“‘Path’ is the imaginary path followed by the eye and the varying perceptions of an object that depends on how it appears to the eye. Nowadays [1938] it may also be a path followed by the mind across a multiplicity of phenomena. Far apart in time and space, gathered in a certain sequence into a single meaningful concept; and these diverse impressions pass in front of an immobile spectator.”

“Painting has remained incapable of fixing the total representation of a phenomenon in its full visual multidimensionality. (There have been numberless attempts to do this). Only the film camera has solved the problem of doing this on a flat surface, but its undoubted ancestor in this capability is – architecture, the Greeks have left us the most perfect examples of shot design, change of shot, and shot length (that is, the duration of a particular impression). The Acropolis of Athens has an equal right to be called the perfect example of one of the most ancient films.”

Discontinuous montage: Dziga VertovEpic Montage: Vsevold Pudovkin, means of unrolling an idea with single shotsParallel action: D.W. Griffith[Elements of montage are an] “Inflexible letter of the alphabet”, Sergei EisensteinDramatic montage: the collision of independent shots – shots even and opposite to one another.

“Explosion”, “ecstatic transfiguration”: Eisenstein’s method of critical analysis. This method is continuous with methods of montage and provides a dialectic leap from quantity to quality. It is a dramatic integration of its components.

“by what then is montage characterized and, consequently, its cell – the shot?By collision. By the conflict of two pieces in opposition to each other. By conflict. By collision.”

Intellectual montage: juxtaposition/ conflict of intellectual stimuli that accompany each other

“In nature we never see anything isolated, but everything in connection with something else which is before it, beside it, under it, and over it.”

BaldacchinoEight shots, eight montage sequences of a whole montage scenario. Same general design but they differ in their component details.“Satira marmoreal Tremenda”“A tremendous satire in marble”

Carcere Oscuro / CarceriCarceri etchings are elements of a single montage sequence based on technique of intellectual montage: the juxtaposition and conflict of intellectual stimuli which accompany each other. The path followed by the mind across a multiplicity of phenomena.

AcropolisThe spectator moves between a series of carefully dispersed phenomena that are absorbed sequentially.

By deconstructing the elements of montage (Eisenstein, Kulashov) and the conditions of the platonic city (ancient and contemporary), one is able to understand the fundamental principles of both montage and the city and can see the relationships between the two more clearly.

By understanding the position of montage in relationship to architecture and the city , the theory and techniques of montage can be adapted and used as a set of abstract principles in the assemblage of space engaged in a dialectic relationshp with that which motivates it. Something beyond or external: geographically, politically, temporally, allegorically.

Principles of montage are a scaffold. Traces can be seen but it Is not the focus. It is a tool to structure thought, meaning, relationships and space. Montage will act as a provocetuer.

Research will consist of documentation and analysis of elements and works of architecture that emplow the principles of montage through the examination of works and elements of pre-cinematic architecture that employs cinematic techniques a contemporary method of drawing “the city” will emerge.

If the cities we live in are becoming more and more homogenous, then the methods by which the cities develop are becoming more and more homogenous.

Eisenstein’s classification of montage and the developments of his techniques grew out of a critical analysis of literature, painting, and architecture.

Montage is, with out being placed in any one facet of the arts, but in the category of the arts itself (along with architecture), a technique to create dialectic relationships which appear at the edge, where the collision of two elements in opposition to each other create conflict.

The Baldaccino at St. Peters Cathedral, the Acropolis of Athens, and Pilgrimage routes around the world, operate with in the conceptual framework of Eisenstein’s intellectual montage theory. The Baldaccino operates at the scale of the assembled component details, which in their transformation and juxtaposition create an allegory that references events that took place before the construction. The Acropolis is a complex choreography of sight and body across and through an architectural still life composed of interior and interstitial spaces that address each other and frame places and objects within and beyond the hill. Pilgrimage routes around the world link places of historical and spiritual significance together in a sequence that slowly increases a spiritual comprehension of the whole, culminating with a votive object or space where each sight and place along the path, leading up to the end is recalled and transformed.With in each of these three examples of intellectual montage there is a method to be extracted and implemented elsewhere, to create a complete set of spatial relationships that are working, simultaneously at the scale of the detail, the site and the path, with many sites strung out along it.

