The year 2019 marks the centennial anniversary of the Bauhaus' founding. Founded by Walter Gropius in 1919, the school sought to reimagine material reality. Considered by many to be the most visionary school of early 20th-century art and design, the Bauhaus would spark a global movement in a period of world history otherwise marred by war and economic devastation.
In 1933, The Nazi Party took over Germany and eventually closed the Bauhaus school. Many of the Bauhaus’ leading visionaries emigrated to the United States – bringing the movement with them. László Moholy-Nagy brought the Bauhaus to Chicago, starting a new chapter in the Bauhaus’ history by establishing a school – The New Bauhaus.
There ought to be a word for this kind of film—halfway between a sequel and a reboot—but there isn't, so we just have to call it Blade Runner 2049. The film is perhaps more subtle in the way it refers to Ridley Scott's 1982 dystopian cult classic than some recent sci-fi restorations—Star Wars: The Force Awakens, I'm looking at you—but it isn't above a bit of blatant parallelism. For example, it's easy to see reflections of Blade Runner characters in 2049: private dick Rick Deckard is now the stoic, world-weary K; femme fatale Rachael is Joi, a hologram companion who straddles the line between mortal and machine; wacky Roy Batty is the single-minded, murderous Luv; not to mention a bevy of replicants passing for humans and cops with hidden agendas. In fact, one of the few prominent characters not recast is the city of Los Angeles, whose architecture is strikingly absent compared to the first film. The resulting movie feels curiously devoid of a civic soul, which is perhaps the point.
The designs by Snøhetta for the renovation of the building at 550 Madison Avenue have launched the building to the forefront of the debate about the preservation of Postmodern heritage. The plans include replacing the stone facade with undulating glass in order to transform the building's street presence. Should plans progress, the once prominent arched entry will sit behind fritted glass and stone covered columns will be unwrapped to create a hovering datum.
Begin to understand the inner workings of Fumihiko Maki's architectural mind in PLANE—SITE’s latest short film from their Time-Space-Existence series. Each film focuses on the different principles which drive the practice of famous architects. Maki is known for being experimental with materials and fusing east and west culture.
Fans of absurd architecture, over-the-top action, and wrestling-stars-turned-beloved-actors are in for a treat this summer thanks to the recently-announced film Skyscraper. The movie’s central character is “The Pearl,” an imagined 1,067-meter-tall skyscraper in Hong Kong—although apparently some guy named “Dwayne ‘The Rock’ Johnson” also plays a pretty big role with his character Will Sawyer, a former FBI Hostage Rescue operative who lost a leg in the line of duty and now reviews building security for a living.
The plot, as revealed in the trailer and a single-paragraph synopsis on the official website, sees Will Sawyer criticizing the security of the “vertical city” billed as the tallest, most advanced, and safest building in the world. His concerns are immediately shown to be well-founded, as a group of (what are presumably) terrorists set fire to the 96th floor of the building, trapping Sawyer’s family and somehow framing Sawyer for the whole thing. As a result, Sawyer must save his family while running from the law, with the trailer showing a climactic leap from an adjacent crane (we can only assume that Dwayne Johnson doesn’t fit into a ventilation duct). The film has come in for some good-natured ribbing already, with internet jokesters questioning how a 260-pound amputee makes a 15-meter jump off the end of a crane. But of course, closer inspection reveals that these concerns are just the start of the entertaining wackiness of this movie.
Why does a film garner critical acclaim? Is it captivating performances from its actors? Stunning tableaus and cinematic moments? Or, could it be the intricate sets where tales of drama, laughter, love, and loss play out?
Following her stunning watercolor prints of last year’s Oscar nominees and the Netflix sensation Stranger Things, architect and illustrator Boryana Ilieva provides a glimpse into the elaborate sets of 6 stand-out films from 2017. With the Golden Globes broadcasted earlier this month and the Academy Awards only a few weeks away, the homes in these award-winning motion pictures deserve as many accolades as the Hollywood stars who inhabit them.
This short excerpt is from Places Journal's article "Prop and Property: The house in American cinema, from the plantation to Chavez Ravine," which in turn was adapted from John David Rhodes' book Spectacle of Property. The article, which investigates the many layers of property inherent in the production and viewing of movies, investigates in particular the films Gone with the Wind and To Kill a Mockingbird, revealing how their themes of race and property are made even more complex by the practicalities of Hollywood filmmaking.
Perhaps the most mysterious and desired feature of housing is the privacy of property, and especially the property of and in the house. Property, however, is fungible and alienable. Whatever is promised by the house is radically susceptible to violation, displacement, and loss. Often the experience of property’s violation or redefinition involves an unwelcome reminder that the house is not a very private place after all. Partly we know this: we have all spent time in living rooms, on porches, or in other spaces of the house in which it is nearly impossible to say where the public ends and the private begins. But when property’s inherent instability is experienced vividly—whether in “real life” or in representation—we are forced to confront the tenuous relationship between public and private, as well as the tenuousness of all property relations as such.
https://www.archdaily.com/886807/how-the-portrayal-of-houses-in-cinema-shows-uncomfortable-truths-about-hollywoods-relationship-to-raceJohn David Rhodes
The first season of Stranger Things, which debuted on Netflix in July 2016, pulls its influences from the likes of Steven Spielberg, John Carpenter, and Stephen King, and stands on its own merits as a result of the inventiveness of its creators, filmmaking duo Matt and Ross Duffer.
