Can Film as a Medium Support the Development of Architecture - Literature review Example

Can film as a medium support the development of ideas and techniques of representation of architecture? Introduction The 20th century has experienced a shift from an attitude towards consideration of time and space. There before space was characterised by physical boundaries while time was continuous, both of which were defined by the stability of the structure. They were also characterised by closed systems consisting of universals free of an individual’s familiarity. The newly-found experience of space and time stood for multiplicity, fragmentation, or rather an open system free from universal continuity recognising the independence of the individual’s perceptions. The important experience was first demonstrated by the works of art forms of the early twenties, which included the simultaneity that is present in Futurism, music of Stravinsky, Cubism, as well as the thriving film industry, which is covered in this paper. The proposal that time and space are intimately and inherently enjoined means that the likelihood of enjoining those forms of art is conventionally understood as either spatial of the temporal. While the features of a sound are straightforwardly affected by the space in which it is contained, the recognition of an image can only be understood as time passes by (Awan, Schneider and Till, 2011). The image which is mobile is the means through which space and time are inherently combined by means of motion, image, and sound. The moving image is capable of stimulating expectations, memories and presenting simultaneous occurrences in the presence of nonlinear division of space and time. As the new knowledge of space and time becomes strongly present in the present, the past, present and future can all be featured in any order. The emergence of digital technology which has been characterised by the information revolution connects the idea of space and time with disorientation and a speed of geographical distance, which is a complex domain. Nonetheless, this brings in the issue of the ability to design new multidisciplinary architecture that presents light, data, sensor technology, motion, sound, location and structure into altogether a new settings, which rather defines what is referred to as the ‘moving architecture’. Clearly, the tools that were used in 2000 are different from those that were used in 1900, although the progress towards a formally fluidity which was not known can be acknowledged when strongly entrenched in the early advances. This paper tries to present the development of the ideas of time and space in the arena of films and architecture, which will include analysis of literature from different authors (Jones, 2009). The New "Space-Time" Following the 1905’s Einsteins Special Theory of Relativity, it was discovered that time and space are connected in a very important manner, which is dependent on the perception of the individual observer. This theory introduced the idea of conceptual likelihood of numerous individual incidences of space and time and combined the two elements strongly together with the idea of motion. The new ‘space-time’ concept was interestingly invented by Giedion (1941), who described it in respect to architecture and the arts of the early 20th century – this concept is differentiated by the same concepts with Einstein’s theory regardless of whether is it deliberately related to this theory. The two perspectives can be described through the likelihood of overlapping and irregular space-time as well as the appeal with movement. Futurists were mainly concerned with the understanding from the perspective of movement which is structured by the force fields. As Carra (1993) put it "to present the motion of any given moment, the currents and the centers of the forces which constitute the individuality and synthesis of the movement itself" (p. 304). Elsewhere, Giedeon (1941) argued that "the common background of space-time has been explored by the cubists through spatial representation and by the futurists through research into movement" (p. 125). However, the influence architecture is more from cubism rather than futurism, who develops the idea of slab and plane. The fragmentation of the picture plane progressed into, amongst others, the architecture of the Bauhaus and Le Corbusier. From this perspective, his argument is that modern architects invented a new idea of space that was concerned with interaction between outer and inner space rather than interior volumes. Giedeon (1941) explained one of the best illustrations of a construction in space-time, as presented by Le Corbusier’s villa Savoie (1928-1930). In this illustration, a cross section at any point reveals the outer and inner space piercing each other inextricably. In this new concept of interspersing spaces, time is very important. However, Giedion (1941) presents a very radical perspective since he does not consider movement and time albeit laying his groundwork with a futurism discussion. The invention of cinema, train and telephone at the beginning of the 20th century contributed to a fundamental acknowledgement and consciousness of a different perspective of time-space. Aumont (1989) explored the degree to which the discovery of train introduced a new mass experience of viewing. In this experience, the seated passenger watches the scenery surpass at a speed, enclosed by windows, and gains the knowledge of viewing in a nearly cinematic manner. The Futurists have gotten a lot of insights from this experience, which led into having fun with the speed and capturing the movement of objects the same as the train in a steady painting or sculpture. Nonetheless, the