Filmiska landskap
The title of the final thesis is Filmic landscapes – film as representation, tool and practice in landscape architecture. The aim of the final thesis is to investigate how film as a medium can be used to describe, interpret and manipulate the understanding of a place and its design. What kind of a...
| Autor principal: | |
|---|---|
| Formato: | Otro |
| Lenguaje: | sueco sueco |
| Publicado: |
2006
|
| Materias: | |
| Acceso en línea: | https://stud.epsilon.slu.se/11087/ |
| _version_ | 1855571805396271104 |
|---|---|
| author | Fridh, Sara |
| author_browse | Fridh, Sara |
| author_facet | Fridh, Sara |
| author_sort | Fridh, Sara |
| collection | Epsilon Archive for Student Projects |
| description | The title of the final thesis is Filmic landscapes – film as representation, tool and practice in landscape architecture.
The aim of the final thesis is to investigate how film as a medium can be used to describe, interpret and manipulate the understanding of a place and its design. What kind of aspects of landscape architecture can film as a medium in a design-process emphasize or create? How can filming, as a self-standing act, contribute to the understanding of the landscape and a landscape-related design-process?
The thesis is divided into two parts, one theoretical part that consists of an essay, and one practical part that consists of a 11minute long filmic reflection of the 'Glass-houses'in Kosta, Sweden, created by the Swedish designer and architect Bruno Mathsson. The thesis is to be understood as a whole, where the two parts refer to each other. The thesis is also to be understood as an experiment, where the process has been as important as the end result.
During the autumn of 2004 I got in contact with Inger Åhlin and Benjamin Bankhead, who work as project-leaders for the project "Bruno Mathssons'Glass Houses in Kosta" (a project for renewal and restoration of the Houses). I thought this building and its specific context would serve well as a suitable and provocative starting point for a filmic investigation.
The theoretical part is disposed as a wide study of the film medium, of modernity and landscape. Instead of limiting my study to one of these areas, my aim has been to make a connection between the three aspects, and this through a comparative analysis of selected works of Ingmar Bergman and Bruno Mathsson. In the text, I discuss the characteristics of film as a medium, as well as its relation to architectural modernism. I also explore the role of film as a mediator and representation of landscape views. In order to achieve a deeper understanding for the filmic language and narrative logic, I discuss how film has been used both to reinforce and problematize the traditional Swedish look upon nature and lansdscape.
The discussion leads forward to the section about Bruno Mathsson, and his special interpretation of the relation between modernism, human and nature-landscape.
His 'Glass Houses'in Kosta constitutes the foundation for the practical film-work, which is also discussed and described in the final part of the essay. This section mainly discusses the possibilities and problems in the practical film-work and techniques, as well as in the active reflecting upon film as representation.
Thepractical part, finally, consists of the production of a film, where I explore how film can be used as a tool and as a self-standing act in the understanding, analysis and future design of a physical environment. This investigation aims to increase my own understanding of landscape as representation, and of how film can be used to change and develop this understanding. The aim of the practical investigation is also to learn more about the technical possibilities of film through a conscious work with montage, selecting process, sound and picture. Thus, the film is a reflection on subjectivity and on the power of representation. The choice of film as medium potentially unveils new aspects of the interpretation of the 'Glass Houses'in Kosta, and the result is a filmic interpretation of a modernistic building and its relation to the surrounding landscape and to the human being.
