1st to 4th of October // Fórum Lisboa Mezzanine
Intimicy, Silence, Contempletion
Susana Ventura, 2015, Portugal
Direction and montage: Susana Ventura
Editing: Gonçalo Faustino
The three films – “Intimacy”, “Silence”, “Contemplation” – result from an expedition journey to an intensive architecture through Japan, Center and North Europe, realised between June and August of 2014, within the Fernando Távora’s Award and a Post-Doctoral research project. They are mainly experimental and instrumental films that use the empirical experience as first matter of research and expression. Each film seeks to unveil how each one of the sensations is composed in the space, the mechanisms, artifices and matters of expression that gave birth to it, and that belong insomuch as to the landscape, where the work belongs, as to the imagination that it awakens or to the body that inhabits, even if absent.
I. Intimacy, 15’. Works: Villa Müller, Adolf Loos, Viena, 1930; House of Light, James Turrell, Tokamachi, 2000; Casa Uehara, Kazuo Shinohara, Tóquio, 1976
II. Silence, 7’. Works: Memorial, Peter Zumthor, Vardo, 2012; Igreja de São Pedro, Sigurd Lewerentz, Klippan, 1966; Igreja de São Marcos, Sigurd Lewerentz, Estocolmo, 1956; Cemitério Oriental, Sigurd Lewerentz, Malmö, 1909
III. Contempletion, 14’. Works: Petite Maison, Le Corbusier, Montreaux, 1924; Memorial, Peter Zumthor, Vardo, 2012; Villa Khuner, Adolf Loos, Payerbach, 1930
PhD in Philosophy – Aesthetics (FCSH-UNL, 2013), Architecture graduate (dARQ-FCTUC, 2003),Post-Doc researcher in Architecture (FAUP). During her PhD’s research, she has done research residences of two months each at the studios of Diller Scofidio + Renfro, Lacaton & Vassal and Peter Zumthor. In 2014, she won the Fernando Távora’s Award with the proposal “An expedition to an intensive architecture” as part of her Post-Doc research project, and was invited to participate at the Portuguese Representation in the 14.ª Venice Architecture Biennale as architect editor of the section “Detached” of Homeland – News From Portugal.
Replay. VHS Architecture – The Post-modernism Symposia
Leonor Matos Silva, 2015, Portugal, 50’
SCREENPLAY AND EDITING: Leonor Matos Silva
PRODUCTION: Jorge Figueira e Leonor Matos Silva
LANGUAGE: Português; English; Italiano
Throughout the 1980s, the Department of Architecture at the School of Fine Arts of Lisbon (DA-ESBAL) was host to various cultural initiatives, some of which recorded on video, a system internally introduced for a variety of purposes – from archive to pedagogical ones. Among the extra-school events filmed, there were three Architecture Symposia which aimed to reflect on postmodernism – a theme on the day´s agenda – and brought to Portugal some of the hottest names of the international architectural culture.
“Replay. VHS Architecture – The Post-modernism Symposia” is the result of the revisiting of these symposia: a selection, analysis and editing of more than twenty hours of raw recordings. The final object, although dramatically reduced, is an acute synthesis of the material collected – in the sense that it retains the strong lines of individual programs of both conferences, and though maintaining the consistency of the image record of the time, highlights aspects that today, after thirty years, are particularly prevalent.
This film was originally made by Jorge Figueira and Leonor Matos Silva for an event entitled “VHS Architecture. Lisbon, 1980s: The Post-modernism Symposia” which took place at MUDE – Museu do Design e da Moda, in Lisbon, on April 2015.
WITH: Michael Graves, Peter Eisenman, Edward Jones, Pierluigi Nicolin, Tomás Taveira, Alessandro Mendini, Franco Purini, Stanley Abercrombie, Peter Davey and Andreas Papadakis
COLLABORATION: Faculty of Architecture, University of Lisbon
LIQUID TIMES, FLUID ARCHITECTURE
a program of redfundamentos curated by Andrea Franco
Architecture trembles. Structures run off the ground. Modern life is an earthquake defying stability. Living happens fast, we move, we transit, we belong to nowhere and all places; times are liquid, so thus architecture. The past and the references are constantly threatened. The following filmmakers fix on celluloid, in a shaking manner, a series of constructions that surely will someday disappear from our landscape.
Paul Clipson’s CORRIDORS is a cosmic fluxus made out of water, sunrays and city lights that eventually explode into architecture. The urban scenario comes after a Big Bang. Sparkling images evolve into shimmering constructions. The city appears like a prison; it is a fleeting portrait of New York where grilles and fences describe an oppressive habitat. Vision is only possible through railings. Zooms and reflections suggest permanent movement while the buildings dissolve within the vertigo of light and music from outer space.
Albert Alcoz’s PRELUDE presents a blurred image of Mies Van der Rohe’s German Pavilion, in Barcelona. Playing with the speed and the diaphragm of the camera, this icon of Modern Architecture fades into a watery landscape, shuddering the principles of a glorious avant-garde.
By the same author, A PUNT DE FUGA produces an elusive architecture that challenges the laws of perspective by alternating their vanishing points.