futurists argue from the perspective of creators while Aumont (1989) explains the influence from the viewer’s point of view. Therefore, the observation from the train can be explained in the context of a movable eye in a steady body, but at the same time having the powers of omnivoyance as well as omnipresence, which is typical of a cinematic spectator. The mobile pictures that were demonstrated in the early 20th century revealed the possibility of putting different spaces, time and locations, side by side; that is, in a smooth-running series where the viewer experiences a mobile space. This is so because the eye relates to the camera and hence influenced by the editing, which is captured into the mobility experienced on the screen. In his essay, Panofsky (1995) explained about the movies of 1900 to 19030, where he revealed the capability of making space movable. He demonstrated that “The spectator occupies a fixed seat, but... aesthetically, he is in permanent motion....Not only bodies move in space, but space itself does, approaching, receding, turning, dissolving and recrystallising..." (Panofsky, 1995, p. 125). In this respect, the moving pictures can be perceived as a sequential extension of a combination of futurism and cubism ideas. However, the space, in this case, is comprised of, fragmented and recomposed in such a manner that expresses movement. Potentially, the most prominent example of space-time is the combination of cinema, visual imagery and music. A new medium is created by a combination of visual-space and audio-time. The improvised silent music and movies was played live together with the film for the purpose of commenting or supporting the action. The discovery of the talkies in the 1920’s became a fundamentals transmitter of certain content. At the same time, to describe the spaces and feelings of the images, atmospheric sounds, car horns, engines, and footsteps could be added. The law of space-bound and time and time-charged space explained the progressively more cherished relationship between time, image and space, which is experienced in moving pictures. Nonetheless, since the pace and form are usually dependent on narrative structures and image instead of musical sense, then the medium of moving image generally calls for a new dimension to musical composition. A case in point is the 1940’s music by Carl stalling and Warner Brothers cartoons whereby music swiftly shifts style with enormous talent following the characters’ events. The outcome is a kaleidoscopic thread of different musical styles, apparently suggestive of Stravinsky. When played devoid of images, unlike Stravinsky, the sense of music is not present. Seemingly, the role of music in cinema has changed. In fact it is listened though the attention is subconsciously focused on the story and the image. However, the music is necessary in creating the acts and illusion as the fundamental structure of the piece devoid of which the entire tactical application of moving image rhetoric would be of no use. Just like the Giedion treated space-time in architecture by paying attention to space; in general, the moving pictures primarily favour story and image. This brings to play the possibility of existence of a balanced audio-visual approach, which could bring to capabilities found in the moving image medium. Nightmare of participation Miessen (2011) proposed a post-conceptual practice which is not reliant on imprecise operating within consensus-driven and politically intricate, but rather focus on questioning the purpose of participation. The idea of participation is evolving within politics, within spatial practices, within the left and particularly within architecture since it is clearly defined as well as tangible. Typically, participation has been interpreted through romantic ideas of inclusion, negotiation and egalitarian decision-making. However, it is particularly this unquestioned method of inclusion, which is applied by politicians in their right endless retail politics, which is devoid of retail politics. However, Miessen (2011) promoted a conflictual model of participation, which usually contradicts the herd frame of mind in respect to consensus, and which occasionally assumes singular, first-person, and non-physical violence decision-making in a bid to make changes. In this discussion, Miessen (2011) was trying to bring in a new practice lingo by portraying architectural thinking as an approach. Film and Architecture: Filmic Space, Identification and Education Sometimes, when watching the movie, it appears like one is in another place or time, especially if the movie is very interesting. Even though a movie spectators may be sitting in a dark and quit movie theater, the spectators may feel as if the movie has taken them to the place it is ought to take them, especially when witnessing the hero’s victories as well as misfortunes. Apparently, recalling the space of a film is different from experiencing a space in the real life. Deleuze (1984) reveals the disparity between the attitude involved in interacting and moving with the world, which is manifest in a tangible space, and the steady and voyeuristic participant’s feelings when watching a film. When watching films, audiences decipher the meaning of space through the narrator’s standpoint or the key characters featured in the movie, which is different from what takes place in a real life experience. Essentially, narrative is used to create space in films. The attention of the audiences draws upon by the dynamic and intimate process of identification. Metz of double (2001) as well as Aumont (1989) explained what they referred to as double identification. Primary film identification is concerned with