Interiors is an online film and architecture journal, published by Mehruss Jon Ahi and Armen Karaoghlanian. Interiors runs an exclusive column for ArchDaily that analyzes and diagrams films in terms of space. Their Official Store will carry exclusive prints from these posts.
There has been much said and written about the use of the long take in Alejandro González Iñárritu’s Birdman (2014), and how its filmmakers stitched together numerous long shots in an attempt to make the majority of the film feel like a continuous scene. The film follows (literally) its protagonist, Riggan Thomson (Michael Keaton), an actor past his prime, as he plans his career comeback with a stage production.
Emmanuel Lubezki seems the ideal collaborator for the director’s vision. The cinematographer, known for his extended takes in films such as Y Tu Mamá También (2001), Children of Men (2006) and Gravity (2013), has made use of the technique as a way of bringing audiences closer to the action. Birdman is the culmination of his experimentation with the form, bringing together these ideas and creating an immersive experience with a sense of urgency.
The film, of course, uses digital effects and editing as a way of creating its illusion. Birdman’s cuts are hidden between instances of darkness, made possible through the work of production designer Kevin Thompson, who started his work by mapping out the entire film on a floor plan of the sets.
Designed by Diller Scofidio + Renfro, Los Angeles‘ Broad Museum is due to open September 20th. However, in an attempt to ease the tensions surrounding the building’s many delays and legal problems, this past weekend members of the press and a small number of ticketed members of the public where invited to view the unfinished building, offering a preview of the long-awaited addition to LA’s Grand Avenue museum scene.
As LA Times Critic Christopher Hawthorn reports, the previews were initiated by Elizabeth Diller herself, with the architect meeting giving reporters a tour of the space on Friday. On Sunday 3,000 members of the public were allowed to enter, after tickets for the event sold out after just 30 minutes. Now that the previews are over, the Broad will remain off limits until its official opening later this year and the rest of us will have to make do with the many Instagram and Twitter shots from those lucky enough to attend – after the break, we’ve collected 12 of the best.
“A Message to Everybody”: The Red Square Pavilion Winners on Encouraging Tolerance with Architecture
Announced in the summer of 2014 the Red Square Tolerance Pavilion, an international ideas competition organized by HMMD, was a deliberately provocative proposal before any teams had even entered - a statement planned in an envronment where tolerance is an increasingly urgent topic, for people both inside and outside Russia. In this interview, originally published by Strelka Magazine, the Italian winners of the competition discuss their proposal and its response to this charged context.
This January the winners of the ‘Red Square Tolerance Pavilion’ competition that was organised by international organisation HMMD were announced. The first prize was given to a team of architects from Italy. Their bold and daring project proposed to build the pavilion right against the Kremlin wall. Strelka Magazine caught up with Kiana Jalali, Marco Merigo, Alessandro Vitale and Matteo Pagani to discuss fluidity of space, the symbolism behind their design and the media image of Russia.
In late 2013, Diller Scofidio + Renfro won first prize in the international competition to design Zaryadye Park, Moscow’s first new park in 50 years. The project is a headliner in a series of high-profile schemes that aim to improve the city’s green space, including the renovation of Gorky Park and the recently revealed plans for the Moscow River. This article, originally published by The Calvert Journal as part of their How to Fix Moscow series examines how DS+R’s urban “wilderness” will impact the city.
In a 2010 interview, the critic and historian Grigory Revzin complained that Muscovites wishing to “walk in parks and get pleasure from the city” would have to “come out into the streets” before anything was done. Hoping that architects would respond to the problem, one of Revzin’s suggestions was a park to replace the site of Hotel Rossiya, which had become overgrown since being abandoned in 2007. This wild area in the city centre was, in fact, a harbinger of what is to come: Zaryadye Park, Moscow‘s first new park in 50 years, which the American design studio Diller Scofidio+Renfro won the international competition to design in November 2013.
Being an architect is hard. At times, you’re expected to act as everything from a graphic designer to a handyman (or woman), from a data scientist to a writer, or from a computer programmer to a public speaker. And, you’re expected to do all these things on little to no sleep and for a much lower wage than you’re probably worth. But don’t fear – the internet is here to help (it’s not just a place to procrastinate, you know).
We’ve collected 22 free websites that can help you in the never ending quests for efficiency, knowledge and good taste. Whether you’re selecting the perfect color scheme for a presentation or graph, tracking the price of your next big purchase, solving technical problems or simply trying to balance your sleep and caffeine intake, there’s something in this list to help everyone.
