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Hong Kong presents a prime location for a deep exploration of the intersections between film, architecture, and the city. It houses a thriving film industry which heavily relies on on-location shooting for its productions, producing filmic narratives and spaces that in turn reflect back onto the city and its perception. It is also a city that through its extreme density offers a large variety of spatial conditions within a very compressed territory that are primarily experienced on foot or through public transport. In response to climatic conditions and driven by economic opportunism, pedestrian circulation in Hong Kong developed a high degree of complexity. The three-dimensional network which includes underground tunnels, elevated walkways and passages through private buildings provides for movement both between, as well as cutting across buildings. The resulting intensity and diversity of spatial experience is what endows Hong Kong with a strong cinematic character. Comprised of an intensely layered urban structure, the city holds a multitude of potential experiential sequences. Through my work on Hong Kong I have introduced the concept of Kinesthetic Montage to describe the cinematic experience that is produced and perceived by the walking human body as it moves through these spaces.

Hong Kong’s character evades both traditional Eurocentric conceptions of cities, as well as conventional forms of architectural representation; it is more layered, hybridized, fragmented, and simultaneously highly connected than what can be grasped by the usual tools. Film presents itself as a perfect match to capture the unique nature of these spaces, both empirically as well as conceptually, and to make them available for architectural re-imagination through design. In my teaching on cinematic space through seminars and design studios over the past ten years, film has proven to be incredibly effective in synthesizing students’ embodied experience, intuitive understanding, reflective conceptualization and creative re-invention of Hong Kong’s unique spatial qualities.

In fall 2017 and fall 2018 respectively, I had the opportunity to integrate the medium film for the first time in a design studio pedagogy, within the framework of two traveling research studios with Hong Kong as the studio project location. Both studios included a one week trip to Hong Kong, with 12 students participating each time, comprised of a mix of undergraduate and graduate students in their final year.

These studios explored the unique relationship between film, dense urban space and movement in Hong Kong by conducting design research on filmic space and architecture, by engaging in a cinematic experience of the city’s urban space through the walking body, by capturing and analyzing

2021 ACSA Creative Achievement Award Submission

KINESTHETIC MONTAGE HONG KONG

Esther LorenzAssistant ProfessorSchool of ArchitectureUniversity of Virginia

this experience through the experimental use of film, and by deducting and further developing implied architectural design principles, which were then tested and applied in a design proposal on a project site in Hong Kong.

These studios sit in a long lineage of architectural pedagogies that experiment with film making in a design studio setting. What they contribute to this continuing exploration and discussion, is the strong link between embodied experience, conceptual thinking, filmic creation and architectural design that is driven by the notion of Kinesthetic Montage in relation to the city of Hong Kong, and exemplified in the outcomes of the two design studios presented here. The investigation simultaneously engages in a deep re-examination of architectural fundamentals such as dimension, direction, composition, light, material, sequence etc. and their impact on human space perception, as well as in the understanding of a complex, hybrid, high-density urban environment and the aesthetic experience thereof. The approach is intimately connected with the urban reality of Hong Kong. It presents an effective method of urban and architectural design research for this particular city in grasping its unique spatial characteristics that tend to evade traditional methods of survey and analysis, and a process of design that taps into the full potential of spatial imagination that grows from its very own urban vernacular.

The work resulting from the studios and further design research has been shared with larger audiences at University of Virginia and beyond, through film screenings and a dedicated exhibtion, and recognized nationally and internationally through awards for five of the students’ projects, student interviews and a student paper publication. The work has also resulted in an invitation for exhibition at the Hong Kong Biennale and a peer-reviewed selection for exhibition at the ACCelerate Creativity and Innovation Festival at the Smithsonian National Museum of American History. In fall 2018, a selection of ten student short films resuting from the studios were screened at the 31st Virginia Film Festival in a designated program. Based on this exposure, I was invitated to a symposium on New Practices in Hong Kong Architecture at the Center of Architecture in New York. I have continued to develop and further develop aspects of the design pedagogy in a seminar format, and presented a conference paper on “Architectural and Design Research through the Creative Use of Film” elaborating on the studios’ approach, outcomes, and impact on the learning experience of the students. I am currently working on developing further the theoretical underpinnings of this project, which will result in a book expected to be published in 2022.