“Path” is the imaginary path followed by the eye and the carrying perceptions of an object that depends on how it appears to the eye. Now a days [1938] it ma also be the path followed by the mind across a multiplicity of phenomena, far apart in time and space, gathered in a certain sequence into a single meaningful concept.

Deconstruction of montage in search of information and a conceptual basis of the development of a technique to allow the assemblage of an architectural space engaged in a dialectic relationship with places and histories at multiple points in time and geography that are beyond its own.

Broadway is identified as a specially and historically rich experience with the potential for the implementation of a deconstructed montage technique that has been re -framed with in the context of architecture.

What is the relationship between a pilgrimage sight and the path of Broadway?

What does one have to gain from juxtaposition with the other?

Broadway as a pilgrimage path. A spiritual experience connecting the traveler to “the city”. The “Path” of the eye, mind and body through a multiplicity of spatial and sensory phenomena.

“Path” is the imaginary path followed by the eye and the varying perceptions of an object that depends on how it appears to the eye. Now a days it may also be the path followed by the mind across a multiplicity of phenomena, far apart in time and space, gathered in a certain sequence into a single meaningful concept.

-Sergei Eisenstein

Inthedeconstructionofmontagethereisthesearchforaconceptualplatformforthedevelopmentofatechniquetoassembleanarchitecturalspaceorseriesofspacesalongapaththatareengagedinadialecticrelationshipwithplacesandhistoriesatmultiplepointsintimeandgeographythatarebeyonditsown. Broadway is identifiedasaspatiallyandhistoricallyrichexperiencewith thepotential for theimplementationofadeconstructedmontage theory thathasbeen re -framedwith in thecontextofarchitectureandthecity,creatinganexperiencethatconnectsthetravelertothecity.The“Path”oftheeye,mindandbody,moving throughamultiplicityofspatialandsensoryphenomena. What isproposedisarestructuring,theinversionofBroadway,are-orientation.ApassagefromNorthtoSouth.Thismovement isagainstacommercial/colonialreadingoftheMetropolis. Unifyingafragmentedpaththroughthecity.Aseriesofprojectivespace(s).Notgeneratedbyaselfreferential,internalizedlogicaimedataformalcomposition.

The Eye In the Camera and the Baldacchino : The DetailEightshots,eightmontagesequencesofawholemontagescenario.Samegeneraldesignbuttheydifferintheircomponentdetails.“SatiramarmorealTremenda”-“Atremendoussatireinmarble”Cinematicrepresentationobservedbythenakedeye,montage,frames,juxtaposition,impliedmovementincollisionofstillimages,montage.Anarrativeinspace,theBaldacchinocontainstheembodiedvoiceofGianLorenzoBernini.

The Theater In the Mind and the Acropolis : The SiteThespectatormovesbetweenaseriesofcarefullydispersedphenomenathatareabsorbedsequentially.Shotdesign,perception.Thetheaterintheeyeisthedramaofthemindthroughthesenseofsightandthepathoftheeyeandthemindthroughspace.TheAcropoliscontainstheembodiedvoiceofAtheniancollectiveworld-view.

The Slice In the Eye and Broadway : The PathBunuel’scuttingoftheeyeisthedestructionofthebeliefinsight.Thesliceintheeyerevealsthesightofthesubconscious.Broadwaycutsthroughthegrid; it isaninhabitable section through theorderof the city. InBroadway there is theembeddedvoiceof theinhabitantsof,andtravelersthrough,thecity.

Organization: Thebookisnotbound.Thepagesarefree.Thereisastructuretotheorganizationoftheelementsbuttheircompositewholeisamorphous.Ithasthecapacitytochange,tobere-organizedandre-read,toformnewmeaning,newknowledge.

Spatial:Theorganizationoftheelementsinawaythatisspatiallycontinuous.TomovealongBroadwayinasingledirection.FromSouthtoNorth.FromNorthtoSouth.

