Iceland Movie Pavilion

“In architecture, concepts can either proceed or follow buildings… In other words, theoretical concepts may be either applied to a project or be derived from it.”

Quite often they cannot be made so clearly and the two can co – exist, or, can become totally interdependent. For example, a cinematographic approach may relate to an architectural vision or intuition and then through diagrammatic generic operations, this can be transformed into a well-developed concept for the building. The user gets an evoking experience while the spatial planning transmits a meaning to them through the created environment; Architecture provides them with context around their experience. The promenade that “violates” the whole building, offers a genuine movement of bodies into an architectural solid that is later divided and separated into fragments of spaces; Which comes first? Which moulds the other, space or movement?… For they are deeply binded in the same set of relationship.

The Pavilion is not the random accumulation of spaces; It represents a particular arrangement of movements and happening events. Architecture of the Pavilion begins to act as a series of surprising events, where space is carefully broken apart and then reassembled at its limits.

Through the phenomenological theory and approach, the integration of sensory perception was treated as a priority characteristic within the creation of the function as a built form. Through the manipulation of volumes and space, light and shadow, architecture is able to create a memorable encounter through an impact on the human senses. While walking and experiencing the pavilion, the mind of the explorer goes through architectural jump – cuts, where each frame is isolated from the next but yet united with one – another on a bigger scale.