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PROJECTION IN FOUR ACTS
PROJECTION IN FOUR ACTS
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PROJECTION IN FOUR ACTS
We decided that it was more important to change the
face in a series of four incrementally phased, surgical; at times subtle and
forceful events that would lead up to a truly changed depth and face for Moscow.
The single screen as a sole object of cinematic projection are now made into simultaneous
screenings of architectural, flow, history, and material subtlety in the City:
Projecting a new and deep program change on Level 1 through the
Experimental Director’s Forum, a curator, a rotating
celebration of emerging or past film artists, short films, public archival
access, editing workshops, screening areas, lounge areas in which to think in,
near a café directly adjacent to temporal urban life 24 hours a day.
Projecting a program change into a larger tri-level “Large Stair as Room” that inspires
multiple programs at the same time; time, and how efficiently we harness it, now
has two or three uses. Physically moving through a cinema screen by an emerging
artist.
Projecting a large anti-heroic low-iron glass wall that would
inspire and support the clarity of Pushkin
Park with the purpose of the
film Director. Into the Park and Out of
the Park. If everything for the new “Theatre Russia” was made overtly expressive,
we would be left with a carnival act, the new ruin. But rather, for this
project, we have the support of a purely ambitious architectural act from 1961;
subjective, of course, but with a surgical re-thought based on technologies in
varying materials and mediums, deliberate promise, and programmatic or social forces.
Deciding on a building of thin veils, prior
to the beginning of the curtain rising on the cinema event
.........imagine, being able to look directly out from Level 1 directly into a
Moscow landscape, without a blocked view, blocked idea, or a blocked chance.
face in a series of four incrementally phased, surgical; at times subtle and
forceful events that would lead up to a truly changed depth and face for Moscow.
The single screen as a sole object of cinematic projection are now made into simultaneous
screenings of architectural, flow, history, and material subtlety in the City:
Projecting a new and deep program change on Level 1 through the
Experimental Director’s Forum, a curator, a rotating
celebration of emerging or past film artists, short films, public archival
access, editing workshops, screening areas, lounge areas in which to think in,
near a café directly adjacent to temporal urban life 24 hours a day.
Projecting a program change into a larger tri-level “Large Stair as Room” that inspires
multiple programs at the same time; time, and how efficiently we harness it, now
has two or three uses. Physically moving through a cinema screen by an emerging
artist.
Projecting a large anti-heroic low-iron glass wall that would
inspire and support the clarity of Pushkin
Park with the purpose of the
film Director. Into the Park and Out of
the Park. If everything for the new “Theatre Russia” was made overtly expressive,
we would be left with a carnival act, the new ruin. But rather, for this
project, we have the support of a purely ambitious architectural act from 1961;
subjective, of course, but with a surgical re-thought based on technologies in
varying materials and mediums, deliberate promise, and programmatic or social forces.
Deciding on a building of thin veils, prior
to the beginning of the curtain rising on the cinema event
.........imagine, being able to look directly out from Level 1 directly into a
Moscow landscape, without a blocked view, blocked idea, or a blocked chance.
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