Since the end of the 19th century, cinema and the city have been intrinsically related to each other. Movies have been interested in the representation of places, lifestyles, and human conditions, on the other hand, the change in the society and life style and all other aspects of daily life in city had an expanded reflection on the movies. Indeed, movies can provide a comprehensive image of urban living, they confront us with hidden layers of city, those which cannot be fully represented in any other way than moving pictures.
This competition seeks to straddle the border between the art of film making and the built environment, to see how a novel narration of urban living can have consequences.
Architecture and movie – cinema intervened more after the technological inventions. Cinema became more inspiring and interesting for the architectural agenda. Movies are studied and analyzed more and more as this field grows. There is a growing scholarship on this field. The fusion of architecture and cinema depicts how these two art forms intervene in a subtle way. The essence of producing spaces in these eternalized worlds becomes more influential.
Due to the ever changing and dynamic nature of this information age, 2A Magazine like any other Avant-garde publication and media network has been driven to adjust itself to the Global changes and developments. “City – Architecture Movie Award” is initiated in order to further expand the scope of our activities, in a way that our audience and correspondents would have more effective and attractive method of presentation to facilitate their better understanding of various dimensions of architecture. The addition of art of Movie Production to the art of architecture can help the better understanding of the true nature and characteristics of architecture, for instance, the realistic effect, aesthetic dimension, functional aspect of space, feeling the created sense of wellbeing and making the presence of human factor more evident. This award seeks to straddle the border between the art of movie making and the built environment. There is a growing scholarship on this field. The fusion of architecture and cinema depicts how these two art forms intervene in a subtle way. The essence of producing spaces in these activities worlds becomes more influential. The award is a new architectural activity of 2A Magazine which acts internationally and works parallel with other activities of 2A Magazine and its awards.
Head of Organizing Committee of 2ACAMA
Not only cities preserve images of their own culture and ways of life, but film can also preserve both the time of its making and the time that it represents. Movie becomes similar with the discourses o archaeology when it assumes the role of preserving the city, its life, society.
The real city is the physical entity, the mass of people and their constructs. The dream city is a mythic city created by Movie holding the real city’s charisma, rich in memory and that for many can resemble the real city. Sanders holds that the filmic or mythic city is more than a mirror of the real city, rather it is a statement of urban presence and greatness.
Through Movie we are able to walk in created environments or to explore and document the effects of buildings on society, and urban settings. Film is an invaluable instrument for the quasi-perceptual experience of the city – it enables us with an almost first person contacting with the city. Also in Movie, architecture and the city can be used cinematically in different ways with the intent of creating an experience derived by cinematic images; interplay between architecture and the characters that live in the city.
The Vision and Positive Effects of Improving inhabitat quality of life through Architecture and Urban Planning via 2A City – Architecture Movie Award
Observation and evaluation of the creative and thoughtful ideas alongside bringing two Arts of Architecture and Movie- Cinema together and present innovative architecture in 2A City- Architecture Movie Award. The urban design and architectural presentation by Movies have a unique sensibility in regards to the recognition of the projects, on the other hand, architectural movies also reflect many various artistic and aesthetic aspect of architecture. because it has some plausible advantages in its type of presentation.
2ACAMA has also the following effects:
– Offering you types of lifestyle and viewpoints toward a better life.
– Encouraging people and professionals to better understand and respond to environmental and humanistic needs while designing a living space in their cities.
– Recognition of the required spaces in accordance with the mentality of different people and creating the culture of constructing these spaces.
– Generating the mindset of interaction and unity among a society to achieve the good for living spaces.
– Making the comfort and prosperity of people in their living spaces and cities the priority, which would accommodate and respect all civil rights of its people which is costumery in all advance cities and communities.
The movie could be the witness of all the evolutions and all the creative works which are done in the city. However, the creativity evolves in a way that we have never seen before. The cinema does not give a name to this world like social sciences do; but it shows us beyond the “named” world. Representations of public everyday space contain historical narratives, and finding the underrepresented ones gives us a more inclusive socio-historical understanding of a city’s environment. The conditions of the postmodern city complicate the legibility of these narratives. When the moving image came to prominence at the beginning of the 20th century, the understanding of architectural and urban space and our connection to it was transformed by film’s capacity to trace the spatial dimension and shifting points of views in architecture and design. Sample Issues: Creative Architecture, Facades, Graffiti and Street Arts, Architecture for Urban Living.
movies can deal with urban living and explore, in one way or another, how cities are not necessarily designed for people. Quite the opposite, in fact, they demonstrate how our urban environments often dehumanize us. Are we thriving in our cities, or simply surviving in them? Films can examine what makes a city a home or a hell for a human. Some of us are enchanted by the excitement, culture and buzz of urban living, and some of us want to run for the hills. Films also can take us on that worldwide trip, looking at the human need for intimacy and inclusion, and explores how cities might be built to better serve the lives of the people who live in them. Sample Issues: Livable Cities, Women and City, City for Disabled, City for Children.
