typologization of non-places

Dissertation WIP [= Work In Progress ya'll!]


[...]

The first type of these built undifferentiated entities are generic spaces, which function as a beacon of anonymity in an otherwise fully diversified world. It is spearheaded by petrol stations and characterized by generic spaces which are inserted into populated places. By creating a series of identical and instantly recognizable spaces, the experience of inhabiting one is made to be as similar as possible to inhabiting another. This is achieved by utilizing identical floor plans, equipment, uniforms and serving identical products within a standardized environment of fixed temperature and musical/vocal background. Although generally small in terms of architectural size, they are nothing if not compact.

The second are non-places. They achieve a curious trick, where through creating a unique object for a specific place, they create an fundamentally anonymous environment. Whereas they are there, they might as well be anywhere else. The champion of this phenomenon is the international airport, but examples such as shopping malls, parking garages or large medical institutions could be used in its place. Through its own vastness creates a world in itself, frequently with the spatial qualities of a Moebius strip. Limited, but never ending. Unique, yet self-similar. Bland, because of being too spicy. With the most important element being the “You are here” sign, presented in an appropriate language, along with a sufficiently large arrow pointing at itself. The architectural qualities of such spaces can also be described as Big in Koolhaasian terms, where even if they choose a style or concept, it becomes overwhelmed by it’s own Bigness. There is no definite style for Bigness, and yet they are unmistakable, not least through their bigness.

The third step of this un-place evolutionary scale are conceptual places. Although firmly rooted into a specific place, they are there only in passing. By folding the Cartesian grid from the proto-example around the user, they become inhabitable manifestations of abstract terms such as geometry, body, nation, etc. The pure-bred example is the Expo pavilion - an encapsulated cultural embassy, without the paperwork or border controls. It is essentially a displaced slice of land or an idea given corporeal form, striving to instantly consume the visitor and conjure up an immersive virtual world.

The fourth and final step is the wholly virtual spaces. By achieving material disconnectedness that is only aspired to (intentionally or otherwise) in previous types, it offers a truly endless plateau of digital virtuality. By shaping this endless incorporeal, yet malleable space according to our needs, an inhabitable virtual space is created. The current proliferation of blogs/personal pages can be likened to the past population of the Wild West, bar the natives. Every participant can potentially establish a virtual outpost in a seemingly endless space.

[...]

Drops

New short film released - Drops:





Fashion by Nika Urbas,
photography by Matjaz Tancic,
production by ben.si


PS: mind the HD option (!) 

list

Upcoming dissertation reading list (authors only):

A. Ballantyne (G. Bataille, P.B. Shelley, R.W. Emerson, G. Bachelard, M. Tournier, W. James, J. Dewey, C.S. Peirce, G. Bateson, W. Benjamin, L. Aragon, K. Marx, S. Freud, J. Kristeva, S. Žižek, S. Butler, D. Haraway, H.D. Thoreau, P. Ricoeur, N. Goodman, M. Serres, E.A. Poe, M.O. Wilson, Le Corbusier, G. Deleuze, B. Massumi, P. Healey, I. Buchanan, F. Jameson, H. von Kleist), J. Beckmann (S. Allen, P. Anders, Asymptote, E. Baum, G. Branwyn, B. Cache, C. Davies, M. de Landa, F. Dyson, M. heim, Knowbiotic Research, B. Massumi, W.J. Mitchell, H. Moravec, S. Perrella, F. Röetzer, A. Ruby, V. Sobchack, M. Speaks, C. Springer, L. Spuybroek, Stelarc, S. Stenslie, A. Svenson, M.C. Taylor, M.A. Taylor, B. van Berkel, C. Bos, P. Virilio, M. Wertheim), D. Sudjic, E. Tsui, G. Gans + Z. Kuz (G. Benisch, Z. Kuz, E. Pelkonen, A. Omurtag, V. Giencke, W. Katavolos, J. Johansen, T. Bringham, H. Lalvani, T. Dalland, M. Raman, J. Johansen, K. Frampton), L. Hellman, P. Noever (C. Himmelblau, Z. Hadid, S. Holl, T. Mayne, E.O. Moss, C. Pinos, L. Woods), Vitruvius, C. Jencks..... ... emm.. and that's just the first set...

Who needs the sun, anyway...

L'Année dernière à Bregna

I found myself watching Æon Flux (as one would on a friday morning). Although far from any cinematic masterpiece in terms of story, it is nevertheless a jewel of (architectural) cinematography.. Going through various noteworthy buildings (ranging from Park Sanssouci to Zumthor) it most definitely gives architecture a show for its money. (Or is it the other way around?) Set in the fictional city of Bregna, we follow the protagonist while she tries to save the world (by ruining it, in a way).

Something apart from the buildings did strike me, though. The cinematography itself. I saw many similarities with L'Année dernière à Marienbad. Which, to be completely honest, pays a big tribute to architecture as well, however I found the number of similar scenes disturbing. This is not to say they were in any way copied, but is this just simply all the possible compositions of characters & buildings that one can make on film?

To illustrate my point:

To start off, let's start with a standard run-of-the-mill couple shot. Being all proud, and ignore the puppet-like silhouettes in the background

A couple lovingly juxtaposed in a comfortable corner, in relation to the building

Puppets sprinkled along the scene, interplaying with the (architectural) background

The glory shot (slightly off-centre of course, let's not be crude)

Legendary. The firing squad. Aeon surprisingly less puppet-y (but do note the glipse of Architecture in the background!)

The detailed glory-shot (just in case you missed it, this film is about buildings)

Centered couple walking down a corridor (note how the genders are positioned the same)

Character posing in the foreground, with a glorious (constructed) background

I was doubly surprised to find this in both films, but surprised further still when I realized I found it in both films

The chairs & table as turning point of the story, encased in a heavy layering of House

Of course, this list wouldn't be complete with the surrealist scene from Marienbad. Unfortunately there isn't any adequate imagery in Aeon, but this is the closest I could find

And, of course. The couple and the House. Centered. 

the imagery is probably © Alain Resnais for Marienbad and © Paramount Pictures for Aeon