Through this wide comparison between film, landscape and modernity, I will in this thesis argue that film is an excellent tool for developing one's knowledge and understanding of the landscape. As tool and practice, film contributes to rouse more questions around landscape and spatial constructions. I also believe that film may actualize the communication between sender and receiver in a design situation. My opinion is that the choice of film as medium contribute with new aspects on the building and the landscape. In the essay, I argue that film is useful in the way it can reflect our ideas about society, human being and landscape. |
| format | Otro |
| id | RepoSLU11087 |
| institution | Swedish University of Agricultural Sciences |
| language | Swedish swe |
| publishDate | 2006 |
| publishDateSort | 2006 |
| record_format | eprints |
| spelling | RepoSLU110872017-09-29T08:53:21Z https://stud.epsilon.slu.se/11087/ Filmiska landskap Fridh, Sara Landscape architecture The title of the final thesis is Filmic landscapes – film as representation, tool and practice in landscape architecture. The aim of the final thesis is to investigate how film as a medium can be used to describe, interpret and manipulate the understanding of a place and its design. What kind of aspects of landscape architecture can film as a medium in a design-process emphasize or create? How can filming, as a self-standing act, contribute to the understanding of the landscape and a landscape-related design-process? The thesis is divided into two parts, one theoretical part that consists of an essay, and one practical part that consists of a 11minute long filmic reflection of the 'Glass-houses'in Kosta, Sweden, created by the Swedish designer and architect Bruno Mathsson. The thesis is to be understood as a whole, where the two parts refer to each other. The thesis is also to be understood as an experiment, where the process has been as important as the end result. During the autumn of 2004 I got in contact with Inger Åhlin and Benjamin Bankhead, who work as project-leaders for the project "Bruno Mathssons'Glass Houses in Kosta" (a project for renewal and restoration of the Houses). I thought this building and its specific context would serve well as a suitable and provocative starting point for a filmic investigation. The theoretical part is disposed as a wide study of the film medium, of modernity and landscape. Instead of limiting my study to one of these areas, my aim has been to make a connection between the three aspects, and this through a comparative analysis of selected works of Ingmar Bergman and Bruno Mathsson. In the text, I discuss the characteristics of film as a medium, as well as its relation to architectural modernism. I also explore the role of film as a mediator and representation of landscape views. In order to achieve a deeper understanding for the filmic language and narrative logic, I discuss how film has been used both to reinforce and problematize the traditional Swedish look upon nature and lansdscape. The discussion leads forward to the section about Bruno Mathsson, and his special interpretation of the relation between modernism, human and nature-landscape. His 'Glass Houses'in Kosta constitutes the foundation for the practical film-work, which is also discussed and described in the final part of the essay. This section mainly discusses the possibilities and problems in the practical film-work and techniques, as well as in the active reflecting upon film as representation. Thepractical part, finally, consists of the production of a film, where I explore how film can be used as a tool and as a self-standing act in the understanding, analysis and future design of a physical environment. This investigation aims to increase my own understanding of landscape as representation, and of how film can be used to change and develop this understanding. The aim of the practical investigation is also to learn more about the technical possibilities of film through a conscious work with montage, selecting process, sound and picture. Thus, the film is a reflection on subjectivity and on the power of representation. The choice of film as medium potentially unveils new aspects of the interpretation of the 'Glass Houses'in Kosta, and the result is a filmic interpretation of a modernistic building and its relation to the surrounding landscape and to the human being. Through this wide comparison between film, landscape and modernity, I will in this thesis argue that film is an excellent tool for developing one's knowledge and understanding of the landscape. As tool and practice, film contributes to rouse more questions around landscape and spatial constructions. I also believe that film may actualize