Films convey narratives through spatial and temporal representation, much like architecture.
As storytelling mediums, both forms become frames of reference for experiential settings and shape our social and conscious collective.
The cinematic space, much like the architectural space triggers back physicality in the viewer and becomes a kinesthetic experience. Unlike other two-dimensional art forms, it is viewed from the muscles and skin, as much as the eyes.
All architecture is formed by either addition or reduction of mass. From ancient caves in mountain sides to contemporary sky scrapers, this aspect of manipulation of material and mass across spatial configurations remains constant. An act which is akin to adding or removing frames to build a scene in filmmaking. We choose to explore this elemental aspect of our profession and the liberty in expression of film to articulate the story of an ancient Indian building type, the Chaitya (a monastery), almost always existing as a rock cut structure of detailed sculptural relics.
We are rendering the story of heavy mass architecture, but lightly- almost as though one is seeing X-ray vision. The rock disappear, space is carved put of a bamboo scaffolding filigree; the jute fabric evokes a sense of enclosure. The cinematic space does not systematically need to prove a link to reality and context, it has the liberty to animate with expression unlike the architectural space- to be as imagined instead of as is.
This lightweight articulation of materials allows for sway as a reaction to winds; making this pavilion a typical city story- one reflects on how these materials are omnipresent in the rapidly developing cityscape.
At SPASM, we are bowing to nature, allowing for our architecture to have a controlled play with its elements instead of resistance. Ultimately, the mouth this sacred cave frames the most prominent tree on the acreage- a bodhi tree- peepal.
We are consciously dedicated to conveying narratives that are rooted to “Indianness”, while we express architectural dualities of mass and void, light and shade.
The space behaves as a fleeting animal- caged. This story is about nurturing the ever-present dialogue of architecture and nature.
Bear in mind: “There is no Planet B.”