the audience observing the camera with their own gaze. The audience familiarises with the film as being the central focus of the representation, elected in an honored location, in the midst of the omnipresent vision. The audience’s tendency to participate in the narration id the origin of the secondary film identification. Aumont (1989) identified a primordial and psychological craving in the audience to partake in the story. Also, Bordwell and Thompson (1979) discusses the way the audience partakes in the commentary by dynamically building premise about the probable results during the presentation of the film. Identification in the course of the movie is not monumental, permanent or stable. In contrast, when the audience is watching the film, they can identify with the stare of different situations or characters, as presented from one scene to the other. This means that manipulation of gaze or stare in a film is important as it helps stimulate the audience to identify with the film. Although the film narrative does not require us to make any effort, realisation of the distinctiveness of a film’s representational code from real life perceptions, is possible during the planning of the film scene. Nontrivial codes of manipulation of the image series supports the audience identification and the playing with gazes. Aumont (1989) specifies three important aspects that intercede decisively in the course of identification with the film; including: (1) the variation of the scale of the plane, (2) the manipulation of numerous perceptions, (3) playing with the audience’s gazes. Having manifold perspectives regarding the same circumstances bears in mind the manipulation of the image series, creating a ladder of subjective relationships between different characters. The audiences are used to reverse shot whereby watching a shot through a character’s close up leads them to anticipate a shot of what they are watching. Following an event’s shot, the audiences can anticipate a shot revealing a character’s reaction as shown in their faces. However, in the scene, not all characters hold the same level of importance (Aroztegui, 2010). Filming Techniques: Effect on Creating Architectural Spaces and Urban Settings When analysing a movie critically, consideration of the filming techniques is very essential. Since its invention in the 1800s, the art of film making has undergone significant changes, technology wise. Apparently, this has had a massive impact on the skills of filmmakers that helps them siginifify urban and architectural environments. In order to analyse any film, definition of the constraints of technology with respect to its production year must be done. The competence of the director in applying the technology in question is also very crucial (Boake, 2011) A sequence of immobile images was used in the “zoopraxiscope” of 1867, which were watched via a slit that simulated a moving picture. This method is still applied in the animation of a series called “stop-motion. Louis Lumiere discovered Cinematographe, which was the first camera capable of taking transportable motion pictures in 1895. By then, these cameras were bulky, not portable and their focal depth was fixed. The effect of opening or closing slit by the use of masks laid over the fixed camera was observed in the “Cabinet of Dr. Caligari” (1920). It was not until 1910 was sound physically connected to 35 mm and talking was integrated in 1927 following the emergence of “The Jazz Singer” Earlier, early films applied a combination of subtitles, musical effects and music to convey the dialogue and the mood of the film. The ability to maneuver music, nature and speech was essential to the ability to stimulate the appropriate emotional reaction to a space. The complete silence of space in “2001: A Space Odyssey” (1968) brings about dismay as Frank gists off, and it is intensely distinguished from the portrayal of the revolution of the space station in respect to Strauss “The Blue Danube”. The metropolis (1927) model of the City film was dependent on a fixed camera position, fixed depth of field, fixed lens and the physical construction of mini models and sets to portray imagery places. Elsewhere, “Metropolis” (1927) was one of the highly detailed and more large-scale sets of those times. This model was more than six feet high and applied stop motion animation to make the city look lively. The first introduction of movement of the camera in the film started by the rotation of the camera to pan a shot. It was not until 1932 was the zoom lens invented, although a practical model had to wait until 1953. Kubrick (1968) “2001: A Space Odyssey” saw the creation of one of the pioneering “moving sets”. The space ship camera was made of a 45-foot diameter “wheel”, which was seemed to follow Dave as he went for a run round the perimeter of the station and was set in a track. Although it appeared this way, Dave in reality only went for a run on the spot while the set was subjected to movements. In 1970s, Garrett brown invented the steadi-cam, which involved the manufacture of a balancing system as we as an upright pole to diminish the trembling of the cameraperson as they budged along at the back of the action. A more realistic occurrence of the film’s spaces was possible following the introduction of a camera that was capable of following the action. This changed the spectator from a detached observer to a participant. According to Neumann (1999), Stanly Kubrick used a steady-am in the “The Shinning” film of the 1980 to pursue Danny around the hotel in his tricycle. These scenes also presented an opportunity for the children to interpret the muddle of passages in the hotel, which was capable of changing the