Typological:Organizationoftheelementsaccordingtotheirtypologicaldistinctions. Theplan:Theformofthecity Theplace:Space.Aplacetogather Theoccurrence:Peoplegather.Peopleparticipate.

Thestoryteller:Thestorytelleristheembodiedvoiceofthecity.ThesecharactersaretypesofinhabitantsoftheMetropoliswithoutspecificplaceortime.Eachhasavoice,thattellsastoryofadifferentcity.Theyprovideforusaneyetobeembodied.

Chronological:Synchronous.Movinglinearlyintime.Presenttopast.Pasttopresent.

Content:organizationoftheelementsofthebookbasedonthepotentialreadingsemergingfromtheconflictofonesjuxtapositionwithanother.

AHotel.Aplacetotellstories.

The Baldaccino at St. Peters Cathedral, the Acropolis of Athens, and Pilgrimage routes around the world, operate with in the conceptual framework of Eisenstein’s montage theory.

-The Baldaccino operates at the scale of the assembled component details, which in their transformation and juxtaposition create an allegory that references a series of events that took place before the construction.

-The Acropolis is a complex choreography of sight and body across and through an architectural still life composed of interior and interstitial spaces that address each other and frame places and objects within and beyond the hill.

-Pilgrimage routes around the world link places of historical and spiritual significance together in a sequence that slowly increases a spiritual comprehension of the whole, culminating with a votive object or space where each sight and place along the path, leading up to the end is recalled and transformed.

With in each of these three examples of montage theory, in architecture, there is a method to be extracted and implemented elsewhere. This would be in order to create a complete set of spatial relationships that are acting simultaneously at the scale of the detail, the site and the path, with many sites strung out along it. At each scale the selected conditions act in two ways. One: they are functional. They work as a road, a space, a detail. Two: they address places, events and sensations that are outside of the physical space and time that each condition inhabits.

“Path” is the imaginary path followed by the eye and the varying perceptions of an object that depends on how it appears to the eye. Now a days it may also be the path followed by the mind across a multiplicity of phenomena, far apart in time and space, gathered in a certain sequence into a single meaningful concept.

The deconstruction of montage is the search for a conceptual platform for the development of a technique to assemble an architectural space or a series of spaces along a path that are engaged in a dialectic relationship with places and histories at multiple points in time and geography that are beyond its own.

Broadway is identified as a spatially and historically rich experience with the potential for the implementation of a deconstructed montage technique that has been re -framed with in the context of architecture and the city.

What is the relationship between a pilgrimage path and the path of Broadway? What does one have to gain from juxtaposition with the other?

Broadway as a pilgrimage path. A spiritual experience connecting the traveler to “the city”. The “Path” of the eye, mind and body, on a pilgrimage through a multiplicity of spatial and sensory phenomena.

The Baldacchino at St. Peters Cathedral, the Acropolis of Athens, and Pilgrimage routes around the world, operate with in the conceptual framework of Eisenstein’s montage theory.

-The Baldacchino operates at the scale of the assembled component details, which in their transformation and juxtaposition create an allegory that references a series of events that took place before the construction.

-The Acropolis is a complex choreography of sight and body across and through an architectural still life composed of interior and interstitial spaces that address each other and frame places and objects within and beyond the hill.

-Pilgrimage routes around the world link places of historical and spiritual significance together in a sequence that slowly increases a spiritual comprehension of the whole, culminating with a votive object or space where each sight and place along the path, leading up to the end is recalled and transformed.

With in each of these three examples of montage theory, in architecture, there is a method to be extracted and implemented elsewhere. This would be in order to create a complete set of spatial relationships that are acting simultaneously at the scale of the detail, the site and the path, with many sites strung out along it. At each scale the selected conditions act in two ways. One: they are functional. They work as a road, a space, a detail. Two: they address places, events and sensations that are outside of the physical space and time that each condition inhabits.

“Path” is the imaginary path followed by the eye and the varying perceptions of an object that depends on how it appears to the eye. Now a days it may also be the path followed by the mind across a multiplicity of phenomena, far apart in time and space, gathered in a certain sequence into a single meaningful concept.

