After expiring more than one century, the cinema, the seventh art called and more young woman of all of them, the most ancient has been related by other six, between them the Architecture, possibly. Relations that enough times have been analyzed and from diverse points of view, though always new someone arises, for example, might propose impertinent studies him as: the similarities between Nolan and Calatrava in his zeal for doing empty monuments; the pertinacious insistence of native filmmakers in rolling his movies always in the same streets of the same cities; the phobia that there practise to the cinema architects who design cinemas; the level of pride of the directors and architects that prevents them from recognizing his mutual stylistic debts; the performance of constructing big infrastructures without relation with the cinema in order that then movies are rolled in them and his opposite, of doing big infrastructures dedicated to the cinema in order that then it is not rolled in them…
Nevertheless, nowadays the most unquestionable relation between architects and filmmakers is his death. Yes, it is so hard and forceful as certain, but it is possible to explain.
Let’s begin for the first ones, the fact that a public post has the hope that we die, it cannot be considered to be only an anecdote, because unfortunately it is a feeling more widespread than seems – though probably without so many forcefulness-, that it should make us reconsider our professional activity, damaged and transformed forever by this crisis.
It would have besides the fact that reflections to appear on several topics, as the current model of education of the profession who has to be modified immediately orientating it more towards the virtual thing and less to the material thing; what there have supposed the buildings of the super stars of the architecture in our cultural panorama, as well as the attitude of the architects that, instead of criticizing them, they proposed to reach the stardom without obtaining it.
As for the filmmakers, there are had information that in the whole world the projections in complex commercial multirooms catch less and less public and the majority of the spectators are teen. For many years the businessmen gain very much more money with the little doves that with the income, because of it these complexes are transforming in bars and cafeterias where birthdays are celebrated, at the same time as there are projected sports, musical events and up to operas.
With regard to other rooms, which exhibit this cinema that Jesus Palacios names NGO, in the mayoría of cities of provinces unfortunately only they accede to a market share that he understands to spectators very near to the call, of euphemistic form, third age. The cinema as we it knew the generations that we were born in, increasingly distantly, last century is disappearing and it will stop existing, as already it happened to him to other even more ancient spectacles.
Hitherto the death. Now the future, it is not necessary to to forget that the Bird Phoenix is an ancient metaphor and both filmmakers and architects we have a predilection and a special skill for us reinventing and to survive the worst batterings. Not uselessly the architects we can fill with pride ourselves of being the oldest second trade of the world after the prostitutes, and since we are with whom, for good or for evil, we are the managers of constructing the places where there is going to pass the life of our congéneres, it is evident that we are prepared to do our work, that always we have been the most critical with whom really they have had and have the power (evil) construct our cities, and this it is another reason for which they detest us, and that opposite to us now opens an immense field himself – where also the image is in movement – abundance of fantastic possibilities.
With regard to the filmmakers, all we are surrounded every time by more screens, from that of the mobile, up to those of the IMAX, and many persons are feeding them creating images for them. Images that in many cases are generated to manipulate the population and to which this one is opposed using other images, faced in an innovative and exciting “war”.
The certain thing is that, we like it or not – I am charmed with it – the future will be virtual, decentralized and multiply, and in him they will have much that the filmmakers reach, or since there name then those who dominate the mechanisms of the story in movement.
Finally, it is necessary to to recognize that, though probably we should not have realized, the cinema, the image in movement, years ago the item gained him to the Architecture, which he leads to the chilling verification that the fiction has overcome the reality.
Jorge Gorostiza, PhD architect.
Santa Cruz de Tenerife, december 2012
Author of the blog Arquitectura+Cine+Ciudad
My good friend Jesús Palacios asked for an article me for el50, the newspaper of 50 ª edition of the International Festival of Cinema of Gijon and published in his first number with the title “Filmmakers and architects today”, though after a small review and seeking to be more exact another more funereal title like ” The death of the cinema and the architecture ” is more appropriate.