arousing center of the architectural interpretation through association of with the stature of the watch. Distant Futures: The Architecture of Space The architectural structure and form can be determined by gravity. Throughout the history of architectural form and structure, there is very little that has been developed, which cannot be credited to increased refined reactions to the actions of gravity on materials and structure. The development of structural forms including round arch, simple beam, systems of vaulting, Gothic arch and more intricate structures and combined with certain materials limitations and properties, have seen the need to monitor the gravitational pull (Boake, 2007). Ideally, real architecture must operate in a real world, directed by the laws of science. The way space is occupied is determined by the gravity, therefore, the way space is designed must also follow the principles of gravity. Incidentally, the floor is the place that people walk, the ceilings and walls surround them, but they are not subjected to coming into contact with those surfaces unless they decide to do so. Material placements, which responds to issues of durability and wear have been developed - but again which are subject to the gravitational pull. The designers of architectural systems and structures have been driven by scientific concerns - this came to live following conception of the notion of shelter. During 1700s, speculations as to the roots of the traditions of architecture, including the Laugier’s ‘Rustic Hut’ hold up this theory regarding the development of architectural typologies and forms. In the midst of the practice and profession of architecture, varoue Nues that challenges science and gravity have been developed. The 1700s visionary Archtechs including Etienne Louis Boullee embraced a painterly, two dimensional solution to the suggestion of inbuilt architecture (Beckmann, 1998). If the reinforced thin shell concrete had been invented 100 years earlier, Boulle’s Cenotaph for Newton or Biblioteque Nationale could have been assumed constructable instead of seeking future opportunities. Both Dulles Terminals and Saarimen’s TWA demonstrate the opportunity. Notwithstanding the boundless capabilities in the making of films following the invention of computer aided drawing and design software, the propensity in the staging of zero gravity film settings has by and large maintained a gravity driven, conventional, architectural solution. In space architecture, the future tends to be signified by sliding doors, which are not rectangular in distance from the ground. From “Aelita” (1924) to the “Star Wars” (2005), the film as has been very instrumental in maintaining an architectural response to the event of living and building in living space, which is more or less borrowed from traditions in buildings. One fundamental difference is presented in the sets for “Outland” (1981) where the absence of a fractional force of Jupitor’s moon is recognised in the manufacture of a prison cell, which is astonished by letting the criminal float in an environment devoid of gravity. However, the rationale for this action remains mystifying. From the happenings of hepatic routes, cinema has its spatial origins in the new “fashions” of spatiality that saw the emergence of early modernity, which in repose defined the same development of the modern movement. In regards to a movement that was called “Things to come”, which was happening in cultural travelling, the train that went across a topography that spread from affective mapping to topographical view painting to scenery design and lastly to panoramic films and vision site-seeing. As it was dislocated and located, the route of urban mapping guided the transformation of the vision. The site-seeing afforded ne pleasure was a ‘matter’ of space and hence not the impact of a disembodied eye. The eye that was designed in the process of designing through the process of fashioning led to the new visions of travelling. As space was consumed and absorbed in the action by an audience, a new architectonics were released in the movement – sites were positioned on motion perspective, escalating both inwards and outwards. The newly found responsiveness engaged the imagination and physicality of the observer longed for this mobilized space. During the 18th century, the manufacture of travel discourse started to increase and was taking different forms including visual and literary as well as spatial relationships. Garden views, view paintings and journey literature combined an imaginary sensualised theory, which had physical elements - a haptic perception was being produced (Deborg, 1992). The widening of visuality launched at this time fundamentally went into the same level with a desire and effectively located impacts in space and communicated desire as a spatial performance. There was a heightening craving to acquire sites on the form of “-scapes.” This development of special horizons characterised by scanning cityscapes, moving through and with landscapes fashioned an extended internal landscape. This combined attraction for perceptions was impossible for influencing of the cultural movement which proleptically originated the cinema. The new methods for spatiovisual emotion, which articulated the desire for the mobile image. Cinematic motion originates from the allure for views and physical appetite for space that evolved the subject from vista to vista in an absolute hunt for environmental and urban satisfaction to open mental maps (Hensel, Menges, and Hight, 2009). Spatial inquisitiveness and the performance site-seeing, fused in 18th century culture, paved a route that included topographical views and maps and the