The INSIDE World Festival of Interiors has announced the nominations for their Interior of the Year award for 2014. This award is an international honor that covers nine categories. This year’s 60 nominations span the architectural spectrum, from schools to airports, and include well-known firms, such as MAKE Architects and a21 Studio.
The nominees will compete against each other from October 1st to the 3rd at the World Architecture Festival in Singapore (see this year’s architecture shortlist here). More on the interior nominees, after the break.
Interiors is an online film and architecture journal, published by Mehruss Jon Ahi and Armen Karaoghlanian. Interiors runs an exclusive ArchDaily column analyzing and diagraming films in terms of space.
Stanley Kubrick has been called many things: pretentious, unpretentious, alienated, ambiguous, audacious, empty, disturbing, outrageous, devilish, soulless, patient, unflinching, impersonal, arrogant, calculated, paranoid, aloof, visionary, genius, tyrant, misogynist, cineaste, original, and in the immortal words of Kirk Douglas, a “talented shit.”
It’s interesting to note then, when asked about his film, 2001: A Space Odyssey (1968), Stanley Kubrick himself said, “It’s not a message that I ever intend to convey in words.” The film itself is a “nonverbal experience.” There are no words – or dialogue – for more than two-thirds of the film. Stanley Kubrick is a visual storyteller; in his films, words are secondary.
Do you think your project has what it takes to win an INSIDE award? The deadline (May 30th) is fast approaching, so make sure to submit your projects soon! Divided into 12 categories — which include Residential, Retail, Transport, Office and more — entries will be judged by distinguished designers (judges confirmed for 2014 include Fabio Novembre, Matteo Thun, Jaya Ibrahim, David Kohn, Joyce Wang, Voon Wong and Chris Lee). In October, architects and interior designers will meet in Singapore for the INSIDE Festival, which is held alongside the World Architecture Festival. During the festival, the category winners will compete for the ultimate prize: World Interior of the Year.
To find out more and submit your entry, click here!
UPDATE: The winning images will go on show February 28th in London at the “Building Images: The Arcaid Images Architectural Photography Awards 2013″ exhibition. They will remain on view through April 25th inside a renovated factory on 7–9 Woodbridge Street.
The Architectural Photography Awards, hosted by Arcaid Images, have announced the winner, runner-up and shortlisted images for this year’s best architecture photos. A distinguished panel architects and editors that included Catherine Slessor, Eva Jiricna, Zaha Hadid, Ivan Harbour and Graham Stirk were asked to look beyond architecture and into composition, atmosphere and scale to ultimately judge four categories of images: Interiors, Exteriors, Sense of Place and Building In Use. Their selections reflect this vision admirably.
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 show is theatrical, cinematic and operatic in its structure. It merges together all of Kanye West’s interests in the the visual and performance arts, creating a powerful experience that transcends the concert format.
Interiors is an online film and architecture journal, published by Mehruss Jon Ahi and Armen Karaoghlanian. Interiors runs an exclusive column for ArchDaily, analyzing and diagramming films in terms of space.
The rise of the director in music videos came in the early 1990s, when MTV started crediting directors alongside artists and song titles. The influx of visionary directors such as Michel Gondry, Spike Jonze and David Fincher emphasized that music videos were becoming an auteur’s medium, much in the same way as film. The shift from stylized and performance-based music videos into narrative-based works, however, came much later, as the medium became more “cinematic” in its look and narrative structure.
Justin Timberlake’s music videos similarly parallel this evolution. His earlier works have always focused on locations and space, his choreography and the physicality of his performances. In “Cry Me a River,” we follow his movements through various rooms in a house. In “Rock Your Body,” his choreography and performance is the center of attention as he is surrounded by lights in an enclosed space. In “My Love,” we see the contrast of black and white while focusing on the vastness of empty space. However, the narrative-based music video for “Mirrors,” from his long-awaited album, The 20/20 Experience, marks a departure for the artist.
By its very nature, architecture has an obvious, and powerful, public presence. No matter who commissions buildings, they form the material backdrop of public life; the design of every building impacts towns and cities and the experience of those living and working in them. Architecture, though, is more than a stage-set. While, all too often, designed “iconic” buildings are indeed objects, and often vanity projects designed to show off the aspirations and egos of certain clients and architects, the space both inside and around these buildings, like most others, is public space: shared space, space used by communities of people, and space that often has psychological and emotional effects on very many of us. Think of shops, department stores, banks, offices and the many other buildings that, privately owned, play important roles in everyday public life.
It’s this internal aspect of public buildings that has been increasingly marginalized as architects and clients work together to maximize the external impact and character of buildings. After all, the public life of a public building, be it a court house or shopping-mall, does not cease once you are inside.
This article was written by Armen Karaoghlanian for Interiors, an online journal run by Armen and Mehruss Jon Ahi, published on the 15th of each month, in which films are analyzed and diagrammed in terms of space. It has been revised and re-published with permission.
Michael Haneke, known for his cold, disturbing and bleak films, such as Funny Games (1997), Caché (2005) and The White Ribbon (2009), goes for a little compassion with his latest, Oscar-nominated film Amour (2012). The film, which explores the private life of a married couple, Georges (Jean-Louis Trintignant) and Anne (Emmanuelle Riva), is a meditation on how individuals cope with the loss of a loved one.
Haneke sets his film within a single location, a Parisian apartment, which was constructed in a soundstage. The filmmaker, who often obsesses over the sound and production design in his films, had complete freedom with the construction of this space. In The Hollywood Reporter, we learn about how specific he was with the design of the space itself. “The crew had to install and reinstall the parquet floor to make sure it creaked just right.” In lieu of shooting on actual locations, Michael Haneke recreated an entire location according to his specifications to create the space he desired for his film.
Read more about how the spaces in Amour allow for the story to unfurl, after the break…