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Learning Objectives

1. Analyze urban and architectural space and the (cinematic) experience thereof through its depiction in movies, through precedent study, through cinematic walking, and through the act of filming and editing; and to characterize and categorize the spaces and movements that emerge from these investigations

2. Deduct design principles from film analysis, precedent study and actual experience of spaces, and experiment with those principles through design proposition and iteration

3. Research and test the potential of film, film terminologies and editing principles for architectural design

4. Develop suitable means of representation to document, analyze and effectively communicate movement in space, as well as form and structure of the spatial sequence traversed 5. Discover the pedestrian system in Hong Kong as an essential component of Hong Kong’s urban space, analyze its spatial qualities and organization principles, and explore design approaches that are grounded in its unique spatial qualities

6. Conduct fieldwork through immersion in an urban environment through walking, by assessing the interplay between your moving body and the space in consideration of all senses involved, and through documentation of observation through film, photography, drawing and writing

7. Apply the concepts developed through research and analysis to a concrete design problem and project site, synthesize and organize ideas to form a clear and compelling design proposition

Project Sites in Hong Kong

Fall 2017Central Market, Central District, Hong Kong Island

Fall 2018Government Sites at Sai Yee Street, Mong Kok, Kowloon

Course Structure

Approach (week 1-6) see pages 3-5Building knowledge through analysis of films and architectural precedents, and readings on space perception and film theory; lectures on “framing”, “montage”, and “narrative”, training in filming and editing; discovery of spatial principles and deduction of design concepts; development of working methods and visualization strategies culminating in the design of a “film set”; site analysis, testing, and draft response (massing); preparation for field work in Hong Kong

Immersion (week 7-8) see pages 6-7Trip to Hong Kong, field work: walking tours of selected nodes and stretches of the larger pedestrian network system in Hong Kong; recording of raw footage for the short film, further developing concept and script, as well as production of a rough cut; visit, survey and audio-visual documentation, further research on location through visits of institutions and conversations with local experts and practitioners. Review of short film rough cut with invited local critics.

Proposition (week 9-13) see pages 7-14Draft Design: Analysis and conceptualization of phenomena found in Hong Kong, further development of repertoire of spatial principles and design approaches, iterative experimentation with those principles and their application to the building design through storyboarding, video sketches and -collages, modeling and drawing; draft design of the new film school including circulation strategy, spatial organization and structural concept.

Resolution: Further development of the design, of both the inner and outer spatial sequence, articulation of thresholds and joints, choice of material and light and their effect on the spatial experience, tectonic and programmatic resolution

Presentation (week 14-16)Last refinements of the design, preparation of a compelling and immersive presentation of the design research throughout this semester and the final design project for the final review

Design Studio

Students began by discovering particular spatial qualities in Hong Kong movies, and by building an approach through experimentation with architectural drawing, modeling, and the medium film itself to represent cinematic qualities of space that may be characteristic for Hong Kong. Lectures on the concepts of Framing, Montage, and Narrative, as well as tutorials on Camera/Cinematography and Editing complemented students’ beginning investigations.

Film was employed as a tool of analysis, as a conceptual tool, as well as a tool for representation throughout the semester.

Students analyzed and learned from architectural precedents that resonated with the spatial and cognitive concepts they discovered through their filmic explorations and through readings on space perception and film theory. They were asked to question their own pre-assumptions on how we move in cities, and to explore what role the moving and perceiving body may play in their designs.

During a one-week trip to Hong Kong we visited the project site, conducted field work around the city, and met with local practitioners, academics and policy makers.

The majority of the time in Hong Kong was spent moving through and actively perceiving the city, and capturing this experience through sketching, photography, audio recording, and predominantly filming.

One of the main outcomes of the travel was a three-minute short film created by each student, that documented, interpreted, and began to conceptualize spatial characteristics specific to the experience of moving through Hong Kong’s urban space.

A selection of these fundamental spatial qualities found, such as elevation, depth, color, reflection, layering, rhythm, fragmentation or unfolding of space, etc. was further explored and tested through architectural design propositions on a site in Hong Kong, navigating the scales from the urban and infrastructural all the way to the perspective of the individual moving through the space.

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Frame

Peek again Letter California bar A year later

Approach: Spatial Film Analysis

Hong Kong movies enabled a first encounter with the city’s spaces and culture. In the first week, students were asked to closely watch a Hong Kong movie (selected from a given pool of choices) by considering space as its main protagonist. They analyzed these spaces in terms of type, framing, montage, movement, spatial qualities etc., and further distilled spatial characteristics and concepts that they find most striking in that film, beginning to use these as a guidance for further visualization and experimentation.

