If one is entitled to talk about space-minded films, one might also talk about film-minded architecture in which spatial relations elaborate the actual film projection -the discourse of the stage- as an organic part of the urban experience... This is a research on the urban phenomenon of Open-air Cinemas; a phenomenon which takes place almost exclusively in modern greek cities. The open-air cinema gradually established itself as a kind of alternative, local, cheap, summer entertainment and also created a kind of repertory scene specialising in classics, comedies, thrillers, detective, science-fiction etc. The summer-cinema show appeals to people as a chance for them to see their favourite films once again (already seen in the winter's first run season) and also to enjoy a popular or classic plot once again on screen; this second time the show is open and exposed to the surrounding dense urban space of housing blocks, streets, squares etc. Not accidentally these films tend to be memorable in terms of their multitude of references to spatial experiences, whether real or fictional, and also on the basis of a classic well-known plot. Films are shown for a limited time, three days at the most, becoming themselves brief urban episodes. The most common type of summer cinema is that which is situated on small unbuilt sites through which there is a direct visual access to the back communal spaces and the rear sides of the blocks of flats of which the cinema soon becomes an organic part. Some summer cinemas operate on the roofs of proper cinemas or theaters and less often within parks and green areas. Seen in daylight, the cinema-building, is rather understated and insignificant. It takes its shape from the adjacent urban space, and only during and via the show at night. Part of the densely built and populated block and at close proximity with the surrounding domestic spaces, summer cinema creates the effect of an enacted visual field expanding across a sequence of spaces like those of the street, the cinema stalls, the screen, the back space of the block, balconies and private yards, reaching deep into domestic space even, from where people at home view the screen through their open windows, which thus become a natural extension of the cinema circle... The cinemarchitectural discourse: During the show, the cinema acquires an architectural dimension not only because it intervenes into the city's night-landscape as another urban element but also because it duplicates on the screen fragments of architectural and urban space. The show and the urban experience identify with each other. The spectator holds two positions: that of identifying with the show and that of citizen identifying with the surrounding, built environment. As the actual show itself is coupled with the real spatial experience, the ensemble of these two real positions, constitutes a non-homogeneous imaginary milieu (a structure). This work started in 1994 and continues until today. A substantial material has been collected already.
A small part of it was published in the article by Nikos Georgiadis Anamorphosis Architects: 'Open Air Cinemas', ARCHITECTURE AND FILM, AD/Architectural Design magazine, London 1994, pp.80-83.
Also part of it was presented in Anamorphosis's solo exhibition in Canea Crete June 1998.