Time and Space
Santiago Calatrava <University of Zurich Law Faculty>
,
Gus Van Sant
<Elephant>
Santiago Calatrava, University of
Zurich Law Faculty , Zürich (Switzerland), 1989-2004 © Laufen
His attempt to bring time into static
structures is first evident in the two cow paintings on the ground floor.
Without any fixed canvas dimensions, the movement of the cow is captured on
long horizontal sheets of paper, creating a dynamic energy in a confined space.
The two sculptures next to the cow paintings have subtle differences that shift
my consciousness to the other side. The sculpture leads to the elevator that
ascends the building. Because the symmetrical space mirrors the appearance of
the opposite elevator, I'm riding it, I'm here, but I'm thinking about the
other side. This naturally leads me to go to the other side. The vertically
divided wooden panels on the wall create background images as I move across,
giving me a sense of speed. Although it is a static space divided by an oval in
a cube-shaped building designed for functional purposes as a library, it is
constantly transformed into a space of dynamic energy. In Calatrava's other
works, such as his bridges or moving roofs, his efforts have evolved from
creating moving structures to using fixed structures to create fluid and
dynamic energy.
Gus Van Sant, Elephant, United
States, Meno Flim Company, 2003 © Fine Line Features
His effort to create a sense of space
within the medium of film is evident in the opening scene, in which a car
swerves on the road and almost collides with a bicycle. The camera simply
follows the car without any dramatic cuts. In Elephant, cinematography
transcends the traditional linear timeline of narrative to create a sense of
space. This method reflects the film's approach to depicting a tragic event. As
the names of the characters appear on a black screen and each student is
introduced, the film presents everyday life in a static manner. As the camera
follows students working in the library or eating in the school cafeteria, the
space is naturally mapped in my mind. As the characters' paths intersect, the
same scenes are replayed from different perspectives, gradually clarifying the
situation at the school. When two boys plan the tragedy while looking at a map,
I get a clear understanding of the overall layout of the school. Finally, the
school collapses. Among the various attempts to uncover the causes of the
tragic incident at Columbine High School, Elephant portrays it through
film by focusing on ordinary life with static cinematography, removing any
sense of inevitability. This approach views the tragedy as a mere phenomenon
and deliberately avoids focusing on specific characters or dramatizing the
story.
These two works show how the limitations of different media can be transcended—either by creating dynamic energy in the static space or by evoking a sense of place in the linear and fluid media. I have come to see that a medium is a tool for transforming my perspective into a different form. By exploring fundamental questions like "What is movement, what is space, and what is recreation?" the work can achieve a distinctive form of expression.