Ozu’s House

25406

the intentioned framing

cinema, architecture

The architect Marta Peris Eugenio has just published a revealing document about one of the most important filmmakers of the twentieth century and, in addition, one of the most interesting to architects who approach the cinema as more than just entertainment: La casa de Ozu [Ozu’s house]. A book that, dodging the historical-documentary point of view that characterizes research in other disciplines, works from the particular perspective of the designer, with a professional look related to the existing with a certain greed for appropriation, a more technical than historical curiosity, interested in unveiling the way in which the problems were solved from the logic of the project, analyzing the visual and constructive decisions adopted to build the film.

Cinema female pionners

24671

the intentioned framing

art, cinema

The first recognized presence of women in the universe of cinema was in the field of interpretation. Two other works, however, were from the beginning covered for very different reasons mostly by the female world in a much more anonymous way: the editing and the control of continuity during filming and postproduction. Although, without a doubt, the area in which this necessary recognition of the important role of women in the world of cinema becomes more relevant is in the field of filmmaking.

The single look. An architect thinks the cinema

27907

the intentioned framing

art, cinema, architecture

Abada Editores published in January 2019 my book La mirada única. Un arquitecto piensa el cine [The single look. An architect thinks the cinema]. Juan Deltell Pastor.

movie posters & no-movie posters

27646

the intentioned framing

cinema, architecture

NO-MOVIE POSTERS is much more than an allegory; it is a love song to cinema, to its promotional posters, to sketching, to photography and to those untold stories that want to fly but don’t have wings.

JackBackPack_Ruptura Silenciosa

25553

the intentioned framing

cinema, architecture

The magazine JACK, initially managed by the Portuguese research group Ruptura Slenciosa, and currently published under the auspices of the Jackbackpack project, is one of the few publications that seriously analyses the relationship between cinema and architecture. The second issue has been published recently.

Cinema inside cinema

27032

the intentioned framing

art, cinema

From the very beginning some films wanted to talk about the world of cinema, from aspects so different as homage, parody, memory, criticism, nostalgia, caricature, satire and even plagiarism. Especially significant are those situations in which the audience is intended to be conscious of the staging, clearly setting out the cinematographic construction’s artifice.

The seduction of the Long take

30648

the intentioned framing

art, cinema, architecture

Many artists of very diverse fields have felt the attraction of including in their works a Long Take, a formal resource always difficult to carry out. The Rope [Alfred Hitchcock, 1948], Touch of Evil [Orson Welles, 1957] or Der Lauf der Dinge [Peter Fischli and David Weis] are good examples of this.

The false city. Urban space acting

28144

the intentioned framing

cinema, architecture

The cinema has created a new way of recognizing the city. Cinema can even reinvent the existent city, through the foreign and timeless gaze with which every filmmaker works. Watching is at once to know and to decide, two practices closely linked to the human condition. The cinema, in some way, has taught us to look at our cities from a different perspective, building in our minds a false memory of the urban spaces that it shows us.

Mies and Rothko. Report of a [dis]agreement.

31217

the intentioned framing

art, architecture

If a thing is worth doing once, it is worth doing over and over again – exploring it, probing it, demanding by its repetition that the public look at it.

Gould and Monsaingeon. Form, structure and method.

30839

the intentioned framing

art, music, architecture

A Toronto hotel witnessed in July 1972 the first meeting between Glenn Gould and Bruno Monsaingeon. The fruitful friendship developed between them over 10 years left us an important set of audio-visual documents and written texts, essentials to understand the creative process of the pianist, undoubtaly giving extrapolable keys to other creative fields such as architecture.