"I think the professions of scriptwriting and architecture are very close; for both you have to consider a plot, you have to develop episodes and you have to create a kind of montage that makes it interesting, and a sequence that makes the circulation or the paths or the experience of the building interesting, and gives it a certain suspense."

- Rem Koolhaas (Heidingsfelder and Tesch, 2008)

Cinetecture explores the relationship between cinema, architecture and spaces. The architect and the filmmaker have much in common. Since the invention of the motion picture camera, the realms of film and architecture have been linked, with both forms communicating lived space through the creation of experiential scenes of life situations in an urban context. This led to a simple question that required critical thought and research in not only the fields of film and architecture, but sources such as psychology, sociology and philosophy: Is a well-designed building essentially a good movie?

Written as a script (taking inspiration by Rem Koolhaas' aforementioned quote), this thesis is organised into three main parts, with a final conclusion. Part 1 focuses on the origin and development of the theory of montage during the 1920s. It then explores the ways in which the film editing technique has the influenced the theories and works of Bernard Tschumi. Part 2, entitled 'Director Rem', analyses the academic and professional works of architect Rem Koolhaas who has acknowledged the impact of cinema and film theory, specifically that of spatial montage, has had on his approach to architectural design. Part 3 presents a proposal for a new cinematic architecture manifesto, named Cinetecture (a combination of 'cine' and 'tecture'). The proposal points towards a design process that merges the two fields of architecture and filmmaking into a single phenomenon. The concluding chapter, 'Speculations on Future Practice', looks ahead to how this new architectural style addresses the change in people's perception, in large part due to the advancement in time-based digital and social media technology, in anticipation to what is beyond the frame and around the corner.

In light of the latest developments, the boundaries between cinema and architecture have become blurred, and as a result my thought model aims to adapt the architectural design for the twenty-first century with the integration of cinema as a design tool to control and manipulate human experiences in space.