建筑产生于人类对基本物质生活的需求。当建筑在物质之上无意中反映出人类某种精神需求的时候，才成为了“艺术”。建筑作为一门自然科学在中国只是近七、八十年的事情。生产过程的复杂性使建筑往往在精神层面滞后于其他艺术门类。电影则完全是人类精神需求的产物。工业革命将人类带进了新技术时代，也为人们的想象提供了前所未有的巨大空间：永生的英雄、惊世的爱情——人类的百年影史，如同百年理想史，而建筑与电影的关系，也如同现实与理想的关系。 建筑和电影作为独立的艺术门类，有很多相关性。比较明显的，建筑和电影都注重视觉表现。建筑的材料、造型、色彩乃至光影变化提供了丰富的视觉价值。埃及金字塔在平坦无边的荒漠中以单纯的造型直指神圣；西藏浓烈的蓝天下，金、红、白、黑彩妆艳抹；西班牙毕尔巴鄂的古根海姆美术馆的钛金属表皮随着光线的变化奇幻莫测。电影的视觉特征则更鲜明。从 Architecture derives from the human needs for basic material life. When the building material inadvertently reflects the spiritual needs of human beings, it becomes “art”. As a natural sciences, architecture is only nearly seven or eighty years in China. The complexity of the production process makes buildings often lag behind other art categories in the spiritual aspect. The movie is entirely a product of the human spiritual needs. The industrial revolution has brought humankind into the era of new technology, and also provided people with unprecedented space for their imagination: the hero of immortality, the astounding love - the history of mankind, like the ideal history of a century, and the relationship between architecture and film. It is also like the relationship between reality and ideals. Architecture and film, as independent art categories, have a lot of relevance. Obviously, both architecture and film focus on visual performance. The building materials, shapes, colors and even light changes provide rich visual value. The pyramids of Egypt are sacred to the sacred in plain and boundless desert; under the strong blue sky in Tibet, gold, red, white, and black make up; the titanium skin of the Guggenheim Museum in Bilbao, Spain The change of light is unpredictable. The visual characteristics of the movie are even more distinct. From