Architecture as Cinematic Apparatus

A R C H I T E C T U R E A S C I N E M A T I C A P P A R A T U S

DANIEL HEMMENDINGER

UNDERGRADUATE ARCHITECTURE THESISVirginia Tech, 2014

DANIEL HEMMENDINGER

UNDERGRADUATE ARCHITECTURE THESISVirginia Tech, 2014

A R C H I T E C T U R E A S C I N E M A T I C A P P A R A T U S

T A B L E O F C O N T E N T S

S I T U A T I O N

I N T R O D U C T I O N

H O U S E I N A C I N E M A T I C P R E S E N T

IntroductionAbstractProvocation

Kinema-CinemaLos Angeles

SiteArrivalProgram

132341

A P P E N D I X

Lecture PostersFields + ArrayPostcard Installation

C I T A T I O N S

A C K N O W L E D G E M E N T S

117131161

Two Jackets (8th Avenue)

[ I N T R O D U C T I O N ]

“She who wanders through a building or a site acts precisely like a film spectator absorbing and connecting visual spaces. The changing position of a body in space creates architectural and cinematic grounds. The consumer of architectural (viewing) space is the prototype of the film spectator.”1

-Giuliana Bruno, SITE-SEEING: ARCHITECTURE AND THE MOVING IMAGE

To follow in this book are the projects, writings, and other inquiries executed between August 2013 and May 2014.

In reflection, the thesis has primarily been a study of situation—in this case Los Angeles’ Studio Zone—and its role in the design of architecture. By addressing the Studio Zone, a virtual thirty mile radius within Los Angeles, the thesis necessarily meditates on questions of virtual agency and filmic perception that bear on architecture in Los Angeles specifically and in the United States generally.

The goal of this book is to present an evolving understanding of the studied situation and to demonstrate the means by which the situation begins to inform the design of a house. The intent of the book is not to present a montage or chronological sequence of the thesis work, but to outline the critical points and examine their value within architectural discourse.

Additional work completed throughout the year—posters, installations, and other side projects—can be located in the back of this document.

I N T R O D U C T I O N

I N T R O D U C T I O N A B S T R A C T

The thesis attempts to reconcile the notion of “cinematic” within architecture and, more specifically, examines questions emerging from the dissonance between the physical spaces of reality and the virtual spaces that we project onto and into the physical. The resultant blurring of the thing and the idea of the thing—of reality and representation—suggests a complex and multiply framed contemporary state. “Cinematic” serves as a proxy term that contextualizes these questions in relation to two etymological antecedents: kinema- (movement) and cinema (film). The thesis recognizes the agency of film as it operates within the defined situation—the Los Angeles Thirty Mile Zone—from a virtual site condition at the scale of the city, to the resultant multiply filmed (and therefore interpreted) architectures, to the virtualization of seeing at the scale of the body.

The intent of the thesis is to locate an apperceptive and cinematic experience within architecture—rooted in movement, projection, and anticipation—in order to foreground the inhabitant. This intention is studied through various modes of design research and through the ongoing design of a House.

I N T R O D U C T I O N P R O V O C A T I O N

The image at right shows a woman posing in front of a typical suburban residence in Albuquerque, New Mexico, and acts as a charge for the study of the Cinematic in architecture. The house is notable and, therefore, photo-worthy as the home of Walter White in the television show Breaking Bad.2 This stands in contrast to its physical attributes, which indicate that it is alike to the residences around it and is indistinguishable from much of American suburban housing. Without context, the photograph is strange and begins to reveal the complex composition of reality—one not entirely physical, but instead layered with virtual content and forces. As an artifact of tourism, the photo also evidences the blurring of reality and representation created collaterally by film and television.

The image brings forth questions regarding the nature of the poser’s reality and her perception of it. While we could write off her actions as ignorant, or perhaps careless, the image is more indicative of a reality that is increasingly open to new ways of seeing.