Left: extract from spatial analysis of Love in Puff (Pang Ho Cheung) by Sherry Ng. below: extract from spatial analysis of Chungking Express (Wong Kar Wai), by Ye Wang

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Approach: Architectural Case Study

Students studied their precedent in terms of circulation, program, structure, and spatial organization through a series of diagrams. They further analyzed the precedent for its cinematic and experiential qualities, and distill its particular character through experimentation with architectural drawing that may combine techniques and different views in order to most accurately express their interpretation of the architec-ture. The principles found resonated with the findings from the preceding film analysis, or constituted entirely novel insights.

Left: final interpretive drawing from study of National Music Center (Allied Works), by Sherry Ng, fall 2018; right: Analysis of Villa Muller (Adolf Loos), by Liz Kulesza, fall 2018

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Approach: Film Set

The conclusions from the first weeks of design research in the studio resulted in the design of a “Film Set”, the produc-tion of a one-minute short film (using the film set), and one drawing. The film set was to be understood as a designed spatial sequence that would be choreographed, structured and materialized according to the cinematic principles and principles of space perception students selected and ex-plored during the preceding research process.

Left: Film stills, from top to bottom: Juxtaposing Densities, by Philip GoodbreadUnfold, by Anna MorrisonAcrobatic Geometry, by Santiago RocaNested Scales, by Tyler Mauri

Right: Kaleidoscopic, drawing by Monisha Nasa

Below left: Film set for Nested Scales by Tyler MauriBelow right: Film set for Projected Motion, by Sherry Ng

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Immersion: Travel to Hong Kong

The second phase of the studio was dedicated to travel to Hong Kong, and literally a full Immersion in Hong Kong’s urban space with one short film and one drawing as the primary outcomes after one additional week of post-production after our return. During our stay in Hong Kong we visited the project site, conducted field work around the city, and met with local practitioners, academics and policy makers. The majority of the time was spent moving through and actively perceiving the city, and capturing this experience through photography, audio recording, and filming.

The first half of our stay was intensely programmed and fully guided, and in the second half students were free to roam the city on their own and to determine their daily itinerary based on the shooting requirements of their evolving film projects. Through their preceding studies, students had developed an agenda prior to arrival that offered an entry point and enabled them to instantly enter a dialogue with the actual reality of the city.

Below: visits of (from left): Central Market site guided by URA, HK Film Archive, Urban Planning Department, HK Film School

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Immersion: Short Film and Drawing

Cinematic concepts and the work from the preceding studies (Approach) offered an entry point to perceive, describe and capture the spaces actually experienced in Hong Kong during the trip.

Film and photography were the primary tools to support the field work. The immersive qualities of film were used to distill and convey particular qualities found in Hong Kong’s urban space and architecture with a focus on visual and acoustic qualities and movement. Drawing was used to collect and interpret findings and to conceptualize relationships of scale, time / sequence, scale, etc. as observed during the field work. A catalogue of spatial situations and elements served as a depository for observed characteristics relating to their design research focus. Notes and sketches helped capture observations, associations, and ideas gathered while moving.

The two main outcomes of the travel were a one three-min-ute short film and one large interpretive drawing created by each student, that documented, interpreted, and began to conceptualize spatial characteristics specific to the experi-ence of moving through and experiencing Hong Kong’s urban space.

Film stills left, from top: Urban Strata by Philip Goodbread, In the Upper Room by Tyler Mauri, Framing Depth, by Santiago Roca, Overexposed by Brian Waite Field notes / sketches left: from sketchbook by Tyler Mauri MauriDrawing right: In the Upper Room II by Tyler Mauri

[click on film stills to see the short films online]

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03 SLOT CANYON 04 SUSPEND 01 LABYRINTH 02 COMPRESSION / EXPANSION

Student ProjectCity Fragments, Building TransitionsPhil Chang, fall 2017Winner of 2018 AIA Washington Unbuilt AwardShortlist of 2018 S.ARCH Conceptual Design Award

City Fragments explores a “fragmented” version of Hong Kong and forms the groundwork for the Film Archive project. Through both natural and constructed reflective qualities found in the environment, fragments of the city are reconstructed as su-perimpositions within single frames. The combination of various scales and types of spaces, as well as their associat-ed sounds, come together to form a single narrative arch. As more visual and auditory components are introduced, the film deliberately becomes more ambiguous as to when one ends and when another begins.

