Originally appearing on Metropolis as A Pair of Artists Use Architecture to Study Film, Colin Warren-Hicks profiles “Interiors“, a monthly zine that analyzes important spaces in Films and TV through reconstructed architectural plans – and whose creators also contribute to Archdaily on a monthly basis.
Can a good film director be a good architect? That’s the premise behind Interiors, a monthly online zine that critically investigates the link between film and architecture. Each issue breaks down, in architectural notation, a memorable set or scene from a movie or television series. (Lately, the subjects have expanded to include a Justin Timberlake music video and even a stage from Kanye West’s Yeezus tour.) The diagrams are accompanied by a lengthy essay that supplements the spatial analysis.
Read more about “Interiors” – and see a collection of plans produced for the journal – after the break
Originally appearing in Metropolis Magazine as “Hitchcock and the Architecture of Suspense,” this article by Samuel Medina reviews Steven Jacobs’ book The Wrong House: The Architecture of Alfred Hitchcock, which uses expert analysis and reconstructed floor plans to examine how the master created suspense with his sets.
In the films of Alfred Hitchcock, things happen, but the events that gave rise to them are easily forgotten. You quickly forget how A leads to B or, say, by what elaborate means Roger Thornhill ends up at Mt. Rushmore in North by Northwest. But as the French filmmaker Jean-Luc Godard observed, the Hitchcockian cinema compels not with story, but with images—the open-palmed hand reaching for the door, the simulated fall down the staircase, the whorling retreat of the camera from a dead woman’s face. These stark snippets imbue the films with their uncanny allure and imprint themselves in the mind of the spectator much more effectively than any of the master’s convoluted plots.
Read on for more on the role architecture plays in Hitchcock’s films
Our latest movie in our Films & Architecture series is another ’60s classic, this time by the master filmmaker Alfred Hitchcock. In North by Northwest we see a New York in the heyday of its architectural glory, with one scene taking place at a newly constructed United Nations building. In fact, the last scene takes place in a “house” that, under Hitchcock’s instructions, was meant to seem designed by Frank Lloyd Wright (in reality, the house was just another set design). The film shows a variety of urban spaces, and puts special emphasis on the contrast between the densities of urban and rural realms.
As always, enjoy and comment!
Alred Hitchcock (13 August 1899 – 29 April 1980), who would have turned 113 today, is often known as the “Master of Suspense.” But we here at ArchDaily would like to tweak that moniker slightly, to the Master Architect of Suspense.
Hitchcock, who actually worked as a set designer in the 1920s, not only maintained meticulous control over his film sets as a director (many of which were mounted in studio), but incorporated many architectural themes into the narratives themselves.
More on Hitchcock’s use of Architecture, after the break…
We come back to the 1950s to remember one of the great masters of modern film making, Alfred Hitchcock. In Rear Window, most of the scenes are recorded from the limited view of one single room. Things within a housing complex seems to work fine for everyone but not for this photographer that is forced to see the world from the same perspective every day.
Let us know what are your thoughts about this classic Hitchcock’s work and we wait for any recommendation for keep going with the list!