Tiffany Bernard poses in front of Walter White's house3

EMERGENT FORCES IN THE PRODUCTION OF PLACEwhile the reality of the Breaking Bad house is multiple, it is constituted largely by its representation nationally within the television show, as evidenced by the 200 tourists who visit the house each day5

Electracy provides the cultural context within which to unpack the photograph. Electracy is a theorized cultural apparatus emerging from literacy (itself arising from orality) in which virtual content has greater currency in comtemporary life. Stated another way, electracy posits that the idea of a thing has equivalent and potentially greater agency than the thing itself.4 While oral culture can be regarded as occupying an acoustic space and literate culture a physical one, electrate culture occupies a virtual space.

By opening up the greater situation that the photograph inhabits, it is possible to understand the photograph as a cultural and spatial phenomenon with valuable lessons for architecture.

Paramount Studio Location Map, 19276

“The American city seems to have stepped right out of the movies. To grasp its secret…you should begin with the screen and move outwards to the city.”⁷

- Jean Baudrillard, AMERICA

“The sun above the beaches, parks and boulevards they had seen so often on the screen was obscured at times by a sepia ceiling that stung their eyes, but on a clear day they could still see Catalina and, perhaps, Mickey Rooney.” ⁸

- John D. Weaver, LABORATORY OF MARVELS

[ S I T U A T I O N ]

frame (v.)1. to put (something) inside an open structure that holds it to put (something) in a frame

2. to be around the edge of (something)

3. to produce to express in words

O.E. framian “to profit, be helpful, avail, benefit,” from fram “active, vigorous, bold,” originally “going forward”

cinematic (adj.)1. of, relating to, suggestive of, or suitable for motion pictures or the filming of motion pictures

2. filmed and presented as a motion picture

From French cinématique, from cinéma, shortened from cinématographe “motion picture projector and camera,” coined 1890s by Lumiere brothers, who invented it, from Latinized form of Greek kinemat-, comb. form of kinema “movement,” from kinein “to move” + graphein “to write”

S I T U A T I O N K I N E M A -

Contemporary consumption of architectural space is proximal to film spectatorship.⁹ The experiences of both film and architecture are, at their core, acts of inhabitation that are motive in nature, even if immobile. The difference between simple linear movement and a cinematic experience within space is anticipation as one proceeds. This expectation is a conscious act that builds a dialogue between what has been viewed, what is being experienced, and a prediction of what will be, virtualizing seeing into an act of projection. This apperceptive mode of viewing imbues space with consciousness and engages the inhabitant.1⁰

In James Turrell’s Roden Crater, a circular oculus is perceived at the end of a long inclined tunnel. As one gets closer to the oculus’ room, its true nature as an ellipse becomes evident. This anticipatory act, and the means by which the established expectation is challenged, heighten the experience of the work and foreground the inhabitant.

East Portal, Roden Crater, James Turrell11

This cinematic inhabitation of architectural space has precedents deep in the history of the discipline, perhaps illustrated best in Vincent Scully’s decription of the procession to the Temple of Apollo at Didyma:

“The temple stands on a long, low ridge of land well south of Miletos. The way to it winds south from the city through barren, rolling foothills from which the Aegean Sea and the islands of the Dodecanese are visible to the west. After a time the hills open and a plain sweeps ahead to the south, terminated by the ridge near the center of which the temple is placed...It is set in a slight depression between two gentle rises of the ridge, locked into place against the distant views. Beyond the temple, the land, never high, falls off rapidly toward the Gulf of Mendelia, so that the temple stands exposed at the center of a vast landscape...

“The light of the sun is blinding in this place, beating down from above, shimmering on the distant water with the islands in the heat haze. In the heat the mountain and island forms spin around the temple like a fixed sun at their center, but the colonnades of the temple itself offer the only coolness and shade within the dazzling circle. It is in fact the sacred grove of the god, his ‘wooded grove,’ to which the Homeric Hymn so often refers. Its high and deeply fluted columns make a true foreset around the

clifflike walls of the open cella. Entrance to the temple is through the many columns which penetrate the pronaos, but the wide door in the center, from which the oracles of the god may sometimes have been announced, is too high above the pavement to be entered. Through the doorway, from the pronaos, could be seen the shadowed columns of the roofed area behind it, and beyond them, above the unroofed walls of the cella, only the bright blue of the open sky...

