The Language of Architecture Trailers

In 1965, Jan Svankmajer directed a short film titled ‘J.S. Bach, Fantasia in G Minor’. An accurate montage of music and images gifted Architecture an atmosphere.  [J.S. Bach, Fantasia in G Minor_Jan Svankmajer]

A personal way of seeing the world might be thought as the mere result of an individual observation that lead to creating a limit to the objective understanding of space; I wonder if one day the eternal conflict between objects and subjects will bring a vision to life that communicates ideas in the purest form.

Architecture increasingly employs impersonal videos to flying through soulless places, immaculate rooms in which a sense of exasperating serenity is paralysed in motionless actions. Buildings are presented as movie trailers filled with special effects, breathtaking scenarios and charming actors who play the role of forever-smiling people engaged in amusing digital activities. The soundtrack of these film sets often swings between ambient and chill-out, and creates an airport terminal atmosphere that flatten emotions as cardboard boxes under the pressure of an overwhelming objectification.  [Latin American Art Museum_Fernando Romero Enterprise]

If communication goes beyond the sphere of metalanguage, then the sound of our words might not necessarily be identical to the one million [probably more] other voices that inhabit the earth; perhaps our way to communicate is unique because that is our way to compose and play melodies of sentences.

Places should be imagined as the music of our lives, where a crescendo transforms into a tango and a guitar chord into the lengthen whistle of a solo jazz; a relentless succession of tones that does not stop with the arrival of the black screen that announces ‘THE END’.


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