architectonics of gardens. This exposed more people to travel, the increase of a leisure industry, and the spread of travel narratives. This included the impressive travel, with its cruise to Italy, together with the pleasure of gazing into the cabinets of inquisitiveness and browsing through the masterpiece of natural contexts or their representations. Crossing through the trail of modernity; that is, from the mobile views of the train tour of city street walking, from travel sketches to roaming viewing boxes, from view painting to backyard views, from grand expeditions to panoramas and other physical “- oramas” two forms of interior/exterior mapping - the theme was “integrated” into action pictures. It is this haptic, moving space that shaped the (e) motion picture and its viewer—a collective body of “travelers.” (Deborg, 1992). Film Genealogy and the Emergence of Site-Seeing Certainly, cinema originated from a mobile “architecture” of vision - the geovisual and interactive geovisual way of life of modernity. The museographic manifestations and practices of inquisitiveness of early modernity led to the very architecture of interior design, which turned into a cinema. This compound lineage was exemplified by assorted georhythms of site-seeing. It was a stunning art of image anthology that set off recollection. The viewing spaces that turn into films architecture included cabinets of curiosity, surveys and maps fluid and programmed stunning motions, wax and anatomical museums, vitrine and window display, cosmorama rooms, panoramic and dioramic stages, view painting, performative tableau vivants, georamic exhibition, and other methods of urban viewing. It is around these intimate sites of public viewing where film exhibition developed; that is, in the context of history of a mobilized archetonics of scenic space in an artistic of serial, fractured and shifting perceptions (Eisenstein, 1989). Fragments were serialised, crystallised and automated in the cabinet of inquisitiveness, the antecedent of the museum – whereby objects that acted as cultural reminders offered themselves to spectatorial reflection. In this case views turned into vedutismo, a definite art of screening, becoming an arcade of vedute. This amalgamation in observing space henceforth became the interior georamic architecture which stood for a form of art “installation” avant la letter. Panorama paintings almost became “light installations.” Cinema originates from this journey of the room, which represents a fluid, waxed geography of exhibition that came into existence in the 19th century. An imaginative trajectory, which transpired into cinema, required physical surroundings and liminal traversal of the sets of preview. In this historical journey, the establishment of public whereby the art was hosted in a salon led to the crossing over of art into film exhibition. Cinema, which is an intimate topography that came into being following introduction of such a public, is architecturally based on this idea. The house of movie parts the mobilisation of public space with its architectonics of architectural promenade and preview, entrenched in the binding of picture for spectatorial life, achieved through experiment (Deborg, 1992). Site-seeing: Filmic and Urban Promenades Eisenstein’s essay on “Montage and Architecture.” Is very important when explaining the epic of the imagination that connects cinematic to urban space. In this essay, Eisenstein proposed a genealogical relation between the film and the architectural ensemble. He developed a mobile spectator for while taking the reader, for a walk and a path. The word path is very meaningful in this case. It is taken to mean the imaginary path taken by the eye and the mind across an array of occurrence, in very different times and space, collected in a particular series. These indications, which are diverse, pass in front of a steady spectator. However, in the past, the contrary was the case; whereby the spectator walked between a sequence of cautiously disposed scenario that they experienced in the series with their own visual common sense. The film spectator walks past an imaginary path, navigating several times and sites. Their fictional journey links distant instants and places that are set far apart. The likelihood of such a spectatorial journey is inherited by a film from the architectural field. In this case, an architectural collection is a tableau from the perspective of walking spectator (Eisenstein, 1989). Also, Cinematographic tableau is a way of enjoining the screen at one point and different fragments of scenarios filmed in different lengths, from different perspectives and sides. The modern version of the architectural journey is the films path , which has its own tableau of cultural space. The film embraces a historical path, whereby a miseographic manner of gathering different fragments of cultural scenarios from different Geo-historical scenes that are subjected to spectatorial recollection is space. In this case, film originates from historical background as well as formally from a certain architectural promenade; which entails geovisual exploration of the display architectures. The sample of the film spectator is the consumer of this architectural observing space (Deborg, 1992). The Architectural Paths of the Art of Memory As discussed, Eisentein’s ‘imaginistic’ dream about the films-architectural walkway embraces a mnemonic pathway, which has the mark of the memory art. In addition, in a spatial fashion, this dream has its particular way of connecting recollection and collection. If we can remember, the art of memory was concerned with mapping of space, which was a conventional issue. In the first century A.D., Quintilian