“The way into the grove thus comes to a preliminary climax, announced by the effects of light, but further progress forward is blocked until one leaves the light and heads downward through the body of the temple along either of the narrow, sloping, barrel-vaulted ramps which flank the central door. At the end of their dark tunnel another spot of light beckons, and the viewer finally emerges into the blazing light of the cella court. Here the walls, plastically conceived, are much higher than the columns outside because one has descended so far, and they rise upward toward the sky to define a vast expansion of space. At the same time, their Corinthian pilasters are placed above a dado and are thus kept the same height as the exterior columns, so that the observer has a firm series of reference points with which to link interior and exterior together. Originally, the exterior grove of columns was again

recalled and transformed by the grove of trees which, Strabo tells us, was planted in the court around the shrine. A further drama of scale changeis still created, however, by the small prostyle shrine which stands near the far end of the court and emphasizes, by contrast, the height of the walls that surround it...

“Thus Didyma, like the much earlier work at Bassae, is remarkably complete. The whole fabric of the temple is calculated to set up a baroque drama of basic sensations in the mind of the observer. The emotions so aroused must have made the complex nature of Apollo almost fully comprehensible: shelter and coolness in his grove, the taste of death in the dark restriction of his caves, release from the darkness once again into the trapped sunlight of the court with its whispering leaves.” 12

Plan, Temple of Apollo, Didyma13

As a cinematic device, architecture can open experience beyond one significant procession or path. Reflection within architecture can invoke a matrix of potential readings relative to one’s position in space.By necessitating choice or challenging a perception of architecture as a singular entity, the elements of architecture become more active in one’s inhabitation.

In the sequence of images at left, one’s perception of the room shifts with respect to one’s position. The shifting of these readings within the sequence makes the architecture strange: it dictates, yet seems to react. The multiply framed nature of the space heightens one’s awareness of architecture and creates cinematic grounds within architectural space.

virtual (adj.)1. being such in power, force, or effect, though not actually or expressly such

2. being on or simulated on a computer or computer network occurring or existing primarily online of, relating to, or existing within a virtual reality

Late 14c., “influencing by physical virtues or capabilities, effective with respect to inherent natural qualities,” from Medieval Latin virtualis, from Latin virtus “excellence, potency, efficacy.” The meaning “being something in essence or effect, though not actually or in fact” is from mid-15c., probably via sense of “capable of producing a certain effect” (early 15c.).

cinematic (adj.)1. of, relating to, suggestive of, or suitable for motion pictures or the filming of motion pictures

2. filmed and presented as a motion picture

From French cinématique, from cinéma, shortened from cinématographe “motion picture projector and camera,” coined 1890s by Lumiere brothers, who invented it, from Latinized form of Greek kinemat-, comb. form of kinema “movement,” from kinein “to move” + graphein “to write”

S I T U A T I O N C I N E M A

The antecedents of film were rooted in the study of movement, rather than entertainment; Eadweard Muybridge and Etienne-Jules Marey were foundational in pre-film movement studies. However, as film developed its own formal language and took on narrative and locational responsibilities, its value as a tool for architecture became more evident.

In Montage and Architecture, Sergei Eisenstein employs the Acropolis in Athens as an example of an architectural ensemble in which path, sequence, and visual sense enable an experience equivalent to cinematographic montage.1⁴ Le Corbusier’s promenade architecturale and Gordon Cullen’s ‘servial vision’ assert similar ideas: that “it is while walking, moving from one place to another, that one sees how the arrangements of the architecture develop.” 1⁵

Man Ascending Stair, Eadweard Muybridge, 18851⁶

Chronophotographe, Etienne-Jules Marey, 18861⁷

Montage and Architecture, Sergei Eisenstein, 1938, based on research by Auguste Choisy1⁸

Film is inherently linear. Whether reels of 35mm film or a digital shot, film is captured as a sequence of frames in a predetermined sequence. However, the narrative structure and composition of each shot generate non-linear paths within the film’s virtual space that create a tension with the physical form.

