ABSTRACT
A cinematic approach to everyday life and architecture implies a focus on everyday environmental experiences and situations of people in the built environment. The process of closing the loop implies eliciting potential avenues for the post-occupancy studies of everyday life in architecture. Computer Aided Design (CAD) tools have failed creative architects, because they do not incorporate new artistic thinking, rooted in scenographic and cinematic practice, into architectural design, visualization and communication. Film not only models the deep structure of everyday life in the form of architecturally expressed narratives, but can also reveal social practices where social relations are spatially organized. The modes of experiencing architecture and cinema become identical in the mental space, which meanders without fixed boundaries. This form of 'mental meandering' is crucial to the understanding of architectural situations elicited through film by its performative character.