The Film Archive project builds upon this idea of ambiguity by blurring the distinction between city and building. Parts of the urban arena are brought into the Film Archive itself while other parts of the program extend out into the city. Through this symbiotic exchange, the project restructures the role of what a public Film Archive can be in its context—a place to learn about Hong Kong’s rich cinematic history and simultaneously, a tran-sitional space that becomes the city’s own urban living room.

[click on the film stills above to see the short films from Approach and Immersion phases]

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Student Project Angles of IncidenceAustin Edwards, fall 2017Winner of 2018 AIA Washington Unbuilt Award

The Kuleshov Effect is the phenomenon whereby the audience derives meaning from sequential shots beyond what is explicitly shown. It is often used when a sequence is not chronologically or geographically sequential within the narrative, and it allows filmmakers to imply information. The implications sometimes get the audience in trouble, as the meaning derived can be intentionally misleading, subverting a predetermined expectation. Great filmmakers have used this idea to exercise control over the audience’s perception of their art. The question arises, then, can this be accomplished in architecture?

This project aims to give the architect the same level of control: the ability to craft moments through misdirection, disorientation, reorientation, and materiality native to Hong Kong. The architect becomes the screenwriter, the director, and the cinematographer. The project also allows mirrored glass to emerge from its invisible but ubiquitous state in the fabric of Hong Kong, alerting the public to un-curated sequential narratives throughout the city they otherwise ignore. By using reflection to intentionally obscure the spaces that the project creates, the archive amplifies and unmasks those the city has already created at a multitude of scales. The result is not only an establishment of the relationship between architectural theory, film theory, urban experience, but reflection as a tool for the control of architectural Kuleshov Effect.

[click on the film still above to see the short film from the Immersion phase]

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Student Project Spatial OrigamiLiz Kulesza, fall 2017

Hong Kong is the urban scale of Loos’s Raumplan. Sculpted over time, and accomodating extreme topographical changes and density, the ground plane is constantly shifting, with elevated pedestrian pathways establishinig a network above. Movement along the curved streets and paths produces a continually changing enclosure of facades, sliding relative to each other through seemingly endless layers. The city constantly re-frames itself, revealing moments of intimacy within the density of the city’s vertical field condition.

The project leaves the existing building as a frame that holds spaces for archive functions. The space within utilizes new offset levels and layers of enclosure, folding the outside urban condition into the building, accentuating it - the experience is familiar yet entirely new. A rich sequence of views slide past as one moves through. Volumes offset from the main path allow to get lost in the montage, unsure of where ‘ground’ level is. Hidden processes of the archive are exposed to the public and archive visitor, relaying the important work that goes into preservation of film culture in Hong Kong.

[click on the film stills above left to see the short film from the Immersion phase]

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Student Project Urban EnfiladeSherry Ng, fall 2018

Rhythm exists throughout Mongkok in the repetitive architec-tural elements and tectonics of the built environment. This site, situated between a major thoroughfare and the enclave of marketplaces unique to Hong Kong, is divided into four similar blocks, each facing onto a shared public courtyard in the center. The consistent scale of the blocks sets up a spatial expectation. Each block manifests in distinct ways,subverting the expectation set up by the uniform framing of the path.

The rhythm of the movement differs with the users – the pedestrian commuting to the MTR station, the elderly who leisurely strolls along the walkway, the taxi racing along the thoroughfare – and the spatial conditions – compression and expansion, solid and void, framed and unframed moments. These conditions also lend themselves to variations in light,which change the experience at different times of theday, year, and the speed at which they are bypassed.

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Student Project The Marvelous MundaneChris Weimann, fall 2018Winner of 2019 World Architecture Award, 30th Cycle

The Marvelous Mundane is what surrounds us, the scaffolding of meaning within our life and human condition. It is our guide to purposeful environmental experience. These moments of the mundane exist at all scales of spatial kinesthetics and could be seen as a derivative of fractal nature. These interactions consist of an infinite in and out represented through space and time socialization. The friction of these elementals gives our space purpose. This project explores an analysis of spatial appropriation through the beauty that can be cast upon space through the most base elements. Through explorations of these fundamental elements I was able to look deeper into our relationship to light and materiality especially when addressing our perception of time and spatial elements. These elements manifest in sound, sight, smell, and touch. This project specifically focused on the composition of light and materiality within the context of Mong Kok.