Considering a truer definition of ‘virtual’, we can assert that architecture communicates similarly in the dissonance between what it is and how it may be inhabited. Reflection within architecture invokes a matrix of potential readings relative to one’s position in space. Superimposed snapshots inscribed in and suggested by architecture can create a multiplicity of readings that imply future time as a phenomenal movement between potential frames.1⁹

In the sequence of stills at right, from Michelangelo Antonioni’s The Passenger, the panning shot reveals the wall as a dynamic and multiply framed entity. Within the space of the the film, the wall performs in a variety of ways relative to the position of the camera. Applied to the relationship between inhabitant and architecture, we can begin to understand how elements of architecture perform in a more complex and dynamic way than superficially perceived.

The Passsenger - Micheangelo Antonioni (1975) 2⁰

While architecture and film share similarities, it is important to note their differences. In asserting their alike attributes and disregarding their immediate differences we risk metaphor or parody. In terms of the perception of both architecture and film, the physical form is a static entity, but is inhabited dynamically. Film’s dynamics, however, are a study in kinematics—motion apart from considerations of mass and force—whereas architecture’s dynamics are kinetic, dealing with the effects of forces upon material bodies. Architecture, therefore, is an actor-network system that is participated within and film, by nature of its detachment from the perceiver, is an actor-network system that is participated without.

While our experience of physical space informs the way we inhabit the virtual space of film, I believe that the way we inhabit virtual space increasingly maps onto the way we inhabit reality.

The images at right illustrate how one's relationship to an architectural element in space alters one's reading of the divisions of that space into rooms. These implied readings suggest the possibility of a dynamically inhabited space.

Study, Spatial Readings Relative to Position

C I N E M A

In order to study questions of movement and anticipation independent of location, a cinema was designed. The cinema is a reaction to the blurring of reality and filmscape and the intent of the design is to create the sense of entering a new world. As a formal and material construct, the cinema employs sectional relationships between an above ground plinth and a subterranean filmspace. The plinth is a right triangle that establishes a false horizon, while the cinema below transforms into an isoceles space in which the point of the false horizon above is the projection point below. This inversion of end and start, and the material changes that accompany the inversion, highlight the experiential shift that delineates the two spaces.

Z O E T R O P E

A zoetrope is a cinematic device that creates the illusion of motion through the rapid succession of a sequence of drawings or images. The zoetrope is, physically, a rotating cylindrical construction with a series of slits that the user looks through in order to observe the illusion.

A zoetrope was designed and built in order to quickly study the design of perceptive sequences as a facsimile of human experience.

L O S A N G E L E S

Los Angeles is the city where, to the greatest extent, the relationship between reality and representation becomes muddled.21 A significant factor in this blurring of place, and the continued dominance of Los Angeles in film production, is the Thirty Mile Zone (TMZ). The TMZ is a virtual site condition extending in a 30-mile radius from the intersection of West Beverly Blvd. and North La Cienega Blvd. The zone is used to determine rates and work rules for entertainment industry union workers.22 By filming movies and television shows within the zone, studios reduce costs. With clever staging and strategic aerial and location shots, a film can be taped primarily within the zone and framed to represent any other place.

The Studio Zone’s effect on the city of Los Angeles manifests both explicitly and implicitly. Studios, additional film infrastructure, and significant film tourism are the most clear, but other results are more strange. Many buildings that lie within the Zone have acting resumes, noting past film roles and catering to specific typological uses.23

Likewise, the repeated use of specific film locations creates chimeras within the city. Below is a list of top locations for filming in 2012, measured in Permitted Production Days:2⁴

This repeated use opens the city to interpretation. Case studies of architecture-as-multiple can be seen on the following pages.

