| Title |
A Study on the Relationship between the Time-Image and the Modern Architecture |
| Authors |
Hyung, Hyung-Chir ; JohHahn |
| Keywords |
Gilles Deleuze ; Time-Image ; Deconstructionism ; Cinema |
| Abstract |
Today, we know that it is hard to define architectural theories as one concept. In addition, they continually enlarge the areas of thought through the synthesis of other fields. In this way, this study explores the connection between modern movies and modern architecture. Especially, this understands three kinds of the time-images in the cinema 2 such as a purely optical situation, a crystals-image, and the powers of the false through each cinematic example. First of all, in order to understand the purely optical situation, this paper analyzes the 'Pierrot goes wild' of Jean-Luc Godard and then verifies the time-image by the projects of the deconstruction. The case of this purely optical-image is the Kunsthal Museum of Rem Koolhaas. To be sure, the indoor spaces consist of a variety of the wandering paths by connecting inclined plates. It follows that this Museum make the purely optical-image since the architecture creates ambiguous, loosed and unexpected spaces. Moreover, this study also expounds a crystal-image in the '8,1/2' of Federico Fellini and then confirms the theory with architectural work. The best example of the crystal-image is the Jewish Museum of Daniel Libeskind. The interior forms the various factors that communicate the painful memory from the past with a sense of space from the present through the rough concrete, the cold air and the metallic sculptures in the floor. This shows that the places have the characteristic of the crystal-images in the designed indoor spaces. Finally, for the power of the false, it investigates 'Mysterious Object at noon' of Apichatpong Weerasethakul. What’ s more, this paper elucidates Wexner Ceneter for the arts with this time-image. The site was recovered to create the powers of false by old vestiges such as the previous bases and facades. |