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Publication
Arquitetura e Cinema [Espaço]: Conceitos e Tangências
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| 16.38 MB | Adobe PDF |
Authors
Abstract(s)
Esta dissertação é uma deambulação pelo território sensível onde o cinema e a arquitetura se encontram. Não somente como formas de arte, mas como práticas de criação do espaço. Ambas constroem mundos, moldam atmosferas e ambientes, organizam espaço, definem tempo e convocam movimento. Mais do que edifícios ou cenários, interessanos o espaço enquanto conceito. Construído, vivido, manipulado. A investigação inicia na genealogia do seu diálogo, mas logo se lança num mergulho conceptual sobre o espaço como matéria comum, no modo como estas linguagens constroem uma realidade que não existe, mas, e ainda assim, sentimos como nossa: locações, cenários bidimensionais, maquetas à escala real, miniaturas e mundos digitais. Tudo se compõe numa coreografia ilusória que nos envolve sem resistência. O que parece real raramente o é, e talvez por isso, nos toque tão profundamente. O filme torna-se arquitetura imaginada, e a arquitetura, cinema vivido. Este trabalho não resulta em respostas fechadas, não encerra possibilidades; antes, abre-as. Porque entre o que vemos e o que acreditamos ver, existe um mundo por descobrir. À medida que a tecnologia permite habitar mundos simulados cada vez mais imersivos, será o espaço cinematográfico apenas uma ilusão... ou o esboço de uma nova realidade?
This dissertation is a journey through the sensitive territory where cinema and architecture collide. Not only as art forms, but as practices of creating space. Both construct worlds, shape atmospheres, organize space, define time, and evoke movement. More than buildings or sets, we are interested in space as a concept. Constructed, lived, manipulated. The investigation begins with the genealogy of their dialogue, but soon launches into a conceptual dive into space as common matter, in which these languages construct a reality that does not exist, but which we nevertheless feel as our own: locations, two-dimensional sets, full-scale models, miniatures, and digital worlds. Everything comes together in an illusory choreography that envelops us without resistance. What seems real is rarely so, and perhaps that is why it touches us so deeply. The film becomes imagined architecture, and architecture becomes lived cinema. This work does not result in closed answers, it does not close off possibilities; instead, it opens them up. Because between what we see and what we believe we see, there is a world to be discovered. As technology allows us to habit increasingly immersive simulated worlds, is cinematic space just an illusion... or the draft of a new reality?
This dissertation is a journey through the sensitive territory where cinema and architecture collide. Not only as art forms, but as practices of creating space. Both construct worlds, shape atmospheres, organize space, define time, and evoke movement. More than buildings or sets, we are interested in space as a concept. Constructed, lived, manipulated. The investigation begins with the genealogy of their dialogue, but soon launches into a conceptual dive into space as common matter, in which these languages construct a reality that does not exist, but which we nevertheless feel as our own: locations, two-dimensional sets, full-scale models, miniatures, and digital worlds. Everything comes together in an illusory choreography that envelops us without resistance. What seems real is rarely so, and perhaps that is why it touches us so deeply. The film becomes imagined architecture, and architecture becomes lived cinema. This work does not result in closed answers, it does not close off possibilities; instead, it opens them up. Because between what we see and what we believe we see, there is a world to be discovered. As technology allows us to habit increasingly immersive simulated worlds, is cinematic space just an illusion... or the draft of a new reality?
Description
Keywords
Arquitetura Atmosferas. Cenários Cinema Espaço Ilusão