the communication between sender and receiver in a design situation. My opinion is that the choice of film as medium contribute with new aspects on the building and the landscape. In the essay, I argue that film is useful in the way it can reflect our ideas about society, human being and landscape. Huvuduppgiften med examensarbetet är att utforska hur film som medium kan användas för att beskriva, tolka eller manipulera förståelsen för en miljö och dess design. Vilka aspekter på landskapsarkitektur kan film som medium i en design- eller planeringsprocess understryka eller skapa? Hur kan film, som en självständig handling, bidra till förståelsen av landskapet och en landskapsrelaterad designprocess? Examensarbetet är uppdelat i två delar; en teoretisk del som utgörs av denna uppsats, samt en praktisk del som utgörs av en 11 minuter lång filmisk betraktelse av den svenske formgivaren och arkitekten Bruno Mathssons glashus i Kosta. Arbetet ska förstås som en helhet, där den teoretiska och den praktiska delen refererar till varandra. Den teoretiska delen består av en uppsats upplagd som en bred studie kring filmmediet, moderniteten och landskapet. Snarare än att gå på djupet med vart och ett av dessa ämnesområden, gör jag, genom en analys av arbeten av två av dess företrädare, Ingmar Bergman och Bruno Mathsson, en sammankoppling mellan dessa. Texten diskuterar de för film unika egenskaperna, och filmens koppling till modernismen som idé. Filmens roll som förmedlare och representation för idéer och landskap utforskas. För att få en ökad förståelse för vilken roll filmens narrativa logik kan spela för synen på landskapet har jag studerat filmmediet i relation till den svenska landskapssynen, i huvudsak genom en fördjupad studie av filmskaparen Ingmar Bergman och hans sätt att använda landskap i film. Denna diskussion leder vidare till avsnittet om formgivaren och arkitekten Bruno Mathsson, och hans speciella uttolkning av förhållandet mellan modernism, människa och naturlandskap. Formgivaren och arkitekten Bruno Mathssons glashus i Kosta som sedan ligger till grund för det praktiska filmarbetet, beskrivs och diskuteras också i uppsatsen. Diskussionen kring detta tar främst fasta på möjligheter och problem i det praktiska filmarbetet och teknikanvändandet, samt i det aktiva reflekterandet över film som representation. Den praktiska undersökningen består av en kortfilm där jag utforskar hur film kan användas som verktyg och medveten handling i förståelse, analys och framtida design av en fysisk miljö. Denna undersökning syftar till att öka min egen förståelse för landskapet som representation, samt för hur film kan användas för att förändra och fördjupa denna. Den praktiska undersökningen omfattar också en fördjupning i filmens tekniska möjligheter och av ett medvetet arbete med montage, urvalsprocess, ljud och bild. Filmen utgör således en praktisk reflektion över subjektivitet och representationens kraft. Innehållsligt är temat för filmen en problematisering av formgivaren och arkitekten Bruno Mathssons glashus i Kosta, ett svenskt exempel på en modernistisk byggnad som tar sin utgångspunkt i förhållandet mellan människan och hennes omgivning. Genom examensarbetets brett upplagda jämförelse och diskussion kring film, landskap och modernitet, kommer jag att föra fram åsikten att film är ett utmärkt verktyg för att fördjupa kunskapen om och förståelsen för landskapet. Filmen kan bidra till att fler frågeställningar kring landskapliga och rumsliga konstruktioner väcks. Slutsatsen är även att filmen kan medvetandegöra kommunikationen mellan användare och mottagare i en designsituation. I uppsatsen för jag fram åsikten att film är användbart på så sätt att den kan fungera som en spegel av föreställningar om samhället, människan, och landskapet. Studier av film ur ett landskapsperspektiv kan ge en ökad förståelse för kopplingen mellan landskap, modernitet och människosyn. 2006-10-23 Other NonPeerReviewed application/pdf sv https://stud.epsilon.slu.se/11087/1/fridh_s_170929.pdf Fridh, Sara, 2006. Filmiska landskap : film som representation, verktyg och handling i landskapsarkitektur. UNSPECIFIED, Alnarp. Alnarp: (LTJ, LTV) > Dept. of Landscape Architecture, Planning and Management (from 130101) <https://stud.epsilon.slu.se/view/divisions/OID-644.html> urn:nbn:se:slu:epsilon-s-7290 swe |
| spellingShingle | Landscape architecture Fridh, Sara Filmiska landskap |
| title | Filmiska landskap |
| title_full | Filmiska landskap |
| title_fullStr | Filmiska landskap |
| title_full_unstemmed | Filmiska landskap |
| title_short | Filmiska landskap |
| title_sort | filmiska landskap |
| topic | Landscape architecture |
| url | https://stud.epsilon.slu.se/11087/ https://stud.epsilon.slu.se/11087/ |