This project and the accompanying films were shot/documented primarily at night to focus on the dialogue between light while still addressing a cities relationship to day and night. The qualities of Hong Kong hide while simultaneously revealing different information through kinesthetic expirences as it may not always be apparent at first glance. I hope this project helps people understand the beauty that exists within the mundane fabric in which we exist. The program is a film school connected to a mixed-use program space that are as diverse as you could imagine, especially focusing on community center, performance spaces, public gathering, exhibition space, and public library resources.

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Student Project KaleidoscopicMonisha Nasa, fall 2018Winner of 2019 World Architecture Award, 30th Cycle

The project explores the unique spatial character of Hong Kong created by the arrangement of buildings into clusters with repetitive elements, which combined with reflective materials, gives the impression of looking at the city through a kaleidoscope. Located along Sai Yee street in Mong Kok, the site forms a critical connection between Mong Kok East and Mong Kok stations, resulting in high pedestrian activity through the site at an elevated level.

Focusing on the experience of the pedestrians moving through, programs are arranged around a series of courtyards, forming clusters that emulate the jagged lines of the residential towers. This repetition of form, combined with the reflective materiality of the protrusions creates a kaleidoscopic effect. Each courtyard houses different functions like amphitheaters, restaurants, and exhibition spaces experienced through movement as a montage composed of direct and reflected scenes from within the building and the city scape outside.

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Student Project Diegetic SynchronicityTed Bazil, fall 2018Winner of 2019 World Architecture Award, 30th Cycle

The contemporary city exists in a state of perpetual synchro-nicity, whereby incidental and serendipitous events and non-events are given a complex stage set through which they can overlap, intersect, and converge: together cultivating a sense of collective narrative and meaning. In Hong Kong, the over-whelming hyper-density of pedestrian activity and circulation, the intense interweaving of programmatic and spatial uses along public circulation corridors, and the multiple planes of elevational articulation facilitate spatial and temporal moments which heighten a participant’s sense of synchro-nicity within this urban theater. In this theater, however, the participants are both the actors and the audience members, and the mediating element is the spatial and temporal frame.

The architectural proposal comments upon this perceptual phenomenon, and aims to amplify it by envisioning the site as a spatial and temporal microcosm of the city. A host of programs (film school, public theater, community spaces, etc.) are woven together into a network via the extension of the existing elevated public walkway system, which serves as both a system of connective tissue, as well as a fluid sequence of indoor and outdoor (formal and informal) stage sets. These urban “stages,” though comprised of countless individually unrelated stories and incidental happenings, take on the perception of a collective narrative, (and, perhaps even a spectacle on occasion) through the architectural cu-ration of spatial convergences, temporal overlaps, sequential juxtapositions, and deliberately privileged visual connections.

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Student Feedback

“This studio contributed a completely new perspective to my way of designing. The emphasis on spatial sequence and the architectural and ideological consequences of formal design was completely unique in my experience at UVA and has never been more relevant. The studio conceit was ambitious and Esther pushed us to advance from film to architecture. She is a fantastic professor and was supportive and firm. Highly recommend.” (Anonymous comment, teaching evaluations, ALAR 8010, Fall 2018)

“Esther was an amazing Professor and had the studio and travel organized to the point. She was there when it came to emergencies and knew how to deal with them effectively. I really enjoyed this course and I am grateful to have had her as a professor.” (Anonymous comment, teaching evaluations, ALAR 8010, Fall 2018)

“I really enjoyed the project prompt and medium. Esther is an incredible teacher - not only is she organized and communi-cative, but she always asks the correct questions” (Anony-mous comment, teaching evaluations, ALAR 8010, Fall 2018)

“To start, this studio was the opportunity of a lifetime. Getting the chance to go to Hong Kong and immerse ourselves in not only the place, but the documentation of it through film was a truly amazing experience, and resulted in one of my favorite things I’ve made while here at the A-school.” (Anonymous comment, teaching evaluations, ALAR 8010, Fall 2017)