The deconstruction of montage is the search for a conceptual platform for the development of a technique to assemble an architectural space or a series of spaces along a path that are engaged in a dialectic relationship with places and histories at multiple points in time and geography that are beyond its own.

Broadway is identified as a spatially and historically rich experience with the potential for the implementation of a deconstructed montage technique that has been re -framed with in the context of architecture and the city.

What is the relationship between a pilgrimage path and the path of Broadway? What is to be gained by the juxtaposition of one with the other?

Broadway as a pilgrimage path. A spiritual experience connecting the traveler to “the city”. The “Path” of the eye, mind and body, on a pilgrimage through a multiplicity of spatial and sensory phenomena.

The Baldacchino at St. Peters Cathedral, the Acropolis of Athens, and Pilgrimage routes around the world, operate with in the conceptual framework of Eisenstein’s montage theory.

-The Baldacchino operates at the scale of the assembled component details, which in their transformation and juxtaposition create an allegory that references a series of events that took place before the construction.

-The Acropolis is a complex choreography of sight and body across and through an architectural still life composed of interior and interstitial spaces that address each other and frame places and objects within and beyond the hill.

-Pilgrimage routes around the world link places of historical and spiritual significance together in a sequence that slowly increases a spiritual comprehension of the whole, culminating with a votive object or space where each sight and place along the path, leading up to the end is recalled and transformed.

With in each of these three examples of montage theory in architecture there is a method to be extracted and implemented elsewhere. The implementation of a set of dialectic relationships growing out of a technique extracted from the theory of montage that moves freely between the scale of the detail, the site, and the path, would create a “total space” engaging the site, the city and the traveler. At each scale the selected conditions act in two ways. One: they are functional. They work as a road, a space, a detail. Two: they address places, events and sensations that are outside of the physical space and time that each condition inhabits.

“Path” is the imaginary path followed by the eye and the varying perceptions of an object that depends on how it appears to the eye. Now a days it may also be the path followed by the mind across a multiplicity of phenomena, far apart in time and space, gathered in a certain sequence into a single meaningful concept.

The deconstruction of montage is the search for a conceptual platform for the development of a technique to assemble an architectural space or a series of spaces along a path that are engaged in a dialectic relationship with places and histories at multiple points in time and geography that are beyond its own.

Broadway is identified as a spatially and historically rich experience with the potential for the implementation of a deconstructed montage theory that has been re -framed with in the context of architecture and the city.

What is the relationship between a pilgrimage path and the path of Broadway? What is to be gained by the juxtaposition of one with the other?

Broadway as a pilgrimage path. A spiritual experience connecting the traveler to “the city”. The “Path” of the eye, mind and body, on a pilgrimage through a multiplicity of spatial and sensory phenomena.

The Eye In the Camera and the Baldacchino

Eight shots, eight montage sequences of a whole montage scenario. Same general design but they differ in their component details.“Satira marmoreal Tremenda”“A tremendous satire in marble”Cinematic representation observed by the naked eye, montage, frames, juxtaposition, implied movement in collision of still images, montage. A narrative in space that is captured in cinematic representation as a

JamesJ.Hamilton

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ISSUE

Contemporaryurbanandarchitecturaldevelopmentslackmeaning / content

ANALYSIS

Meaningandcontentemerge/develop/growoutofengaginginadialecticrelationshipwithsomethingbeyonditself.

Montageisadialectictechniqueusedtocreatemeaning/content,attheedge,wherethecollisionoftwoelements in oppositiontoeachothercreatesconflict.

Precinemaarchitecturehasusedparalleltechniquestoimbed/develop/generatemeaning/content/allegoryinitsformandthespaceitcreates.

THESIS

A re-invention of pre-cinema and cinematic dialectic /montage techniques in architecture, throughanalysis,groundedinaninvestigationof“the city”;it’sformandstimuliwillenablethere-emergence/insertion/development/growthofmeaning/contentinthecontemporary urban project.

BadbadbadbadbadbadUnclear,refine,specify