The overall year research explores the use of digital modes of representation in architecture and design and questions whether the appropriation of filmic techniques in architecture is relevant today in digital prototyping / architectural design.
Through studies into the use of narratives in design, augmented and hyper-real spaces the project proposes a new architectural vocabulary – appropriating cinematography techniques such as the cut, frame and montage. In order to decode and understand spatial representation, the research refers to the taxonomy of cinematic images as described by the French philosopher Gilles Deleuze and explores the Semperian-like use of montage as a compositional generative architectural tectonic device.
The final film ‘Fictional Constructs’ establishes a seamless hyper-real fantasy world where a series of design interventions reveal various levels of deceptions of scale, time and place. The site is Kraftwerk located in the centre of Berlin – a former industrial power station, built approximately at the same time of the Berlin Wall between 1960-64. The design proposes a new open film studio/public space that constantly evolves, grows and performs, acts and expands, merging the boundaries between the everyday and the iconic, the real city and its representation in film. The film uses several key techniques such as anamorphism (distortion of projection to augment perception of scale), kinetics animation (moving / growing parts), slow motion and experience of vertigo in order to reveal various levels of reality.
Kairo Baden-Powell is an architectural designer, based in London. He is interested in digital prototyping and the potential of fabricating buildings to the same level of precision as the aviation industry. His fascination in the potential of heterotopic, hyper-real spatial imagery explored in the film industry translates into unique work that is on the edge of fact and fiction.