1. Griffith Park: 4092. Point Dume State Beach: 1633. Dockweiler State Beach: 1594. Linda Vista Community Hospital: 1575. 6th Street Bridge: 1566. Elysian Park: 1367. Venice Beach: 1308. Will Rogers State Beach: 1249. Herald Examiner Building: 11610. LA County and USC Medical Center: 114

S I T U A T I O N S T U D I O Z O N E

A Newe Mappe of the Cinema Heavens, Francis Nicoll, 19322⁶

J. R. Eyerman, 19522⁵

S I T U A T I O N S T U D I O Z O N E

The Bradbury is an office building located in downtown Los Angeles. The building was designed by Sumner Hunt and constructed by George Wyman, a draftsman, in 1893.2⁷ In A Vast Hall Full of Light, architectural historian Esther McCoy states that the building was inspired by Edward Bellamy’s utopian vision of a Socialist architecture in the year 2000.2⁸ The Bradbury Building’s acting resumé includes roles as a military hospital, apartment buildings, and offices for dentists, architects, publishers, private detectives, and the film industry. This multiplicity of depictions is echoed in the building’s use today. It houses the LAPD’s Internal Affairs department, as well as private offices, an art gallery, a fast food restaurant, and retail stores.

B R A D B U R Y B U I L D I N G

Next spread: BRADBURY BUILDING FILM STILLS

Bradbury Building2⁹

The White Cliffs of Dover (1944)M (1951) The Indestructible Man (1956)Blade Runner (1982)

D.O.A. (1950)I, The Jury (1953)Marlowe (1969)Wolf (1994)

Disclosure (1994)Murder in the First (1995)Pay It Forward (2000)Peep World (2010)

Greedy (1994) Lethal Weapon 4 (1998)(500) Days of Summer (2009)The Artist (2011)3⁰

The Ennis House is a residence located in the Los Feliz neighborhood of Los Angeles. The home was designed in 1923 by Frank Lloyd Wright and built the following year. The residence, the largest concrete textile block house built by Wright in Los Angeles, is exemplary of Wright’s Mayan Revival works.31 The Ennis House’s acting resumé includes roles as residence, apartment, laboratory, conference room, and psychiatric clinic among others, and has been presented as ancient, present, and futuristic. The house is currently owned by billionaire Ronald Burkle.32

Next spread: ENNIS HOUSE FILM STILLS

E N N I S H O U S E

Ennis House3

Female (1933)The Terminal Man (1974)Blade Runner (1982)Timestalkers (1987)

The House on Haunted Hill (1959) The Day of the Locust (1975)Howling II (1985)The Karate Kid, Part III (1989)

Black Rain (1989)A Passion to Kill (1994)The Replacement Killers (1998)The Thirteenth Floor (1999)

Grand Canyon (1991) Snide and Prejudice (1997)Rush Hour (1998)The Beatnicks (2001)3⁴

Enclosed are twenty tear-out postcards that, when assembled properly, create a map of a portion of Los Angeles. This portion includes parts of Hollywood, Melrose, Larchmont Village, East Hollywood, Griffith Park, Wilshire Center, Los Feliz, Hancock, and Fairfax, as well as a piece of Beverly Hills. The map notes the locations of ten film scenes, each from a different film shot entirely within the city.3⁵

While the cards function together as a whole, each also independently demonstrates particular urban conditions within Los Angeles that can be assessed and compared.

On the back of each card is information for each of the ten films noted, collected in pairs.Each pair is comprised of one satellite image showing all of the film’s scene locations within a wider part of Los Angeles and another with a still image from the scene noted on the combined map.

A PARTIAL MAP OF LOS ANGELES FILMSCAPES

RIP’S HOUSELess Than Zero (1987)8424 Grand View Drive

A P A R T I A L M A P O F L O S A N G E L E S F I L M S C A P E S

PARAMOUNT STUDIOSSunset Blvd. (1950)5555 Melrose Ave.

