to be taken apart from this perspective, just as is Bruno Zevi’s idea of archiving space through cinematographic methods. Rem Koolhaas is known for his transition from film to architecture. Why is there such a brotherhood between film and architecture? Maybe it is because they share the common idea of assembling building blocks in order to build something that is more than just the sum of its elements. The concept to be proposed has little to do with these remarkable people and their studies, but builds upon their experience. What I am interested in is not the cinematographic expression, but a fourth dimension added by motion in graphics and how movement can further an architectural product.