With our annual Building of the Year Awards, over 30,000 readers narrowed down over 3,000 projects, selecting just 14 as the best examples of architecture that ArchDaily has published in the past year. The results have been celebrated and widely shared, of course, usually in the form of images of each project. But what is often forgotten in this flurry of image sharing is that every one of these 14 projects has a backstory of significance which adds to our understanding of their architectural quality.
Some of these projects are intelligent responses to pressing social issues, others are twists on a well-established typology. Others still are simply supreme examples of architectural dexterity. In order that we don’t forget the tremendous amount of effort that goes into creating each of these architectural masterpieces, continue reading after the break for the 14 stories that defined this year’s Building of the Year Awards.
Taking the urban high-rise “one step further,” BIG’s Vancouver House (formerly known as the Beach and Howe Tower) is a gesamtkunstwerk – total work of art. Detailed to the smallest scale, the grand scheme makes use of a difficult site trisected by the Granville overpass and burdened by setbacks, transforming it into a “lively village” at the city’s gateway.
Learn how Bjarke Ingels plans to revolutionize urban living by watching the video above.
For his three sacred buildings, Le Corbusier has played masterfully with orientation, openings and textures to create kinetic architecture with daylight. His pilgrimage chapel at Ronchamp, the monastery of Sainte Marie de La Tourette, and the parish church of Saint-Pierre in Firminy reveal distinctive and individual approaches that each render contemplative spaces with light. In his book “Cosmos of Light: The Sacred Architecture of Le Corbusier,” Henry Plummer, Professor Emeritus at the University of Illinois at Urbana-Champaign, has analysed these projects with outstanding photographs taken over 40 years and brilliant writing.
Read on for more about how Le Corbusier created his cosmos of light.
Vincent Laforet is at it again, this time photographing Nevada’s Sin City from an elevation of 10,800 feet (8,799 feet above the city). Part two of Laforet’s dizzying series of city aerials, the Pulitzer Prize-winning photographer was drawn to desert city of Las Vegas because of its “island” effect.
“Just like the island of Manhattan that started this series, Vegas is an “Island of Light” in the middle of nothingness… A sea of black with an amazing source of light emanating from Vegas and its infamous strip… You can almost see the electricity running through it.”
A collection of “Sin City” images, after the break.
Last week, Frank Gehry inaugurated his first building in Australia, with the formal opening of the Dr Chau Chak Wing Building at the University of Technology in Sydney (UTS). As his first in the country, the building therefore offers an opportunity for a whole new corner of the world to weigh in with their opinions on the polarizing style of the world’s foremost love-him-or-hate-him architect.
The resulting media flurry has provided a number of entertaining responses, both positive and negative. After the break, we round up some of the most amusing.
The architecture of containment is a fascinating area. The spartan utilitarian spaces of prisons are among the most highly considered, sophisticated and expensive there are. It’s unusual for designers to create spaces for people who experience it against their will (well, mostly) and it is a tricky balance between creating sensitive, positive places for rehabilitation and community expectations about what punishment should look like. There are different approaches around the world: the US take a particular stance; the Norwegians have another. Hollywood, of course, has its own interpretation. And it is not concerned by such trivialities as the Geneva Convention.
Architectural space as we know it is left largely empty even when it is inhabited. We have become accustomed to this empty space, take it for granted, and most likely could not imagine a life in which we are forced to occupy only the space that we use. Through cataloguing our everyday activities and analyzing our body movements, Stavros Gargaretas of Why Factory studio at TUDelft sought to examine the question of ultimate space efficiency with a project entitled “The Evolving Room: Inhabiting Zero Wasted Space.” The work was completed under the supervision of Ulf Hackauf, Adrian Ravon and Huib Plomp, along with Why Factroy founder Winy Maas and won TUDelft’s Best Graduation Project of the Faculty of Architecture award.
Held in 1933 on a ship in the Mediterranian, the fourth CIAM congress and Le Corbusier’s subsequent Athens Charter (La Charte d’Athenes) are widely regarded as a defining period in Modernist urban planning, a moment when architects came to an agreement on what the future of our cities should look like. But how correct is this interpretation? Edited by Evelien van Es, Gregor Harbusch, Bruno Maurer, Muriel Perez, Kees Somer and Daniel Weiss, a significant new 480-page book, “Atlas of the Functional City - CIAM 4 and Comparative Urban Analysis” examines the congress in depth. In the following excerpt from the book’s introduction, Daniel Weiss, Gregor Harbusch and Bruno Maurer examine the commonly accepted history of the congress, finding that support for the underlying principles of Modernism was perhaps not so unanimous after all.
