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Cinema cultural complex with green architecture approach in Gorgan

Number of pages: 229 File Format: Not Specified File Code: 29506
Year: Not Specified University Degree: Not Specified Category: Architectural Engineering
Tags/Keywords: architecture - cinema - cinema - nature - The architect - The art of architecture
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  • Summary of Cinema cultural complex with green architecture approach in Gorgan

    Master thesis (M.A)

    Architectural Engineering

    Academic year 1391-1392

    Abstract:

      The similarity between cinema and architecture in terms of concept, idea generation and the process of producing the work gives these two artistic categories a special ability to read. This research analyzes one of the most fundamental common elements between the two arts of architecture and cinema, i.e. space, and deals with how to create space and the mental connection of these two arts. Time is a completely perceptual factor in the art of cinema, and on the other hand, it has a subjective quality in architecture. Cinema creates space by combining elements such as color and light, angle of view and scene, editing and sound in order to create a strong relationship with its viewer and facilitate his mental journey into the film, while the essence of architecture is space.

      The purpose of this research is to design the Fakhr cinema cultural complex with a green architecture approach. In fact, this cinema is a rendezvous for the interaction and encounter of people with different cultures and opinions in the majority of the best cinematographic products. Fakhr Cinema Cultural Complex is the venue for holding this great cultural and social gathering, where national and international film festivals can be held in the best way using the appropriate model of green architecture. In fact, the researcher in this study seeks to find a collection in which all the main and side parts of an international film festival can be performed. It is also possible to use movie theaters and other cultural-entertainment spaces of the cinema cultural complex at times of the year when the festival is not held; Designing a space for the interaction between cinema, architecture and culture that seeks to accompany and optimally use the surrounding nature instead of destroying and occupying nature. The green process has an ancient history in the field of architecture, and an example of it is the discovery of the cave dwellers to use the appropriate direction and side of the caves, in terms of the ambient temperature.

      In this direction, three main goals are pursued:

    1- Studying and understanding the needs of cinemas, Iran and the world.

    2- Understanding the cultural and social issues of the audience and cinematographers and providing a suitable solution for the design of a cultural cinema complex.

    3- Using the appropriate model of green architecture in cinema

    By recognizing and analyzing the above and looking at the history of cinema and film festivals and considering the selected site, it has been tried to find the best solution to achieve the goals of the research. In this project, the spaces have special flexibility in terms of accepting functional roles, but despite this, each space maintains its functional independence and helps to create a living and active urban space by combining and juxtaposing different uses. In this building, each user has a defined and separate spatial area, but these areas are related and connected. Physically, the most significant element of this building is the walls that separate the buildings and passageways and define the design spaces.

    Keywords: Architecture, cinema, film festival, space, time, design, green architecture

     

    Introduction:

      In its most general definition, cinema is always a kind of representation of reality and cultivation of imagination; The dynamic reality that exists in material objectivity and to become what is recreated on the screen, requires the creativity of thoughtful filmmakers. These artists have achieved success in creating new attitudes to create movement on the screen in different ways and by creating novel cinematic methods at different times in the not-so-long history of cinema. Cinema basically entered the field of human civilization based on the decomposition of movement and its recombination. Cinema cannot exist without visible movement, which indicates the dynamics of the reality in front of the camera, and invisible movement, i.e. the physical movement of the film strip to recreate the real movement, and the ability to provide cinema in this fundamental element, i.e. movement  lies How and to what extent the illusion created by the result of various movement factors in the film is effective on the viewer's mind and what perceptions it leads him to, reveals the extent of the long-standing debate. On the other hand, architecture, compared to cinema, is an art based on the stability and stability of different volumes, which is created by the combination of continuous and discontinuous spaces. In the most general definition of architecture, it can be known as the art that shapes the space.Architecture is also based on movement from one point of view, but this movement is not visible like the invisible movement of the film, and since it expresses the connection of different spaces with each other, it is considered an internal movement. On the other hand, space cannot be understood in architecture unless the viewer moves in it. It is the spectator's movement that makes the architectural space tangible. Artistic architecture is space-time, because in order to understand and receive its space, the viewer needs to move inside and outside it. Spending this time to discover architectural elements and factors seems mandatory. What makes cinema close to architecture and architecture to cinema is not only the nature of movement, but other elements are also included in this artistic interaction. These elements of aesthetic dimensions in both arts have a common base and a special place, where time and space are the most important and other elements such as rhythm, color and light, texture, movement and continuity are the most effective. Cinema creates space by combining elements such as color and light, angle of view and scene, editing and sound in order to create a strong relationship with its viewer and facilitate his mental journey into the film, while the essence of architecture is space. The history of film analysis is full of objective positions about the space in the film image. Most of the analysts have looked at the space in the movie image from the aspect of scene architecture, while these architectural spaces like movie scenes are nothing more than a tool to stimulate the mind of the viewer living in the movie theater. In the final analysis of the psychological conditions of watching the film, we find that the viewer is through a mental journey into the film, which reaches the final understanding of its meaning and meaning. While the observer of architecture is an objective traveler and it is through movement within the architecture and the sense of rhythm, continuity and continuity of its spaces that it reaches its nature and reality. Undoubtedly, aesthetic discussions about the commonalities and adaptations of cinema and architecture are not possible except by comparing some cinematographic works and explaining them as a description of an architectural body. To achieve this goal, there is no other way than looking for architecture in cinema.

