Condiciones cinematográficas en la percepción del espacio arquitectónico: De El hombre de la cámara de Dizga Vertov (1929) al espacio cinematográfico de Le Corbusier (1930)

Laburpena

Dizga Vertov showed in The Man with the Movie Camara (1929 ), the ability of independent documentary to be separated from a script, the participation of professional actors and a stage of lming, revalidating the predominance of montage as cinema itself against process the interpretation of “stories” . So approached this lm essay to real life in the city and its architecture as a stage. Stage / Architecture seen from its status kinetic vitality. Moreover, within the architectural avant-garde experiences , Le Corbusier movement welcomed the requirement as their own in the design and perception of architectural space. He endowed “time” their musical purists 1923-1929 , while a necessary condition space to be perceived in a “ sequence “ that he called “ promenade architecturale“ . It would be in 1930 when André Bloc ─ editor of the magazine Architecture d’ Aujourd’hui (1929 ) ─ he hired lmmaker Pierre Chenal for , with Le Corbusier, and Chenal same writer , roll three documentaries on modern architecture . Thus, Le Corbusier was able to explain , in the cinematic vision , the temporal and kinetic perception of their architectures and turn the architectural space in Architecture / Stage .The paper analyzes Vertov ‘s documentaries and Chenal / Le Corbusier as a “tool” that allowed show the dynamic dimension of urban and architectural space ; and concludes with the study of the interference of this dual relationship, Architecture / Cinema and Film / Architecture, in a period when the space was consciously designed visually from its angular / temporal requirement , approaching the Film category.