The intricate decorative casts appear are represented in a minimal aesthetic. The form is representative of a suspension in time, a very static surface mimicking a fluid and ever changing landscape, inauthentic in it’s presence through repetition, the tiled sequence imposes a very strict/rigid structure highlighting decadence through detail yet denying playfulness or making way for change. Had the tile sequence continually changed and altered throughout it’s section there would have been an introduction to the unpredictable, a n animation of that imposing structure. The cinema always reflects change, altered perceptions and states of conditions be they existing or suggestive/proposed, the screen separating the outside from the inside of the cinema needs to show this detailed yet completely unexpected frames, using the language/lexicon of Russian identity, yet dislocating them from their original meanings.
Cinema presents us with choreographed narratives, perceptions of life, symbolism, realism, surrealism, a plethora of convictions. The facade should recognise and embrace this. The facade acts as an iconic canvas, yet negates from the preciousness of the iconic as it de-realises/ the pattern. The rich motif recalls rich floral decoration in royal spaces whilst representation is austere minimal contemporary materials like Corian are used. The extruded lace elements are coated in solar cells which use Photovoltaics to convert light into electrical voltage which is stored in the Carbon fibre Silicium composite Corian clad external balcony frame, this triggers the transparency and curtain movement. reflect light in through the pod’s holographic glass sphere refracting it back out as a filtered source of sunlight with reduced harmful UVB radiation. This projected artificial light source can be controlled to alter its luminance mimicking film set light projections, the balconies act as a public gathering space whereby the individual experiences the transition from real to virtual, and interior to exterior.
The balconies are arranged in a non-hierarchy where there is no symmetry or order to their positions suggests an equality across the facade, The steel ball bearing frame moves shifting the Corian sections frame by frame and dislocating the striated double planes in turn animating the entire facade. The double plane blinds behave like mobiles which rotate slightly when a current is passed through the attached frame, the polarised effect alters light levels and our perception of the facade which gives the illusion of movement and a three dimensional space, an implied projected space. The facade becomes inhabitable. Polyester resin bas-relief material is a modern twist on a very historical motif, the sectional changes offer a dialogue which reaches into the surrounding context and can be moved accordingly, further dislocating, addressing and informing our perceptions of the sequence of spaces, dialogue similar to the sequence of narrative frames in a reel.
1. Artistic heritage which does not fear undermining tradition, transgressing trend, politic or dogma by using motifs as references from which to evolve the nature of perception and narrative.
2. The illustration of the dynamic relationship which exists between the creation and the representation of film/art.
3. At the same time the facade will reveal the subtle relationship between works from different generations and cultural backgrounds, a rich tapestry of perceptions representations, story telling and the passion behind the exploration of abstraction and representation.
Designer: Margot Krasojevic