      From the point of view of Vitruvius, the architect of the centuries before Christ, the investigation of the architectural principles of "strength and beauty" It is expressed as the general characteristics of green architecture. The general goal of green architecture is to reduce damage to the environment and energy resources and nature, that is, a building that has the least incompatibility and contradiction with the natural environment around it and in a wider area with the region and the world. Therefore, green architecture contains a combination of multiple values:  Aesthetics,   environment, society, politics, and in other words design and construction in harmony with the environment.

    Concern about the continuation of the situation incompatible with nature and the excessive use of irreversible energy sources led to the development patterns to be followed in order to cause less damage to the environment and have the ability to continue. In this regard, one should seek to create conditions in harmony with the environment and create a sustainable environment. The first step: recognition

     

     

    Chapter one:

    Research framework

     

     

     

     

     

     

     

    1-1- Description of the topic

      As the title suggests, the goal of the design is a coherent space with suitable functional capabilities to select and direct various annual festivals and cultural and artistic spaces and to connect the arts with each other. Fakhr cinema cultural complex is a coherent cultural-artistic space that provides the connection between cinema and architecture - cinema and culture - architecture and culture - cinema and green architecture, which is a meeting place for interaction between different cultures. Therefore, in this research, we seek to create a coherent and flexible space in the design of the cinema campus; Designing a space for the interaction between cinema, architecture and culture, which instead of destroying and occupying nature, seeks to accompany and optimally use the surrounding nature.

      In this center, in addition to all the main and side parts of a cinema in which it is located, an attempt will be made to pay attention to the local rituals of the province, a place to commemorate the greats of Gorgan - Night of Poetry. In this cinema complex, there is a large hall for opening and closing ceremonies. The purpose of placing the movie theaters in this project is the dynamism and constant mobility of this collection throughout the year and the screening of some of the festival films in it.

  • Contents & References of Cinema cultural complex with green architecture approach in Gorgan