Interiors spoke with Production Designer Chris Trujillo on the visuals of the series and several of the core spaces used throughout the first season, including Hawkins Laboratory, Will Byers’ house and, of course, the mysterious world of the Upside Down, which takes bits and pieces of the real world and twists them into a space entirely its own, one that exists both as part of, and outside of, the real world.
What might the futuristic home of Tony Stark (AKA Iron Man) look like in our more mundane world? In this fun exercise, Archilogic imagines a for-sale version the Malibu mansion. Explore it for yourself in the 3D model!
Ever dreamed of a real superhero lifestyle? We have a rare opportunity to buy in this secluded Malibu location, thanks to a change of heart by the former owner. Dramatic views, spectacular entertaining areas, plus a huge workshop/garage and helipad – it’s all here.
Lovingly rebuilt after an unfortunate accident, this stark white clifftop mansion once again has all its original features. Buyers who enjoy a rich social life will appreciate the glamorous history of the house, in which the celebrity former owner enjoyed a lavish party lifestyle, as much as its spectacular design.
The interplay of tantalizing eroticism continues within Christian Grey’s luxury tower in the recently-released film sequel, Fifty Shades Darker. In the first film, Grey’s plush apartment played an integral role in undressing the personas of Anastasia Steele, who liberates herself from her chaste existence, and Christian, who exposes the seething and fiery carnal desires and fetishism behind his glorified masculine beauty, charm, and appearance.
Grey's penthouse, which resonates with his unyielding and intimidating Heathcliff undertones in the first part of the trilogy, turns over a new leaf in the sequel. There is ambient warmth in the penthouse; nevertheless, the high level of sophistication prevails in his penchant for singular tastes and fastidiously-selected objects and it remains unapologetically lush.
Damien Chazelle’s La La Land (2016) is an ode to the Technicolor musicals of Hollywood by way of Jacques Demy and Paul Thomas Anderson. The film is less of a musical and more of a love story with music, as its rich color palette and Cinemascope presentation create an idealized world that strips away its artificiality over the course of its runtime, ultimately becoming more and more realistic.
La La Land uses its filmmaking—particularly its long, unbroken takes—to bring its audience into its world and its spaces. The opening sequence, for instance, where helpless drivers stuck in a traffic jam hop out of their cars and break into a synchronized dance number, was filmed on the 105/110 freeway interchange and was edited to appear as one take, ultimately resulting in an immersive experience that highlights the architecture of the scene.
"The Architect", directed by Jonathan Parker, is a film that moves between drama and comedy. It features a humorous (and some would say believable) satire of architects. In the film an egocentric, and grandiose architect named Miles Moss, played by actor James Frain, works with a couple who wants to build their dream home.
Floor plans of favourite television shows tell an interesting story, offering the viewer an extra dimension of a world they are already familiar with. A new series of poster-ready plans from Homes.com continues this with some of the most followed television shows both old and new—featuring Gilmore Girls, Buffy the Vampire Slayer, Arrested Development, Breaking Bad, Mr Robot, It's Always Sunny in Philadelphia, Sherlock and Stranger Things, there's something in this set for TV viewers of all tastes.
For this edition of Section D, Monocle 24's weekly review of design, architecture and craft, the team turn their attention to the crossroads where design and architecture meet film. From a documentary about Pruitt-Igoe, the St. Louis housing project, to a new reading of the title sequence of Superman, this episode investigates the role of architecture in film – and visa versa.
https://www.archdaily.com/798683/monocle-24-pays-homage-to-the-role-of-architecture-in-filmAD Editorial Team
Patrick Bateman’s apartment from American Psycho is one of the most iconic locations in recent film history – his bone-white business card writ large. The sterile set design, by Gideon Ponte, is as impersonally creepy as Christian Bale’s performance (sure, put a telescope by the window, why don’t you; a serial killer without voyeurism just isn’t scary enough.) Archilogic’s interactive 3D model invites you to experience the apartment from the inside – without fear of an axe to the head.
In the canon of great Dutch architects sit a number of renowned practitioners, from Berlage to Van Berkel. Based on influence alone, Rem Koolhaas—the grandson of architect Dirk Roosenburg and son of author and thinker Anton Koolhaas—stands above all others and has, over the course of a career spanning four decades, sought to redefine the role of the architect from a regional autarch to a globally-active shaper of worlds – be they real or imagined. A new film conceived and produced by Tomas Koolhaas, the LA-based son of its eponymous protagonist, attempts to biographically represent the work of OMA by “expos[ing] the human experience of [its] architecture through dynamic film.” No tall order.
The visual medium of film has meant that style has always played a significant role in cinema. It’s one of the reasons why film and architecture have gone hand in hand for the past hundred years. In some sense, both mediums display complementary qualities; film as photography captures the structural aspects of architecture, while architectural design dictates cinematic space.
The same can’t be said for television – because even though television has undergone an aesthetic transformation in the past few years, with shows like The Sopranos, Mad Men, Breaking Bad, True Detective, and The Knick, it’s still very much a character-based medium. The format itself allows for the close examination of characters over the course of many hours.