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Beyond the Intersecting Plane

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dc.contributor.advisor Wood, Peter
dc.contributor.author Blaza-Forest, Olivia
dc.date.accessioned 2012-12-09T22:36:36Z
dc.date.accessioned 2022-11-01T23:45:32Z
dc.date.available 2012-12-09T22:36:36Z
dc.date.available 2022-11-01T23:45:32Z
dc.date.copyright 2012
dc.date.issued 2012
dc.identifier.uri https://ir.wgtn.ac.nz/handle/123456789/28211
dc.description.abstract The Architect uses the intersecting plane – the section - to explore elements that are hidden from the eye; by slicing through to the concealed. The Painter uses it as a canvas in which to tell the story only the eye is afforded to see. The Director’s is often dynamic and must always shift to a narrative. When said director is Wes Anderson however, these delineations are negotiated. Filmmaker Wes Anderson’s intersecting plane is an architectural section of a fictional environment. Attention is drawn not only to a portrayed film reality, but to the illusive reality attached to it. In a cinematic culture obsessed with creating seamless visual illusion, he pans the camera back so the audience sees beyond the frame; revealing sincerity in the form of architectural clarity and play in its breaking of the fourth wall. Critical architectural representation vs. poetic perspective becomes a dialogue when in the form of a Wes Anderson section. Anderson’s auteuristic vision goes beyond merely ‘placing’ audience at the edge of a scene. Guided by his unique narrative, the camera moves from the poetic space to critical architecture; moving in and out of a scene, panning up, down and across, from the painter’s perspective to the architect’s section cut. If the body is a camera, we too move, as a conscious architectural audience, from the poetic to the critical, narrating for ourselves the spaces that move us, the scenes that give us context. Through the exploration and understanding of Anderson’s objectives in exercising the architect’s section it is hoped that a paradigm for overlapping poetry and criticism can be ascertained. This research asks ‘what if’ architecture was approached with a filmmaker’s understanding of section. What forms and expressions must this provoke, to propose an architecture where the inhabitant experiences not only the architect’s architecture, but the painter’s and director’s also; as inhabitants of poetry and criticism. en_NZ
dc.format pdf en_NZ
dc.language en_NZ
dc.language.iso en_NZ
dc.publisher Te Herenga Waka—Victoria University of Wellington en_NZ
dc.rights Access is restricted to staff and students only. For information please contact the library. en_NZ
dc.subject Architecture en_NZ
dc.subject Film en_NZ
dc.subject Wes Anderson en_NZ
dc.title Beyond the Intersecting Plane en_NZ
dc.type Text en_NZ
vuwschema.contributor.unit School of Architecture en_NZ
vuwschema.subject.marsden 310101 Architecture en_NZ
vuwschema.subject.marsden 310199 Architecture and urban environment n.e.c. en_NZ
vuwschema.type.vuw Awarded Research Masters Thesis en_NZ
thesis.degree.discipline Architecture en_NZ
thesis.degree.grantor Te Herenga Waka—Victoria University of Wellington en_NZ
thesis.degree.level Masters en_NZ
thesis.degree.name Master of Architecture (Professional) en_NZ

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