    Abstract. 1

    Introduction. 2

    Chapter One: Research Framework. 4

    1-1- Description of the subject. 5

    1-2- Necessity of doing the project. 6

    1-2-1- State the basic problem of the research. 6

    1-2-2- Research objectives. 7

    1-2-3- Research questions. 8

    1-2-4- research hypotheses. 8

    1-2-5- Deficiencies. 8

    1-2-6- needs. 9

    1-3- Project applications. 9

    1-3-1- Annual festivals. 9

    1-3-2- Different and simultaneous screenings of several films. 10

    1-3-3- Holding various film conferences. 10

    1-3-4- Gathering of different cinema centers. 10

    1-3-5- Activities for youth leisure time. 10

    1-3-6- Focusing and giving importance to cinematic activities. 10

    1-3-7- holding festivals and local ethnic rituals. 10

    1-3-8- modeling for the use of green architecture. 11

    1-4- Research background. 11

    1-4-1 Research background at the national level. 12

    1-4-2 The background of research at the international level. 12

    1-5- Conclusion. 12

    1-5-1- Designing a complex called cinema complex and commercial cinema. 13

    1-5-2- Designing a complex called a recreational cultural complex. 13

    1-5-3- Side applications of the collection. 13

    The second chapter: cinema, art, architecture. 15

    2-1- Cinema and art. 16

    2-1-1- Art and history. 17

    2-1-2- Six arts and the seventh art. 19

    2-1-3- theater and cinema. 20

    2-1-4- Music and cinema. 22

    2-1-5- Architecture and cinema. 22

    2-1-6- Painting and cinema. 24

    2-1-7- Literature and cinema. 25

    2-1-8- result. 26

    2-2- Cinema and architecture. 27

    2-2-1- film- architecture- cinematographers. 27

    2-2-2-film-architecture-architects. 30

    2-2-3-film-architecture-experiences of architects. 33

    2-2-4- Architecture and Cinema: Architectural Association– London. 34

    2-2-5- The difference between film and architecture. 35

    2-2-6- architecture– cinema 36

    2-2-7- cinema architecture. 37

    2-2-8- Architecture – cinema – The differences. 38

    2-2-9- Architects – cinematographers 38

    2-2-10- Architecture and film – last word 39

    The third chapter: Cinema in the world and Iran. 41

    3-1- The history of world cinema. 42

    3-1-1- The invention of cinema. 42

    3-1-1-1- Panorama. 42

    3-1-1-2- Diorama. 42

    3-1-1-3- Imagination lantern. 43

    3-1-1-4- Moving paintings. 42

    3-1-1-5- Dark room. 43

    3-1-1-6- Photography. 44

    3-1-1-7- Moving images. 44

    3-1-1-8- Edison. 44

    3-1-1-9- Loui Merha cinema. 45

    3-1-2- Early cinema. 45

    3-1-3- Studio. 46

    3-1-4-next cinema halls. 46

    3-1-5- The emergence of television. 47

    3-2- The history of Iranian cinema. 47

    3-2-1- History of performing arts in Iran. 47

    3-2-2- Government support of the first Iranian amphitheater. 48

    3-2-3- The arrival of cinema in Iran. 49

    3-2-4- The first movie theater in Iran. 50

    3-2-5- Cinema becomes public. 50

    3-2-6- Start of filming activity. 51

    3-2-7- Cinematography boom in Iran. 51

    3-2-8- Iranian film production. 51

    3-2-9- Talking cinema in Iran. 52

    3-2-10- The first Iranian talking movie. 52

    3-2-11- Beginning of dubbing work in Iran. 52

    3-2-12- The spread of movie theaters in Iran. 52

    3-2-13- The emergence of television in Iran. 54

    3-3- Problems of Iranian cinema. 55

    3-3-1- Different aspects of the crisis in Iranian cinema. 55

    3-3-1-1- Losing the audience. 56

    3-3-1-2- Weakness and lack of investment. 56

    3-3-1-3- Unemployment and idle life and talent of cinema workers. 57

    3-3-1-4- low quality and lack of depth and diversity in cinema products. 57

    3-3-1-5- Disorderly condition of theaters. 58

    3-3-1-6- Finding the roots of the crisis in the Iranian cinema industry. 59

    3-3-1-7- Structural obstacles to the development of cinema in Iran. 59

    3-3-1-8- backward technology. 60

    3-3-1-9- Limited capacity and power. 61

    3-3-1- 10- The need for attention and urgent action for the exit of Iranian cinema from the crisis. 62

    3-4- The economic performance of Iranian cinema in a ten-year period. 66

    Chapter Four: Cinema – community – culture 69

    4-1- Investigating the socio-cultural functions of cinema. 70

    4-1-1- The importance of social communication. 70

    4-1-2- Missions and duties of mass communication tools. 70

    4-1-3- Cinema as a means of mass communication. 72

    4-1-3-1- Cinema and theater. 74

    4-1-4- The language of cinema as an international and influential language. 75

    4-1-5- Cinema as a special social and cultural language of a nation. 75

    4-2- Examining different aspects of cinema. 76

    4-2-1- Cinema and narration. 76

    4-2-2- Cinema as art. 76

    4-2-3- signs and implications in cinema. 78

    4-2-4- Cinema and time. 79

    4-2-5- Cinema and movement. 80

    4-2-6- Cinema and light. 81

    4-2-7- Cinema and architecture. 81

    4-2-8- Cinema and reality. 82

    4-2-9- Cinema and industry. 84

    4-2-10- Cinema and economy. 85

    4-2-11- Cinema and politics. 85

    The fifth chapter: Cinema halls. 87

    5-1- The history of movie theaters in the world. 88

    5-1-1- The house and the shape of a new type of building. 88

    5-1-2- From Makare Bazaar to the imaginary places of buildings for showing movies. 88