“I think I originally had a completely different interpretation of how I was going to approach my film before going to Hong Kong, compared to how I began to see the city by then end of the trip especially my exploration of Mong Kok. I was going to have crazy constant cuts and nothing but pure neon, but i felt as I experienced the city it became even more about these simple and small dialogues such as light an surface, one object’s projection of existence and qualities onto another is what represents the essence of a space and how we perceive our existence in relation to space that of space and time. The lessons learned from my travels and curated perception, was the ability to push beyond the superficial quality of pure form towards an experience of aura.” (Chris Weimann, written reflection at mid-term, ALAR 8010, Fall 2018)

Left: Final review, ARCH 4010 | ALAR 8010 Kinesthetic Mon-tage: Hong Kong Film School, Fall 2018

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Exhibition

The exhibition at the Elmaleh Gallery at the School of Architecture, University of Virginia, in spring 2018, showcased research on Hong Kong by Esther Lorenz as well as selected works from the research studio “Kinesthetic Montage: Hong Kong Film Archive” from fall 2017.

The research shown investigated pedestrian systems in four different neighborhoods in Hong Kong, each of which was presented as a “scene” with specific cultural and experiential qualities. It also included a filmic catalogue of specific spatial typologies found in Hong Kong movies.

The student work shown was comprised of short films and drawings from the early stages of the studio, based on students’“film set” explorations, as well as the short films and drawings that evolved from the travel to Hong Kong. Also included was a 30 minute edited film documenting the studio group’s first twelve hours in Hong Kong.

The exhibition, designed by Esther Lorenz, presented an all-immersive environment with drawings and films treated equally as frames, static or dynamic, and distinctly set-off against the blackened background. A central island provided an opportunity for lounging as well as headphones providing soundtracks for each of the four dynamic screens.

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2017 Bi-City Biennale of Urbanism\Architecture (Hong Kong)

Upon invitation by the curator the work from the studio ARCH 4010 | ALAR 8010 Kinesthestetic Montage: Hong Kong Film Archive, fall 2017, was exhibited at the 2017 Bi-City Biennale of Urbanism\Architecture (Hong Kong). The work was shown in parallel in three different locations. Selected short films were screened via a large urban display on 12 Dec, preceding the opening event. All 13 students’ short films were exhibited in H6 CONET (99 Queen’s Rd Central) as well as the Z Gallery (Hysan Place, 500 Hennessy Rd, Causeway Bay). Eight selected drawings were also shown at the Z Gallery. It was an amazing opportunity to have this work projected back into the very spaces that it was exploring, and have it made accessible to the Hong Kong public.

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Virginia Film Festival

Ten selected Hong Kong short films from the fall 2017 and fall 2018 studios were screened in a dedicated program at the 31st Virginia Film Festival in a fully packed movie theater at the Violet Crown Cinema in Charlottesville. The short film viewing was followed by a podium discussion with some of the student film makers, moderated by Esther Lorenz. It was an incredible opportunity to not only experience the films on a large cinema screen with dolby sourround sound, but most importantly, to share and discuss the work with a larger au-dience, predominantly from outside the field of architecture, offering many new insights and questions as a result of this exchange.

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ACCelerate Creativity + Innovation Festival, 5-7 April 2019

The proposal for an exhibit comprising a specifically developed artifact and the screening of student’s short films was selected through peer-review to be shown during the 2019 ACCelerate Festival at the Smithsonian National Museum of American History.

The installation was comprised of four connected modules containing distinct scenes within them. Each of the modules was designed following spatial concepts that are derived from distinct qualities found in Hong Kong’s exterior and interior urban spaces, and together they were conceived as a sequential film set. Each of the modules could be explored individually through pre-installed cameras and monitors. In addition, one continuous interior track that connected all modules provided a path for a slot-car equipped with GoPro and phone mounts that allowed visitors to send their own smartphones on a cinematic journey through this re-imagined cityscape, producing a short 1-minute movie on their phone cameras that they could take home. This film set was complemented by a large scale projection of short films that had been produced by students of Esther Lorenz’ ARCH 4010 | ALAR 8010 research studios during their trip to Hong Kong in fall 2017 and 2018. 61,369 people attended the festival over its duration of three days.

