This time-lapse video, entitled "Above LA," is Chris Pritchard's love letter to Los Angeles. Filmed over the course of two years, Pritchard sought out locations to showcase the city in a way people rarely get to see – from above. Some of the views were easy to seek out, while others involved some exploratory hiking and trespassing. He encourages "everyone - lifelong Angelenos, transplants, visitors - to hit the trails, drive the mountain roads, find a reason to get on top of a high-rise. From the basin to the valley, this city offers so many opportunities to rise above and look down. Never stop exploring."
Steven Holl Architects, in collaboration with Spirit of Space, have created two short films of the recently completed Seona Reid Building at Glasgow School of Art. The film series explores the complementary contrast of the new Reid Building and Charles Rennie Mackintosh’s 1909 building (which recently suffered a devastating fire), where "each work of architecture heightens the integral qualities of the other."
The first film takes the viewers on a "poetic climb" up and through the building's social circuit, which "purposefully encourages inter-disciplinary activity, with the hope to inspire positive energy for the future of art." The second film unpacks the design of the Reid Building in a conversation with design architects Steven Holl and Chris McVoy.
Every month, INTERIORS Journal analyzes and diagrams the spaces in various films, producing detailed plans for our viewing pleasure. But have you ever wondered just how they do it? If you have, check out their short video on making the plan from Spike Jonze's feature film Her above.
HR Giger, the Swiss artist and designer who inspired and helped craft the visuals for the Ridley Scott film Alien, has died at the age of 74, The Guardian reports. Although he studied architecture and industrial design in Zurich, Giger never entered the profession, but used his spatial know-how to help design dark interiors in both the real and cinematic worlds.
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.
The first season of Nic Pizzolatto’s True Detective, the product of creator/writer Nic Pizzolatto and director Cary Fukunaga, focuses on Detective Rustin Cohle (Matthew McConaughey) and Detective Martin Hart (Woody Harrelson) as they search for clues on a grisly murder case. The series takes place in Louisiana in three distinct time periods; 1995, 2002 and 2012. Each time period has a distinct look, as characters and their surroundings change and evolve over time.
Cary Fukunaga, who comes from feature films such as Sin Nombre (2009) and Jane Eyre (2011), has always employed a distinct visual style in his work. In The Guardian, he discussed his approach to the direction of the show, noting that “one of my priorities as director was to defend craft despite the constraints on my time and budget.” In addition, he notes that he looked for specific moments in which he would treat the visual side of the medium with the same importance as the dialogue.
In the fourth episode, “Who Goes There,” he does just that, as he employs a lengthy, complex shot that brings the audience closer to the characters’ experience. This edition of INTERIORS will spatially break down that shot, revealing just how complex it was.
In a public interview, director Mary McGuckian speaks with Shane O'Toole of DoCoMoMo Ireland about her soon-to-be-released film, "The Price of Desire," a biopic about the influential Irish modernist Eileen Gray - narrated from the perspective of Le Corbusier, no less. McGuckian explains how the film and the extensive research behind it went far beyond the usual remit of a biopic. Indeed, not only did it spawn an accompanying documentary ("Gray Matters", directed by Marco Orsini) and book, it even played a pivotal role in the restoration of E1027, Gray's seminal house design, to a point where it was possible to film on location.
"In a career that is still taking shape, the 44-year-old McQueen has already done more to make me rethink the relationship between the built environment and the camera than almost anybody in Hollywood." So says Christopher Hawthorne in his latest for the LA Times, where he examines the body of work of Steve McQueen - the director of Hunger, Shame, and the Oscar-winning 12 Years A Slave - and explores how McQueen "takes up architectural symbols in a sustained and strategic way." Read the fascinating article at the LA Times.
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.
Spike Jonze’s fourth feature film, and his fourth feature film collaboration with production designer K.K. Barrett, creates a future world that is both intimate and immersive.
Her (2013), which was filmed in Los Angeles and Shanghai, uses the architecture of both cities to construct a world of its own. Jonze and Barrett, however, chose not to approach the film from a design or architectural perspective; rather, they were interested in reflecting the emotional qualities of their protagonist Theodore Twombly (Joaquin Phoenix) through the production design. Barrett points out that although the future feels distant and foreign for us, “The future is also someone’s present, our character’s present.” Thus, science fiction elements are grounded in reality, and the future world of Her was designed with those ideas in mind.
In an exclusive interview with Interiors, K.K. Barrett discussed his approach as an artist to both the medium of cinema in general and Her in particular. Learn more after the break.
From 1927's Metropolis to 2002's Minority Report, this article on the Guardian Cities explores film's futuristic cities - utopias, dystopias, and those somewhere in-between - and asks: which of these cities would be safest? Most suited to under-30s? The best to live in? You can find out by reading the article here.
Federico Babina has surprised us several times with his artistic work, from his "pixelated" versions of iconic characters (Parts 1 and 2) of architecture to his illustrations of architectural landmarks in the history of cinema. This time, the architect and illustrator delights us again with a new series entitled ARCHISET, which presents the sets of some of the most memorable scenes from classic films.
The series consists of 17 illustrations, cross-sections presenting the interior design and characters in films such as "A Clockwork Orange" by Stanley Kubrick, "All About My Mother" by Spanish Director Pedro Almodovar, and "Vertigo" by the master, Hitchcock.
Check out the full series, after the break.
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
In his review of Spike Jonze's movie "Her", LA Times architecture critic Christopher Hawthorne explains a rather comforting aspect of the movie: instead of the dystopia that usually characterizes films set in the future, "Her" is set in a future version of LA which is more dense, has better public transport (with a subway map with a story all of its own) and has managed to overcome its dependence on the car. No wonder this film has touched a chord with architects and urban designers. Read the full review here.
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
Federico Babina, the mastermind behind ARCHI-PIX (Parts One and Two) has come up with a fun new series - ARCHICINE - representing iconic works of architecture that have played protagonists on film. We've rounded up all the illustrations -check them out after the break!
In this interesting article for the Financial Times, Edwin Heathcote dissects two Hollywood homes that are infamous as the homes of slick movie bad guys. The Lovell Health House designed by Richard Neutra appeared in LA Confidential as the home of pornographer and pimp Pierce Patchett; the Sheats Goldstein Residence appeared in The Big Lebowski - again as the home of a pornographer - and was designed by none other than "Hollywood's favourite architect" John Lautner. Heathcote probes the two architects' design influences and ideas, and of course offers an explanation as to why ""bad guys always seem to get the best houses". You can read the full article here.
This week we revisit a classic, a masterpiece by Jacques Tati. In the movie, Tati depicts modernism's problematic impact on the city and the way in which people interact within it.
The movie's carefully considered environment shows characteristics of the modernist movement at that time: repetition and regularity (the result of industrialisation) are represented from the smallest objects in the interiors to the larger scale of the city's urban plan. Enjoy this great movie and let us know your thoughts about Tati's take on modernism.
The Fall is a very visually powerful film. It is the result of a tremendous effort from its director Tarsem Singh, who travelled around the world in order to find the right locations for each scene. It is not only about the diversity of these spaces, but also the way that Singh is able to put all those elements together as part of a massive surrealistic world.
What if a movie is filmed in such a minimal way that your only reference is a plan view drawn on the floor. Then you would need to imagine all the missing information in a kind of mental extrusion of physicality. This is the way chosen by the Danish director Lars von Trier to represent a parable occurring in a fictional settlement in Colorado.