Architecture and cinema: observing to improve

Cinema and architecture share a deep-rooted connection: film narrates the built space, while architecture shapes the visual and narrative experience. We discussed this with architect, filmmaker, and artist Ila Bêka—who leads a course dedicated to the interplay between these two arts at USI Academy of Architecture—in a piece produced in collaboration with laRegione.

Cinema cannot escape architecture. During filming, the camera inevitably captures the spaces in front of the lens, even when they serve only as a backdrop. Yet cinema, "architecture without gravity", can evade the rules of physics. It plays with space, expanding or restricting it, adding or cutting beyond the laws of nature, and recomposing it into an (im)possible universe of the imagination.

By constructing worlds, guiding the eye, and manipulating space to evoke emotion, architecture permeates cinema down to its most basic technical levels. Through camera angles, framing, editing, colour grading, lighting, and sound design, new spaces are created; even when they reference existing buildings, they never quite mirror them perfectly. Consequently, for a design professional, watching a film is never merely passive entertainment. It is a study of how light shapes volume, how a corridor can build tension, or how an imaginary city relates to—and perhaps even critiques—real ones.

A pervasive influence

As Ila Bêka explains, "Architecture is part of our daily lives; it constitutes our world. Through the camera lens, students learn to observe their surroundings and reflect on the relationship between the body and the built environment." According to the filmmaker, cinema applied to architecture reveals an often invisible connection: that between inhabitants and the spaces they occupy.

"In a film, unless you are entirely immersed in nature, architecture is always there in the background. Our bodies live in constant relation to the built space. The course aims to develop this power of observation. It is not about deciding if a building is beautiful or ugly, but about understanding its impact on our experience and behaviour," Bêka continues. "The point is learning how to look. Those who know how to observe can understand how to improve what already exists; those who don't will struggle even to see what needs to change." For this reason, the course takes students out of the classroom. "In architecture schools, work is often project-based. Here, the most important thing is to go out, observe reality, and understand how the space we live in actually functions."

Bêka emphasises that the quality of architecture directly affects the quality of life. "The higher the quality of the architecture, the better our living conditions. Cinema helps us reflect on this link, which is often most evident when we travel: by visiting new places, we realise how profoundly the built environment influences the way we live and behave."

The role of the architect

The role of the architect—and schools of architecture—remains central. "It is about paying attention to the quality of our context, because our lives depend on it. Ticino," concludes Bêka, "is a significant example. It is a part of the world where the quality of daily life is carefully considered. Historically and today, there is a drive to create architecture capable of elevating that standard."

Bêka refers to the architects of the Ticino School of the 70s and 80s, including world-renowned figures such as Mario Botta and Aurelio Galfetti (founders of the Academy), Tita Carloni, and Luigi Snozzi. "One of the most interesting examples we studied is Monte Carasso. Tasked with the town's master plan, Luigi Snozzi completely transformed it, turning it into a global architectural model. Some of our students produced a beautiful film highlighting Snozzi's interventions and their impact on residents. Beyond the renovation of the convent, one project deeply moved us: the playground adjacent to the cemetery, separated only by a low, discreet wall. Children often play there quite happily, moving between the spaces and naturally pointing out their grandfather's grave. Snozzi, a politically engaged architect, wanted to highlight the link between life and death and insisted on this extraordinary solution."

Relationship with the landscape

Looking at the wider Ticino region, does it lend itself to cinema? "Certainly," says Bêka. "It is a stunning territory. My first feature film, many years ago, was in the official selection at Locarno, and the extraordinary beauty of Lake Maggiore struck me. It is vital to reflect on the relationship between architecture and landscape. Many Swiss architects have developed a particular skill for designing buildings that integrate harmoniously with their surroundings."

Locarno is famous for its Film Festival, which welcomes thousands every August to Piazza Grande—a stage in its own right. Does the setting contribute to the festival's success? "Absolutely," agrees the Professor. "Watching a film together is different from watching alone at home. Going to the cinema is an experience in itself. But this experience isn't just about the other viewers; it also relates to the architectural context, such as Piazza Grande. At that point, the film takes on a different meaning: we aren't just entering the image, as in a dark theatre; the image itself merges with the architecture and the city. The relationship between image, architecture, and spectator becomes much more intense—it amplifies the experience." A film within a film, so to speak.

An integral part of the narrative

Is film scenography merely a backdrop, or a part of the story? "It depends on the film," Bêka explains. "In fiction, the set is constructed. But the films Louise Lemoine—my wife—and I make are mostly documentaries. We are interested in how architecture affects people and how a built space can influence behaviour. To do this, we work with reality. Architecture is fundamental because it isn't artificially created for fiction; it is defined by the places it creates and by how people adapt to them. Every time we leave the house, we relate to the architecture around us, often subconsciously. Whether we live in a city centre or the suburbs, in a traffic-heavy city or a bike-friendly one—ultimately, architecture shapes our way of life."

One might almost say that our life is simply one great screenplay, where each of us plays our part through improvisation.

Content produced and published in collaboration with laRegione.