created his characteristic perception of the manner in which memory operates architecturally. If one was to form a memory, it is usual to think about a building and inhabit each room and fraction of the space with an image. Thereafter, one would want to remember the memory; that is, one would mentally walk through the building, walking to all the corners of the space, making sure to revisit, one after he other, all the rooms that are marked with imaging (Ihde, 2009). Mobilised in this manner, memories entails moving pictures. According to Quintilian, memory originates from a mobile, narrative, architectural occurrence of site. The art of memory forms an inner writing of an architecture whereby places are continuously rearranged. The art of memory has a unique celluloid touch of a filmic ‘set’, which is concerned with a steady redrawing, a location where many narratives occur and represent the memory. Before motion pictures re mobilised and specialised, they are replaced with memory (Hillier, 1996). Finally, the art of memory makes room for a tableau of images. Through an architectural promenade, the process of image recollection is enabled, which generates recollection. To walk through the entries of the annals of memory, charging of the memory must take place, which emotionally evokes images which are capable of moving people as they undertake the movement of the living humankind. Film, on itself as an art of memory, depicts these mobile memory maps. The Spector-passenger, in its memory theater, sent on an architectural epic, which continually gets back over the itineraries of geographical discussion, which relates reading memories top places, hence placing memory in motion and in place. Films site-seeing, as this architectural art of memory, just like the museum’s own account, exemplifies a certain mobile art of mapping or rather an emotional mapping (Eisenstein, 1989). Conclusion Since the film is one of the most persistent and easily reached form of media of the 10st century, it is becoming more and more significant especially when proactively integrated into the architectural curriculum. Apart the ordinary use of additional information on courses based on lectures, studies of film can be used to enhance the critical discussion and knowledge in regards to urban and architectural settings of the past, future, and the present. Films equips educators with a dynamic and animated chance to integrate issues of culture that originate from moral concerns in the midst of the future of our environment. This also concerns anticipation in respect to the impact that architecture may have on its urban form or the impact that the urban form may have on the architecture. With current CGI know-how, most of the spatial depictions that are symbolised in gaming and film settings are by far and large audacious and possibly better-off than much of what financial plan has allowed to be built in the reality. The motivation and ideas following this futurist account of Urbanism and architecture is very important and hence worth studying (Boake, 2007). Earlier, early films applied a combination of subtitles, musical effects and music to convey the dialogue and the mood of the film. The ability to maneuver music, nature and speech was essential to the ability to stimulate the appropriate emotional reaction to a space. The newly-found experience of space and time stood for multiplicity, fragmentation, or rather an open system free from universal continuity recognising the independence of the individual’s perceptions. References Aroztegui M, C., 2010. Architectural representation and experiencing space in film. Montevideo: Universidad ORT Uruguay. Aumont, J., 1989. “Film and Its Spectator” in Aesthetics of Film. University of Texas Press: Austin. Awan, A., Schneider, T. and Till, J., 2011. Spatial Agency: Other Ways of Doing Architecture. London: Routledge. Beckmann, J., 1998. The virtual dimension: Architecture, representation and crash culture. NY: Princeton architectural press.  Boake, T. 2007. Acrhitecture and film: experiential realities. Ontario: Univeristy of Waterloo. Book Launch at Winter School Middle East. Kuwait Thursday, January 20, 2011 Markus Bordwell, D. and Thompson, K., 1979. Film Art: An Introduction. Cambridge, Massachusetts. Carrà, C. D. , 1993. From Cézanne to Us, the Futurists. Florence: Lacerba. Deborg, G., 1992. The society and the spectacle of other films. London: Rebel press. 
 Deleuze, G., 1986. Cinema 1: The movement-image. Minneapolis: University of Minnesota. Eisenstein, S., 1989. Montage and Architecture. California.
Goodman, N. 1978. Ways of worldmaking. Indiana: Hackett Publishing co.  Giedion, S., 1941. Space, Time and Architecture – The Growth of A New Tradition. Cambridge: Harvard University Pres. Heidegger, M., 1977. The question concerning technology and other essays. New York: Garland Publishing. 
 Hensel, M., Menges, A. and Hight, C., 2009. Space Reader: Heterogeneous Space in Architecture. Chichester, West Sussex: John Wiley & Sons.  Hillier, B., 1996. Space is the Machine: A configurational theory of architecture. Cambridge: Cambridge University Press.  Ihde, D., 2009. Technoscience and Post-phenomenology. NY: State University of New York Press.  Jones, W., 2009. Unbuilt Masterworks of the 21st Century.: Inspirational Architecture for the Digital Age. London: Thames & Hudson.  Miessen, M., 2011. The Nightmare of Participation Launch at Winter School Middle East. Edison: Wesley. Neumann, D., 1999. Film Architecture: Set Designs from Metropolis to Blade Runner. New York: Prestel. Panofsky, E., 1995. Style and Medium in the Motion Pictures (1947) In: Irving Lavin (ed.): Three Essays on Style. MIT Press: Cambridge MA. Read More