RITA’S DESCENT INTO L.A.Mulholland Drive (2001)Mulholland Drive, Runyan Canyon Park, W Franklin Ave, & W Sunset Blvd

PHILIP MARLOWE’S HOUSEThe Long Goodbye (1973)High Tower Drive

FORMOSA CAFEL.A. Confidential (1997)7156 Santa Monica Blvd

HOLLYWOOD STAR LANESThe Big Lebowski (1998)5227 Santa Monica Blvd

HOSPITALKiss Me Deadly (1955)4867 Sunset Blvd

KATHERINE’S HOUSEChinatown (1974)1972 Canyon Drive

GRIFFITH OBSERVATORYRebel Without A Cause (1955)2800 E Observatory Rd

THIRTY MILE ZONE CENTER POINTW Beverley Blvd & N La Cienega Blvd

SUNSET TOWERThe Player (1992)8358 Sunset Blvd

MAP KEY

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R E B E L W I T H O U T A C A U S E(1955, Nicholas Ray)

L E S S T H A N Z E R O(1987, Marek Kanievska)

M U L H O L L A N D D R I V E(2001, David Lynch)

T H E L O N G G O O D B Y E(1973, Robert Altman)

C H I N A T O W N(1974, Roman Polanski)

K I S S M E D E A D L Y(1955, Robert Aldrich)

T H E B I G L E B O W S K I(1998, Joel and Ethan Coen)

L . A . C O N F I D E N T I A L(1997, Curtis Hanson)

T H E P L A Y E R(1992, Robert Altman)

S U N S E T B L V D(1950, Billy Wilder)

Front Back

A1 & A2Less Than Zero

Marek Kanievska1987

A3 & A4 The PlayerRobert Altman

B1 & B2 Mulholland Drive

David Lynch2001

B3 & B4L.A. Confidential

Curtis Hanson1997

C1 & C2 The Long Goodbye

Robert Altman1973

C3 & C4 Sunset Blvd

Billy Wilder1950

D1 & D2 Chinatown

Roman Polanski1974

D3 & D4 The Big Lebowski

Joel and Ethan Coen1998

E1 & E2 Rebel Without a Cause

Nicholas Ray1955

E3 & E4Kiss Me Deadly

Robert Aldrich1955

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“I am really interested in the qualities of one space sensing another. It is like looking at someone looking. Objectivity is gained by being once removed. As you plumb a space with vision, it is possible to ‘see yourself see.’ This seeing, this plumbing, imbues space with consciousness. By how you decide to see it and where you are in relation to it, you create its reality.” 3⁶

- James Turrell, MAPPING SPACES

[ H O U S E I N A C IN E M A T I C P R E S E N T ]

“In dromoscopy the fixity of the presence of objects ceases, seducing the voyeur-voyager. In the rapidity of this displacement, the voyeur-voyager finds himself in a situation which is the opposite of that of the habitué of darkened cinemas: it’s the traveler who is projected. Both actor and spectator in the drama of projection, in the moment of flight the traveler plays the role of his own destination.” 3⁷

- Paul Virilio, DROMOSCOPY, OR THE ECSTASY OF ENORMITIES

S I T E

The house is located in the West Hollywood Hills in Los Angeles at the top of Crescent Heights Blvd. The house sits atop a bluff with a steep decline into further residential development below. The particulars of the geography establish an intense awareness of the horizon, as the middleground collapses and the roads below recede toward a vanishing point.

F L Y O V E R 0 1

F L Y O V E R 0 2

F L Y O V E R 0 3

S I T E P L A N

The House is designed as an experiment: four dimensionally equivalent spaces are intervened in relative to program and structure to activate a Cinematic movement. These spaces—designed as precast concrete sleeves—negotiate the complex slope of the bluff and are disposed in a split level arrangement. The carport serves as a threshold between the city and the four volumes of the House.

R E V E A L I N G S

Topography, extant residential development, and the car’s movement create sequential hidings and revealings that frame moment-images of the residence. The layered landscape composes the experience of the dwelling cinematically, establishing the driver as an agent of movement and foregrounding him in the action of arrival.

Ascent: 560 ft.Distance: 4220 ft.

