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Type
The
aim of the project is to design more than a facade. How can we create a place
that works at multiple levels (to see, to be seen, to drift, to present, to
perform)?The word “Facade” comes from the Latin word
-facies- meaning the form or aspect of something. The façade has a connotation
and analogy with the face of a human body. Traditionally in architecture, the
facade of a building is considered to be its face and is meant to express the
feelings, the emotions of something hidden inside the building, its soul. It is
a wall that plays between hiding and revealing through a series of openings.
For the moderns, the symbolic realm of the façade has disappeared in order to
become mute. It is a skin that reveals the inside right away, as we could see
it in the original design of the Pushkinsky cinema.
We decided to manipulate the ‘face’ of the
cinema from another point of view: it is neither a wall, nor a skin, but a border between in and out that performs: it
is inhabitable. The face becomes a place, a threshold that has thickness
and depth allowing the visitor to pass-through
another –in between- universe. This new façade plays the political role of
bringing what is meant to be a private intimate cinematographic experience out
to the public sphere.
aim of the project is to design more than a facade. How can we create a place
that works at multiple levels (to see, to be seen, to drift, to present, to
perform)?The word “Facade” comes from the Latin word
-facies- meaning the form or aspect of something. The façade has a connotation
and analogy with the face of a human body. Traditionally in architecture, the
facade of a building is considered to be its face and is meant to express the
feelings, the emotions of something hidden inside the building, its soul. It is
a wall that plays between hiding and revealing through a series of openings.
For the moderns, the symbolic realm of the façade has disappeared in order to
become mute. It is a skin that reveals the inside right away, as we could see
it in the original design of the Pushkinsky cinema.
We decided to manipulate the ‘face’ of the
cinema from another point of view: it is neither a wall, nor a skin, but a border between in and out that performs: it
is inhabitable. The face becomes a place, a threshold that has thickness
and depth allowing the visitor to pass-through
another –in between- universe. This new façade plays the political role of
bringing what is meant to be a private intimate cinematographic experience out
to the public sphere.
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