(Research assistants: Ted Bazil, Sam Johnson, Chris Murphy, Monisha Nasa, Sherry Ng, Rita John)

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Design Studios

ARCH 4010 | ALAR 8010 Design Research Studio - Kinesthetic Montage: Hong Kong Film School, Fall 2018

Students fall 2017 Melissa Brand, Oscar Castro, Philip Chang, Vy Do, Austin Edwards, Laura Kuhn, Liz Kulesza, Zehui Li, Tyler Mauri, Jacqueline Schwartz, Brian Waite, Ye Wang, Xi Zhang

Research and teaching assistant fall 2017 Shannon Ruhl

ARCH 4010 | ALAR 8010 Design Research Studio - Kinesthetic Montage: Hong Kong Film Archive, Fall 2017

Students fall 2018 Theodore Bazil, Yao Chen, Adriana Giorgis, Philip Goodbread, Karan Matta, Madeleine McCutchon, Anna Morrison, Monisha Nasa, Sherry Ng, Santiago Roca, Ethan Thornburg, Christopher Weimann

Student Project Awards

Angles of Incidence, by Austin Edwards2018 AIA Unbuilt Washington AwardNon-commissioned projects (professional category)

City Fragments, Building Transitions, by Phil Chang2018 AIA Unbuilt Washington AwardNon-commissioned projects (professional category)

City Fragments, Building Transitions, by Phil Chang2018 S.ARCH 2018 Conceptual Design Award, shortlisted(professional category)

The Marvelous Mundane, by Christopher Weimann2019 World Architecture Award, 30th Cycle, Jury Selection

Kaleidoscopic, by Monisha Nasa2019 World Architecture Award, 30th Cycle, Jury Selection

Diegetic Synchronicity, by Theodore Bazil2019 World Architecture Award, 30th Cycle, Jury Selection

Student Publications

Austin Edwards, “Angles of Incidence: Mirror, Film, and Archi-tectural Plot Twists”, in: lunch 13 Mischief, ORO publisher, 2019

Austin Edwards, “Angles of Incidence”, interview in KooZA/rch, https://www.koozarch.com/interviews/angles-of-inci-dence/

Phil Chang, “City Fragments, Building Transitions: An Urban Stitching of Hong Kong through Film”, interview in KooZA/rch, https://www.koozarch.com/interviews/city-fragments-building-transitions-an-urban-stitching-of-hong-kong-through-film/

Funding / Grants

2019 Ellen Bayard Weedon Travel Grant, to support field research and documentation for the forthcoming publication Kinesthetic Montage: Moving Bodies and Cinematic Spaces in Hong Kong

2019 Publication Assistance Grant, East Asia Center, for Kinesthetic Montage: Moving Bodies and Cinematic Spaces in Hong Kong

2019 Funding from UVA Provost Office, for installation at ACCelerate Festival

2019 Funding from UVA School of Architecture, for installation at ACCelerate Festival

2018 Summer Research Grant, UVA School of Architecture, for “Kinesthetic Montage Hong Kong: Compositions, Transitions, and Modes of Locomotion”

2017+2018 Travel Studio Funding, School of Architecture, UVA, for: “Kinesthetic Montage: Hong Kong Film Archive”

2017 UVA Arts Council Grant, for: “Kinesthetic Montage. An Immersive Exploration of Hong Kong’s Walkscapes”

2017 FGRU Grant, UVA Center for Global Inquiry and Innovation, for: “Kinesthetic Montage. An Immersive Exploration of Hong Kong’s Walkscapes”

Exhibitions

ACCelerate Festival, Smithsonian National Museum of American History, April 2019 (peer-reviewed)

Elmaleh Gallery, School of Architecture, University of Virginia, Spring 2018

2017 Bi-City Biennale of Architecture\Urbanism Hong Kong (invited), Dec 2017 - Feb 2018

Theater Screening

Dedicated short film program and discussion, 31st Virginia Film Festival, November 2018

Symposium/Conferences

Esther Lorenz, invited panelist at the New Practices in Hong Kong Architecture symposium at the Center for Architecture, March 2019, convened by Barry Bergdoll and Seng Kuan, to speak about Kinesthetic Montage Hong Kong

Esther Lorenz, “Architectural and Design Research through the Creative Use of Film,” paper presented at the interna-tional conference, Connections: Exploring Heritage, Architec-ture, Cities, Art, Media, AMPS (Architecture, Media, Politics, Society), Canterbury, UK

Book

Esther Lorenz, Kinesthetic Montage: Moving Bodies and Cinematic Experience in Hong Kong’s Urban Spaces, mccm creations, authored book, forthcoming 2022