Time: 00:03:00

A R R I V A L

F I N A L _ A S C E N T

C A R P O R T

The kinematics of arrival stage the carport’s drama. The rising ascent to the house, coupled with a rotational mode of entry into the carport, creates and then opens a framed view of the horizon, detailed on the following pages.

Arrival to the House is a threshold between the linear movement of the car and the multiple movements implied by the architecture. Leaving the car the inhabitant enters through the carport’s visual frame to descend to the House, establishing a point of inflection.

P R O G R A M

ESTCODE

With respect to program, each space functions as an autonomous entity. However, cinematic ambitions require the spaces to communicate: hiding, revealing, and reorienting each other based on one’s position in the House.

On the following pages are the initial studies of each space.

L E V E L 1Elevation: -10’-0”Program: Entry Living

L E V E L 2

L E V E L 3

L E V E L 4

Elevation: -15’-0”Program: Sleeping Bathing Cooking Eating

Elevation: -20’-0”Program: Entertaining

Elevation: -25’-0”Program: Entertainment Cinema Archive

P R O G R A M

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L E V E L 1

ESTCODE

L E V E L 2

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L E V E L 3

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A P P E N D I X

L E C T U R E P O S T E R S

MARKUS BREITSCHMID

2:00 THURSDAY, SEPTEMBER 19 — HANCOCK

With Ashton Hamm, James Heard, Chelsea Kilburn, and Matthew Ridgeway

Architecture is Derived from ArchitectureA lecture by Markus BreitschmidSeptember 19, 2013photograph on bristol paper

The Thin Green LineA lecture by Elizabeth GrantSeptember 26, 2013tape installation and tape on bristol paper

Architecture in the MakingA lecture by Keith and Marie ZawistowskiOctober 03, 2013photograph on bristol paper

Influential ExperiencesA lecture by Jim JonesOctober 10, 2013photographs inside of constructed matteboard boxes

The Majesty and Mystery of Machu PicchuA lecture by Humberto Rodriguez-CamilloniOctober 24, 2013photographs on folded bristol paper

Architectural Structures, Research, and TeachingA lecture by Mehdi SetarehOctober 31, 2013photograph on bristol paper

M E H D I _ S E T A R E H2:00 THURSDAY, OCTOBER 31 — HANCOCK

Design Beyond ArchitectureA lecture by Carl D’SilvaOctober 04, 2013image on bristol paper

Design Beyond Architecture (alternate)

Concrete Array II/ Lecture PosterBlacksburg, VA10/2013Installation with James Heard and Chelsea Kilburn

F I E L D S + A R R A YWith Ashton Hamm, James Heard, Chelsea Kilburn, and Matthew Ridgeway

P O S T C A R D I N S T A L L A T I O NWith Cutter Dunn, Kelsey Oesmann, and Matthew Wadsworth

C I T A T I O N S

1 Bruno, Giuliana. Atlas of Emotion: Journeys in Art, Architecture, and Film. London: Verso, 2002.

2 Lewis, Hilary. "'Breaking Bad' House Owner on Involvement With Show, Meeting Fans." The Hollywood Reporter. 9 Aug. 2013. <http://www.hollywoodreporter.com/live-feed/breaking-bad-house-owner-involvement-603453>.

3 Bernard, Tiffany. "Postcard From the Screening Lab Tour." AMC Blogs. 17 Mar. 2010. <http://blogs.amctv.com/breaking-bad/2010/03/breaking-bad-tour-abq-la/>.

⁴ "Electracy." Heuretics: Inventing Electracy. <http://heuretics.wordpress.com/electracy/>.

⁵ Lewis.

⁶ Paramount Studio Location Map. 13 Apr. 2009. <http://www.ethanham.com/blog/2009/04/california-ist-alles.html>.

⁷ Baudrillard, Jean. America. London: Verso, 1989.

⁸ Weaver, John D. "Laboratory of Marvels." California History: Los Angeles, 1781 - 1981 Vol. LX (1981): 75. California Historical Society. <https://archive.org/stream/californiahistor60cali/californiahistor60cali_djvu.txt>.

