Thesis: Rhythms of Cinematic Horror: Enabling the Device of the Frame
Student: Violet Bast
Faculty Mentor: Zachary Tate Porter
Student Project Description
Violet Bast:
Horror can be defined as the lens in the pursuit of defining a complex model of aesthetic judgement, which is a classification that has conventionally been home to profound suspicion about the virtues of aesthetic itself. Particularly in horror films, the device of the frame can be utilized as an opportunity to alter a viewer’s perception of what may or may not occur within a space. This affiliation with space is what allows cinema and architecture to link their worlds and human experience together. By employing the methodologies of rhythmic impact and montage theory, the effects of horror-derived operations on normative architectural elements can be generated to produce a dynamic quality of atmospheric space. In this sense, horror is not simply the result of a process, but rather can emerge as a process and a method in and of itself for re-assembling and formulating the essence of architecture. In the end, horror is used as an aesthetic procedure - a tactic of uncovering the value of less discernible attributes.
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Violet Bast
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Violet Bast: The materiality and general forms of nine spaces around the University of Nebraska’s campus are documented to generate a set of parts. As a means of constructing layers of rhythm both cinematically and architecturally, the spaces are subjectively altered to generate a taxonomy of the existing source material.
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Violet Bast: Each interior image is the result of stitching together pieces of existing source material. The overall form of the stitched models is explicitly not shown, as the viewer’s focus should be solely dedicated to the framed space. The images are depicted by an unmediated adjacency: their varied components are located side by side. The meeting of the separate source material is be carried at the lines of transformation - the lines of the stitch.
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Violet Bast: Each interior image is the result of stitching together pieces of existing source material. The overall form of the stitched models is explicitly not shown, as the viewer’s focus should be solely dedicated to the framed space. The images are depicted by an unmediated adjacency: their varied components are located side by side. The meeting of the separate source material is be carried at the lines of transformation - the lines of the stitch.
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Violet Bast: Each interior image is the result of stitching together pieces of existing source material. The overall form of the stitched models is explicitly not shown, as the viewer’s focus should be solely dedicated to the framed space. The images are depicted by an unmediated adjacency: their varied components are located side by side. The meeting of the separate source material is be carried at the lines of transformation - the lines of the stitch.
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Violet Bast: Each interior image is the result of stitching together pieces of existing source material. The overall form of the stitched models is explicitly not shown, as the viewer’s focus should be solely dedicated to the framed space. The images are depicted by an unmediated adjacency: their varied components are located side by side. The meeting of the separate source material is be carried at the lines of transformation - the lines of the stitch.
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Violet Bast: Each interior image is the result of stitching together pieces of existing source material. The overall form of the stitched models is explicitly not shown, as the viewer’s focus should be solely dedicated to the framed space. The images are depicted by an unmediated adjacency: their varied components are located side by side. The meeting of the separate source material is be carried at the lines of transformation - the lines of the stitch.
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Violet Bast: Each interior image is the result of stitching together pieces of existing source material. The overall form of the stitched models is explicitly not shown, as the viewer’s focus should be solely dedicated to the framed space. The images are depicted by an unmediated adjacency: their varied components are located side by side. The meeting of the separate source material is be carried at the lines of transformation - the lines of the stitch.
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Violet Bast: Each interior image is the result of stitching together pieces of existing source material. The overall form of the stitched models is explicitly not shown, as the viewer’s focus should be solely dedicated to the framed space. The images are depicted by an unmediated adjacency: their varied components are located side by side. The meeting of the separate source material is be carried at the lines of transformation - the lines of the stitch.
Image
Violet Bast: Each interior image is the result of stitching together pieces of existing source material. The overall form of the stitched models is explicitly not shown, as the viewer’s focus should be solely dedicated to the framed space. The images are depicted by an unmediated adjacency: their varied components are located side by side. The meeting of the separate source material is be carried at the lines of transformation - the lines of the stitch.
Image
Violet Bast: Each interior image is the result of stitching together pieces of existing source material. The overall form of the stitched models is explicitly not shown, as the viewer’s focus should be solely dedicated to the framed space. The images are depicted by an unmediated adjacency: their varied components are located side by side. The meeting of the separate source material is be carried at the lines of transformation - the lines of the stitch.
Image
Violet Bast: Each interior image is the result of stitching together pieces of existing source material. The overall form of the stitched models is explicitly not shown, as the viewer’s focus should be solely dedicated to the framed space. The images are depicted by an unmediated adjacency: their varied components are located side by side. The meeting of the separate source material is be carried at the lines of transformation - the lines of the stitch.
Image
Violet Bast: Each interior image is the result of stitching together pieces of existing source material. The overall form of the stitched models is explicitly not shown, as the viewer’s focus should be solely dedicated to the framed space. The images are depicted by an unmediated adjacency: their varied components are located side by side. The meeting of the separate source material is be carried at the lines of transformation - the lines of the stitch.
Image
Violet Bast: Each interior image is the result of stitching together pieces of existing source material. The overall form of the stitched models is explicitly not shown, as the viewer’s focus should be solely dedicated to the framed space. The images are depicted by an unmediated adjacency: their varied components are located side by side. The meeting of the separate source material is be carried at the lines of transformation - the lines of the stitch.
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Violet Bast: By translating quantitative findings into a qualitative exploration of atmospheric elements, the forms generated from Methodology 3 are devoid of any arbitrary reasoning and can reflect horror affects in the creation of an architectural space. What happens to the perceiver’s understanding of how a space will be experienced when only one view is framed from the outside?
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Violet Bast: The purpose of a qualitative exercise is not to create a space with a defined program, but rather to challenge the convention of traditional rationality in the design process, while hyper-analyzing the effects of the quality of space and the notion of time through a set of individual frames.
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Violet Bast: The application of three quantitative methodologies through a workshop model approach result in volumetric outputs of a process that investigate form dimension, location, orientation, height, and elevation. In this initial exercise, a quantitative methodology is a productive way to begin the process of producing a form, as it reinterprets any sort of subjective input. The outputs of these methodologies act as graphic devices to give information about specific scenes through the hierarchy of architectural elements.
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Violet Bast: The application of three quantitative methodologies through a workshop model approach result in volumetric outputs of a process that investigate form dimension, location, orientation, height, and elevation. In this initial exercise, a quantitative methodology is a productive way to begin the process of producing a form, as it reinterprets any sort of subjective input. The outputs of these methodologies act as graphic devices to give information about specific scenes through the hierarchy of architectural elements.
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Violet Bast: The application of three quantitative methodologies through a workshop model approach result in volumetric outputs of a process that investigate form dimension, location, orientation, height, and elevation. In this initial exercise, a quantitative methodology is a productive way to begin the process of producing a form, as it reinterprets any sort of subjective input. The outputs of these methodologies act as graphic devices to give information about specific scenes through the hierarchy of architectural elements.
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Violet Bast: The application of cinematic aesthetic techniques through a horror film scene initiates the investigation of how a filmmaker might analyze a scene, rather than an architect. Both disciplines are firmly anchored to location and setting, yet each engage and construct their worlds with distinctive characteristics and opportunities. In this exercise, it is vital to learn how to read and draw a movie, rather than simply watch it.