movies and cities are alike in one specific way that they can provide a mean for members of society to interact with each other. Through films different groups of people can be hear other people’s voices, they can be informed of what they think about. In other hand, daily life in city is the basic way for citizens to make their daily interaction with the world beyond their own homes, Creative cities provide more of the places with interaction facilities
In urban life creative and esthetic Atmosphere combines with rhythm into the elements of the city which are streets, houses, cinemas, shopping malls, transportation systems. The circulation in space is combined by these elements through movement. In architecture movement and rhythm can be gathered by texture, light, proportion, scale or color. The main theme movement also has its existence with users and other incomes like nature. While living in a city the acts which cannot be separated like fears, desires, and attractions, ambitions, combines with urbanism. These acts also depend on time and picture the experience of spaces so on cities. Sample Issues: City for artists, artistic agencies in urban living,
One of the main novelties about film had been the fact that it was apparently able to capture the roots and identity through time. In doing so, it depicted movement as it spread-out. By depicting various kinds of transfer, passage, shift or interchange, film became involved in the exploration of space in its cultural context. With movie, the representation of the special breath of life that goes through all of us from the moment we are born until the last of our traces are preserved for another person’s memory. Sample Issues: modern urban monuments
When participants decide to submit their projects, they will find four options.
four types of submission are stated at the registration form in the website which is presented
1- Presenting movies of
Length: 100 Seconds (Maximum)
Format: Mkv, Mp4
Size: 200 MB (Maximum)
2- Presenting movies [based on the awards’ categories]
Length: From100 (Seconds) to 5 (Minutes)
Format: Mkv, Mp4
Size: 400 MB (Maximum)
3- Presenting movies [based on the awards’ categories]
Length: From 5 (Minutes) to 15 (Minutes)
Format: Mkv, Mp4
Size: 800 MB (Maximum)
4- Presenting movie’s (based on the awards’ categories)
Length:More than 15 minutes
Format: Mkv, Mp4
Size: 1 GB (Maximum)
– A story-line with an emphasis on a compelling work of architecture with social, cultural,
economical, humanitarian and geographical sphere of influence and the use of modern
technology to design cities.
– City life (behaviour) from the perspectives of adaptability, Structural sustainability, economic
prosperity, environmental friendliness, supportiveness of human (citizen’s) rights, urban
managements, safety, education, innovation and creativity and other significant evaluative
characteristics of city life.
– City Life (behaviour) from the cultural and social perspective.
Documentaries about the lives and works of architects, urban planners, social researcher and
theoretician in relation to architecture.
– Built Projects
– Concept Projects [3D Presentation- Animation]
– Animation & Video Game
1- Architectural Significance: (%65) Quality, Creativity, Innovation and Originality of:
2- Movie Significance: technical & aesthetics aspects and the Quality of the movie (%35)
Quality, Creativity and Originality of:
Note: In accordance to the regulation of the award’s organization in regards to the judgment process, the categories will be made [After the submissions] If organizer and jury members decide that it is needed.
Applicants will have to register for each category they enter.
Each applicant is allowed to register more than once in each category.
Registration for the award can be done online
– The entry opens in February 15th, 2020 and close in April 1th, 2020 ,
4.00 pm CET.
Note: After the participation, the notification of submission approval will be
sent to participants (via email in 48 hours).
– The award ceremony will be held in June 5th 2020, in Blickle Kino, Belvedere
– A movie is defined as an original motion picture that has a running time of the given period including all
– This excludes from consideration such works as:
a. previews and advertising films
b. sequences from feature-length films, such as credit sequences.
c. Part of long movie shortened to qualify under any of the category will not be considered.
– All content used in the movie, including video-graphy, write-up, script, depiction, music, graphics,
photographs, images, screenplay, sound records, background scores, animation, titles, sub titles and all
other literary, dramatic, musical and artistic work or any other copyright material therein, should be original
and belonging to the Participant or licensed to Participant under a valid license.
– 2A expressly disavows any responsibility for, and will not be held responsible for, any unauthorized
inclusion of any copyrighted content or materials within or relating to the submission, including any content
or materials that are or may become the basis for any third party claims for copyright infringement.
-2A reserves the right to disqualify any film with any unauthorized inclusion of copyrighted content or
materials. In the event that any claim, dispute, action or proceeding shall be brought or asserted by any
person or entity that alleges that the film makes unauthorized or unlawful use of any copyrighted content or
material, the Participant shall fully indemnify and defend 2A and each of their representatives and affiliates
from any liability in connection therewith.
– The Participant has obtained all necessary licenses, permissions, certifications and authorisations, and
has complied with all applicable laws necessary for participating in 2ACAMA.
– All submissions along with soundtrack can be used by 2A and its Title sponsor, Media Partners &
subsidiaries and can be played and heard on platforms of their choices.
– 2A reserves the right to withdraw or alter the terms of 2ACAMA without prior notice. No correspondence
in this regard shall be entertained. All changes shall be posted on the website. It is the responsibility of the
Participants to keep themselves informed as to any changes to the Rules and Regulations of 2ACAMA.
The registration & submission fee of 2ACAMA 2020 for each movie in all the categories is 95 Euros
(Inclusive of Taxes).
Note 1: The Movies will be shown at the award website after the judgement process and the award
Note 2: The participants will be invited to attend at the award ceremony and it would be free of
charge for two representative of each movie’s participant.
Note1: English is the official language of this award.
Note2: 2A Magazine [as organizer] is not responsible for the ideas content presented in 2A City- Architecture Movie Award. The participants are solely responsible.
The architects, directors, filmmakers and producers participants are responsible for movie’s content and ideas, pictures, recording & shooting and all the other parameters.
The architects, directors, filmmakers of the awards’ participants are responsible for movie’s content and ideas, pictures, recording & shooting and all the other parameters.
By submitting your Movie to the award website [www.2aincorp.com] you will give us (2A Magazine) the permission to share your movie in our website and the award ceremony, on the other hand, All the information at the Movie submitted to 2ACAMA have been provided by the compatetores (Designer and Director) and they are the copyright holder in this regard.
Note: All the information submitted to the magazine have been provided by the competitors or designers, hence the responsibility of the third party liability lies with the competitors.