An have provided a more sophisticated renderings of

An architectural education, the Roman author Vitruvius argued, must not to be limited to drawing and geometry, but should also include history, philosophy, music, medicine, law and physics. Vitruvius was aware that these requirements were tough, so excellence in each discipline was not expected.Instead, the architect should possess “a fairly good knowledge of those parts, with their principles, which are indispensable for architecture.” (Vitruvius, 1960, p.5)

To Vitruvius’ subjects, outlined over two thousand years ago, we should offer a modern addition, indispensable for a comprehensive architectural education: knowledge of the cinema. This is partly because of films exception ability to depict three-dimensional space. Bruno Taut argued in 1920 that a student seeking ” a lively notion of the true essence of architecture” must study film to “free himself of the pictorial notions fostered hitherto by perspective renderings.” (Taut cited in Neuman,1996, p.183) Since then, computer-aided design technology may have provided a more sophisticated renderings of space, yet cinema retains other advantages. Any substantive account of of how we now experience space must assess how such encounters are mediated. This slots into a wider, often neglected, architectural tradition. The history of architecture  includes the representation of space on canvas, on the page and on the screen. Architectural thinking takes pace across a variety of forms. As Katherine Shonfeld  points out, our culture contains “an untapped spatial and architectural understanding. The site of this understanding is in its fictions.” (Shonfeld, 2000, p.173) Wim Wenders agrees: ” architects who are interested in the city planning ought to know something about paintings and music and cinema. How else are they going to be able to talk about cities and the people who live in them?”( Wenders, 2001, p. 384 )

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