LONG ISLAND CINEMA COMPETITION
Honorable Mention – $100
suckerPUNCH: describe your project.
volha PARSHYNA + arseni VARABYEU: The main idea was to repeat the film sequence. Cinematograph is an art of action, we where trying to bring movement and rhythm to our proposal. The main elevation is allegorical movie screen frame with interactive display; from far you see the motion picture. The sides are treated as a cut frames, each section is a episode of the history, is a window to the past. Landscape is an important feature in our proposal, green roof in not only collects rain water and works as an engineering component, but also inseparable part of the building character. It’s transforming into outdoor amphitheatre which is shaped as a film.
The green hill with the film serpentine is what you see from the water, it’s not just a park it’s a focal point for locals to have a picnic with the company of the favorite characters, to enjoy the movie and the beautiful Manhattan view. Interior of the cinema has a spacious gallery with the books store in the middle. Simplicity and cleanness is the driving idea of our proposal.
sP: What or who influenced this project?
vP + aV: We were umpired by the historical images of the first motion frames.
JOHANNES KEPLER with camera obscure
EADWEARD JAMES MUYBRIDGE
Animal Locomotion; An Electro-Photographic Investigation Of Consecutive Phases Of Animal Movement.
sP: What were you reading/listening to/watching while developing this project?
vP + aV: The History of Cinematography
gil AKOS: While the design resulting from the main strategy and concept of Sequence is simple and straightforward, this project is successful in creating a transition that depolys the building volumes first programmatically as cinemas and second as an outdoor cinema landscape.
stella LEE: Peculiar project but I like it because it for the same reason that I dislike it…The overcompartmentalization of the building program in to discreet units seems forced but does bring attention to the notion of the cut and motion built out of a sequence of images as illustrated in the muybridge animation shown on the facade. The juxtapositioning of three different film screenings in one image also drives this gap/cut further as a metaphor – one navigates through the gaps in order to enter different filmic worlds, and that space in between (interior gallery) is interestingly enough, bland and colorless, until another viewing platform is reached – one basically lurches towards the film to escape the oppressive void in between.