View

摘要

The first phase of peter eisenman's galician city of culture is nearing completion; viktor melnikov remembered; caruso st john win cultural centre competition in ascona; mipim ar future project awards results; peter cook in los angeles; louis hellman's hatmap. In his just-published Manifesto for a cinematic architecture, the teacher Pascal Schoning describes how such an architecture 'aims to dissolve or expose the concept of a static material world through a buzz of constant change', and that it 'reveals the illusiveness of the house as a reliable and constant factor, and shifts the focus instead to life and narrative processes. Perhaps the house can only be an enabler of life narration itself. This presents a nice problem for any architectural publication in attempting, on the one hand, to avoid showing what Schoning would think of as 'an endless repetition of solid-state modernist buildings', but on the other conveying architectural intention rather than the streams of consciousness which constitute the buildings' clients and users. The static nature of architecture itself, and its inevitable magazine representation as just that, cries out for the addition of movement and change. How, one may ask, can one represent life and even spatiality in a two-dimensional form, by definition frozen in time and space? For comparison, Schoning cites the Jean-Luc Godard aphorism that film is 'truth 24 times a second'.