Just over two years have passed since the tragic shooting at Sandy Hook Elementary School in Newtown, Connecticut. Thanks to an 89% vote by Sandy Hook’s residents in favor of demolishing the old building the site now sits empty – awaiting the construction of Svigals + Partners‘ design for a replacement building which is not only tasked with being a high level teaching facility, but also with sensitively addressing the collective trauma which inevitably remains a part of the site’s history.
With such a challenging history to the site, how is it possible to balance the emotional needs of a community with the functional needs of an educational institution? We spoke to Jay Brotman AIA, a partner at Svigals, to find out.
After two weeks of nominations and voting, we are pleased to present the winners of the 2015 ArchDaily Building of the Year Awards. As a peer-based, crowdsourced architecture award, the results shown here represent the collective intelligence of 31,000 architects, filtering the best architecture from over 3,000 projects featured on ArchDaily during the past year.
The winning buildings represent a diverse group of architects, from Pritzker Prize winners such as Álvaro Siza, Herzog & de Meuron and Shigeru Ban, to up-and-coming practices such as EFFEKT and Building which have so far been less widely covered by the media. In many cases their designs may be the most visually striking, but each also approaches its context and program in a unique way to solve social, environmental or economic challenges in communities around the world. By publishing them on ArchDaily, these buildings have helped us to impart inspiration and knowledge to architects around the world, furthering our mission. So to everyone who participated by either nominating or voting for a shortlisted project, thank you for being a part of this amazing process, where the voices of architects from all over the world unite to form one strong, intelligent, forward-thinking message.
When Sheila O’Donnell and John Tuomey, who practice in partnership as O’Donnell + Tuomey, were named as this year’s recipients of the RIBA Royal Gold Medal, a palpable collective satisfaction appeared to spread throughout the profession. No one could find criticism in Joseph Rykwert and Níall McLaughlin’s nomination, nor the ultimate choice of the RIBA Honours Committee, to bestow the award upon the Irish team. Their astonishingly rigourous body of work, compiled and constructed over the last twenty five years, has an appeal which extends beyond Irish and British shores. A robust stock of cultural, community and educational projects, alongside family homes and social housing projects, leaves little doubt about the quality, depth and breadth of their mutual capabilities and the skill of those that they choose to collaborate with.
Read the conversation with the Gold Medallists after the break.
Workplace design has undergone a radical transformation in the last several decades, with approximately seventy percent of today’s modern offices now converted to open plans. However, despite growing concerns over decreases in worker productivity and employee satisfaction, the open office revolution shows no sign of slowing down. The open office model has proliferated without regard for natural differences in workplace culture, leading to disastrous results when employees are forced into an office that works against their own interests. If we are to make offices more effective, we must acknowledge that ultimately, design comes out of adapting individual needs for a specific purpose and at best, can create inviting spaces that reflect a company’s own ethos.
Founded in 1993, Berlin-based practice Barkow Leibinger has become known for a research-based approach to design that fully explores the possibilities offered by tools, fabrication techniques and materials. In the following essay, adapted from his contribution to Barkow Leibinger’s monograph Barkow Leibinger: Spielraum, art critic Hal Foster examines the historic context of the practice’s work and the influences that have shaped their production.
One origin myth of modern architecture involves the voyaging of German designers like Walter Gropius to North American cities such as Buffalo, where they first saw in situ the industrial structures, such as grain elevators, that they had already proposed as models for functionalist buildings in Europe. The partnership of Frank Barkow and Regine Leibinger is a new variation on this old theme of international encounter: in the late 1980s the American Barkow and the German Leibinger met at the Harvard Graduate School of Design (GSD, where Gropius had once presided as chair). In the literature on the office, this encounter is taken as a primal scene: Frank Barkow, the rangy man from Montana, impressed by the huge infrastructural projects and the great land art of the American West (e.g., hydroelectric dams, in the first instance, Spiral Jetty by Robert Smithson, in the second), meets Regine Leibinger, the sophisticated daughter of the innovative director of TRUMPF, the designer-manufacturer of laser-cut tools based near Stuttgart (which is also where a classic of European modernism, the Weissenhof Siedlung, is located). After training at the GSD, under the chairmanship of Rafael Moneo, the two young architects set up a practice in Berlin, in 1993, at a time when the new Europe came to represent what the old America once did: an expanded horizon for ambitious building.