⁹ Bruno, Giuliana. Atlas of Emotion: Journeys in Art, Architecture, and Film. London: Verso, 2002.

1⁰ Turrell, James. Mapping Spaces: A Topological Survey of the Work by James Turrell. New York: Peter Blum Edition, 1987.

11 Holzherr, Florian. "East Portal." <http://jamesturrell.com/roden-crater/roden-crater/map-chambers/east-portal/>.

12 Scully, Vincent. The Earth, the Temple, and the Gods: Greek Sacred Architecture. New Haven: Yale UP, 1962.

13 Lazevnick, Brianne. 28 Apr. 2013. Davidson University. Object Report: Temple of Apollo, Didyma. <http://sites.davidson.edu/csa/object-report-temple-of-apollo-didyma/>.

1⁴ Eisenstein, Sergei. "Montage and Architecture." Assemblage 10 (Dec. 1989). MIT Press. <http://www.jstor.org/stable/3171145>. 116.

1⁵ Boesiger, Willy, Pierre Jeanneret, and Le Corbusier. Oeuvre Complete. Zurich: Girsberger, 1952.

1⁶ Muybridge, Eadweard. Man Ascending Stairs. 1884-1885.

1⁷ Marey, Étienne-Jules. Chronophotograph. 1886.

1⁸ Eisenstein, 119.

1⁹ Lynn, Greg. Animate Form. New York: Princeton Architectural, 1999.

2⁰ The Passenger. Dir. Michelangelo Antonioni. Metro-Goldwyn-Mayer, 1975. DVD.

21 Los Angeles Plays Itself. Dir. Thom Andersen. Thom Andersen Productions, 2003. DVD.

22 “30-Mile Studio Zone.” California Film Commission, 2007. <http://www.film.ca.gov/30milezone.htm>.

23 Los Angeles Plays Itself.

2⁴ “On-Location Filming, 1993-2013.” FilmL.A. Inc., <http://www.filmla.com/data_reports.php>.

2⁵ Eyerman, J.R. Watching Bwana Devil in 3D at the Paramount Theater. 26 Nov. 1952. Time & Life Pictures/Getty Images.

2⁶ Nicoll, Francis. A Newe Mappe of the Cinema Heavens. 1932.

2⁷ "Bradbury Building." Los Angeles Conservancy. <https://www.laconservancy.org/locations/bradbury-building>.

2⁸ McCoy, Esther. A Vast Hall Full of Light: The Bradbury Building, 1893. Sands Pub., 1966.

2⁹ Reardon, Mike. Bradbury Building. 6 Feb. 2012. <http://fallbrookshutters.blogspot.com/2012/02/bradbury-building.html>.

31 "Ennis House." Los Angeles Conservancy, n.d. Web. 11 Aug. 2014. <https://www.laconservancy.org/locations/ennis-house>.

32 Nakano, Craig. "Frank Lloyd Wright's Ennis House Sells to Ron Burkle for $4.5 Million." L.A. at Home: Design, Architecture, Gardens, Southern California Living. Los Angeles Times, 16 July 2011. <http://latimesblogs.latimes.com/home_blog/2011/07/ennis-house-sold.html>.

33 Treister, Kenneth. Maya Architecture: Temples in the Sky. UP of Florida, 2013.

3⁶ Turrell.

3⁷ Virilio, Paul. "Dromoscopy, or The Ecstasy of Enormities." Trans. Edward R. O'Neil. Wide Angle 20.3 (1998): 13.

A C K N O W L E D G E M E N T S

I'd like to first thank my thesis advisor, Jim Bassett, for all of his sage advice and insights that have helped me throughout the year.

To my thesis group and close friends for their words and for all of the fun and laughs we had during the year.

Thank you to all of the other faculty members who contributed their advice and criticism to the thesis project, including Hilary Bryon (my secondary advisor), Heiner Schnoedt, Donna Dunay, Gene Egger, and many others.

Most importantly, thank you to my family for all of their support and to Kathleen for helping me be my best and for always being there.

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