ABSTRACT
The focus of Perec's le cinématographe film is in part on the banality of the everyday environment and everyday life. But a cinematic approach to everyday life and architecture implies an interdisciplinary approach or a form of 'indiscipline', experiencing the turbulence or incoherence at the inner and outer boundaries of disciplines whereby a set of collective practices triggers a moment of breakage or rupture, when the continuity is broken and the practice comes into question. From an architect's perspective, one of the key aims of this book is to address the question of post-occupancy, which is a real challenge to architecture. So over the last 120 years, film-makers have archived, expressed, characterized, interpreted and portrayed hundreds of thousands of buildings. Films constitute the most comprehensive lived-in building data in existence – a largely ignored and untapped resource that can be mined in many different ways, and this constitutes the central hypothesis of the book.