    5-1-3- The influence of open space in the cinema. 90

    5-1-4- Art Deco style – Dreamy places to flowing places. 91

    5-1-5- Modernism and cinema. 93

    5-1-6- Expressionism – Film and architecture. 96

    5-1-7- Modern cinema – Architecture of light and flow. 98

    5-1-8- Cinema at the end of the 20th century. 99

    5-1-9- educational cinema – museums – IMAX cinema. 101

    5-1-10- the future. 103

    5-2- The history of cinema halls in Iran. 104

    5-3- The impact of the evolution of cinema on the theaters of the world. 109

    5-3-1- Multiplex cinemas. 111

    5-3-1-1- History of multiplex. 111

    5-3-1-2- Multiplex architecture. 112

    5-3-1-3- Home appliances in multiplexes. 114

    5-3-1-4- Safety in multiplexes. 114

    5-3-1-5- Cinema is a public entertainment place. 115

    5-3-1-6- Technical developments in the field of film screening. 115

    Sixth chapter: cinema standards. 118

    6-1- Cinema technique. 119

    6-1-1- Location of the building. 119

    6-1-2- Guidelines for the construction and management of halls. 120

    6-2- Basic definitions. 122

    6-2-1- Normal display system. 122

    6-2-1-2- scope display system. 122

    6-2-1-3- Viewing angles. 122

    6-2-1-4- per capita level. 122

    6-2-1-5- volume per capita. 122

    6-2-1-6- Necessary spaces. 122

    6-2-1-7- Allowed space. 122

    6-2-1-8- Supervision Commission. 123

    6-2-1-9- radiation angles. 123

    6-2-2- Cinema theater. 124

    6-2-2-1- hall form. 124

    6-2-2-2- favorable angles for the theater. 126

    6-2-3- Vision. 127

    6-2-3-1- Visibility distances. 129

    6-2-3-2- Radiation angles and the distance of the projector to the curtain. 131

    6-2-3- roof. 134

    6-2-4- floor. 135

    6-2-5- balcony. 136

    6-2-6- Arrangement of chairs in the hall. 137

    6-2-8- The curvature of the rows of seats. 139

    6-2-9- Spectator seat dimensions and distances. 139

    6-2-9-1- Conditions of wheelchairs for the disabled. 144

    6-2-10- Corridors of the theater. 144

    6-2-11- entrances and exits of the theater. 148

    6-2-12- Screening. 154

    6-2-12-1- wide curtain. 156

    6-2-12-2- Cinemascope. 156

    6-2-12-3- 70 mm systems. 157

    6-2-12-4- Imax Imax. 157

    6-2-12-5- Rama Cinerama chest. 157

    6-2-12-6- Circlorama. 158

    6-2-13- Cinema screen dimensions. 158

    6-2-13-1- The ratio of the dimensions of theater curtains. 158

    6-2-13-2- Curtain curvature. 159

    6-2-13-3- Curtain bending. 160

    6-2-13-4- Curtain location. 161

    6-2-14- Other considerations in the showroom. 163

    6-2-15- Acoustic. 164

    6-2-15-1- How to adjust acoustics. 171

    6-2-16- Waiting room. 172

    6-2-17- Projector room and its accessories. 175

    6-2-18- Cinema entrance. 177

    6-2-19- Ticket office. 178

    6-2-20- Sanitary facilities. 179

    6-2-21- Office spaces. 180

    6-2-22- Warehouse and facilities room. 181

    6-2-23- communication spaces. 181

    6-2-24- Cinema parking lots. 187

    6-2-25- Buffet and restaurant. 189

    6-2-26- Hall design. 190

    6-2-26-1- Volume. 190

    6-2-26-2- Fig. 191

    6-2-26-3- Broadcasting. 192

    6-2-26-4- Duration and termination. 193

    6-2-26-5- Acoustic in the hall. 193

    6-2-27- Hall equipment. 194

    6-2-27-1- Equipment and lighting. 194

    6-2-27-2- Audio equipment. 194

    6-2-27-3- Types of curtains. 194

    6-2-27-4- Acoustics in the concert hall. 195

    6-2-27-5- The method of calculating the required volume of conference halls. 196

    Chapter Seven: Green Architecture. 199

    7-1- Green architecture. 200

    7-2- The history of sustainable development. 202

    7-2-1- Sustainable development and architecture. 203

    7-2- 2- The place of sustainable and green architecture in the course of architectural thought. 203

    7-3- Generalities and goals of green architecture. 204

    7-3-1- A look at the principles of green architecture. 205

    7-3-1- 1- The first principle: energy conservation. 205

    7-3-1-2- The second principle: Working with the climate. 206

    7-3-1-3- The third principle: reducing the use of new resources. 206

    7-3-1-4- The fourth principle: respect for users. 206

    7-3-1-5- The fifth principle: respect for the site. 207

    7-3-1-6- The sixth principle: Holism. 207

    7-3-2- Implementation instructions for green architecture. 207

    7-3-3- Green materials. 207

    7-3-4- Proposed plan regarding the principles of sustainable and green architecture and its disadvantages. 208

    7-3-5- An example of nano application in green building. 208

    7-4- Examples of green technology in green buildings. 213

    7-4-1- Lighthouse tower. 213

    7-4-1-1- Jubilee Church. 214

    7-4-1-2- smart egg. 216

    7-4-1-3- Singapore green complex. 216

    7-4-1-4- Chicago Tower. 217

    7-4-1-5- Faro residential tower in the Netherlands. 218

    7-4-1-6- Edith Tower in Singapore. 219

    7-4-1-7- Spinnaker tower, energy from the sidewalk. 220

    7-4-1-8- Conclusion. 221

    7-4-2- Council House building of CH2, an outstanding example of green architecture. 221

    Chapter Eight: Examples and case examples. 230

    8-1- Examining foreign samples. 231

    8-1-1- Cannes Festival Palace. 231

    8-1-1-1- Examining the spaces of the Palace of Festivals. 231

    8-1-2- London IMAX cinema complex. 243

    8-1-3- UEFA cinema complex. 246

    8-1-4- Experimental Cinema Center (Giso and Mozhgan Hariri- 1999). 249

    8-2- Internal samples. 250

    8-2-1- Cinema Azadi: (Babek Shokofi). 250

    8-2-2- Mellat Cinema Campus (Catherine Spridev and Reza Daneshmir). 254

    Chapter 9: Background studies. 260

    9-1- Geographical characteristics. 261

    9-1-1- Introduction. 261

    9-1-2- Geographical situation of Golestan province. 261

    9-1-3- Geographic coordinates of Golestan province. 262

    9-1-4- Natural location of Gorgan city. 262

    9-1-5- Location and size of Gorgan city. 262

    9-1-6- Historical studies of Gorgan. 263

    9-2- Climatic characteristics. 266

    9-2-1- Introduction. 266

    9-2-2- The climatic condition of Gorgan. 266

    9-2-2-1- Temperature. 267

    9-2-2-2- Rainfall. 267

    9-2-2-3- wind. 268

    9-3- Method and general design principles. 268

    9-4- Checking the project site. 269

    9-4-1- Introducing the site. 269

    9-4-1-1- Locating the collection site. 269

    9-4-1-2- Reasons for choosing the site. 269

    9-4-1-3- influencing factors on the site. 269

    9-4-2- Climatic analysis of the site. 271

    9-4-3- site analysis. 272

    9-4-4- Investigating noise pollution. 273

    9-4-5- Checking the entries. 273

    Chapter 10: Basics of planning. 275

    10-1- Plan plan. 276

    10-1-1- Scale and morphology. 276

    10-1-2- Semiotics and hierarchy. 276

    10-1-3- Architectural style. 276

    10-2- Design concepts. 277

    10-2-1- flexibility and movement. 277

    10-2-2- Multidimensionality. 277

    10-2-3- Layering. 278

    10-2-4- Light. 278

    10-3- Structure. 279

    10-3-1- Type of materials. 279

    10-4- Type and system of facilities. 279

    10-4-1- Thermal house engine (natural). 281

    10-5- Physical program of the collection. 283

    10-6- Plan concepts. 284

    10-7- The final concept. 288

    Chapter 11: Plan documents. 292

    English abstract.

Cinema cultural complex with green architecture approach in Gorgan
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