For LA GRANDE DAME -as the business people of Montreal called this new skyscraper erected in the city in the early 60’s-, Alexandre Larose shot with a long lens and edited in-camera in order to dislocate both scale and distance, thus we fall from the heights through a nightmarish architecture of never-ending façades and windows in a row. A split-screen makes a two lane road where a fast race is taking place between the different stories of the building.
These four pieces show vertiginous and uncertain architectures expressing our liquid times. Times when building seems futile because everything vanishes into velocity and seems condemned to being ephemeral. Values can no longer be hold or lasting. Cities are just the material signs of the process, but never the most real or truthful.
‘redfundamentos’ gathers projects of architecture and urbanism within a big network of universities in Iberoamerica. The site www.redfundamentos.com runs the journal rita_ (Revista Indexada de Textos de Arquitectura); a blog where we publish architectural works and news; a database for educational resources; and the audiovisual platform ‘canalfundamentos’, from where we stream shorts, feature films and videoart. This program is our first collaboration with a film festival. We thank Sofia Mourato for the opportunity.
Preludio, Albert Alcoz. 2011, Espanha, 3’ (super 8mm, color, sound)
A Punt de Fuga, Albert Alcoz. 2014, Espanha, 5’ (video HD, b/n, sound)
La Grande Dame, Alexander Larose. 2011, Canadá, 5’ (16mm, color, silent)
Corridors, Paul Clipson. 2007, 25’ (super 8mm, color and BW. Music by Jefre Cantu – Ledesma)
Marco Brizzi, Image (Curadoria)
At Image we are fascinated by architecture videos and are in constant search of compelling works capable of inspiring new ideas. For almost 20 years, alongside the creation of the Beyond Media festival, we have been attentively watching these productions, highlighting some important contents developed by the latest generation of architects and creatives. We are convinced that video is an instrumental tool for increasing the value of design: offering new possibilities for expression, creating new points of view, and multiplying the opportunities for narration and knowledge sharing. The Architecture Player intends to share this passion of ours, and take it one step further. We decided to make available to the public some of the videos from our collection, which have been carefully selected and curated, along with some of the best new and recent productions we found. The Architecture Player is a unique resource whereby new architecture stories, in video form, can be shared and narrated by special observers in the form of Strips. We welcome proposals for new video works to be included in our platform and benefit from its capacity to share and disseminate new design contents and media. Whether it is architects who make videos or independent video authors who investigate architecture, all are invited to join us and submit their works to our editorial staff. The Architecture Player is offered as an asset for the growth of architecture and its important social role.
El Espinar House
a short film by Luis Urculo
Spain 2014, 3’27”
The design for the ANIMA Cultural Center in Grottammare (Ascoli Piceno, Italy), Bernard Tschumi’s first project in Italy, is explored in a playful and intriguing way in this short video by Luis Urculo. The Spanish artist narrates through original visual metaphors the marked cultural identity and the spatial solutions of the project, as well as the architect’s research on the theme of façades. The video – launched in 2014 along with a project-specific website – presents the design’s history and aspirations by means of exploring the theoretical ideas that characterize the genesis of the planning process. The architect’s work on façades and materials by means of combining different stylistic dictionaries, the delicate volumetric interaction of spaces within the Cultural Center (such as the system of courtyards designed around a main central space) and the cultural-economic choices of the overall design process are introduced through a plain visual narration, that is intertwined with some written statements from Tschumi’s design conception. In Urculo’s video everyday objects, books and paper scale models become the ideal means to stimulate the imagination of a wider audience and involve them in the narration of the ANIMA (Arts, Nature, Ideas, Music, Action) project.
a short film by Pablo Casals-Aguirre
architecture by Ortuzar & Gebauer Architects
Chile 2014, 5’58”
The short film “Palafitos” narrates the recovery and redevelopment of the neighborhood of Chiloé (Castro, Chile) through a poetic exploration of four architectures designed by Ortuzar and Gebauer Architects.
In these palafito projects – Patio Palafito (a cafe and boutique hotel), Palafito del Mar (a boutique hotel), Palafito Sur (a backpackers’ hostel), Palacito (an aparthotel) – the Chilean architecture office aims to preserve and celebrate the traditional elements and materials of the local environment.The short movie written, directed and filmed by Pablo Casals-Aguirre observes architecture both from the outside and from the intimacy of the interior spaces, the interactions between the daily life of the inhabitants and the experience of the occasional guests of the stilt hotels being at the core of his film. With its neat colors that recall the sharpness of pure black-and-white images, a precise and contrastated photography emphasizes the collage composition of different shapes and textures of the new stilt landscape facing the seaside.
Architecture and the Unspeakable
a short film by John Szot
produced by Brooklyn Digital Foundry
USA 2014, 13’52’’
“Architecture and the Unspeakable” is composed by stories of three buildings “each one – as the author says – with a pathological problem that contains the promises of a new cultural dialogue”. Part 1, “Soho”, explores breaking the boundaries between architecture and its inhabitants: the community is allowed to infiltrate the manicured spaces while the architecture fosters its own disfigurement. Set within the gentrified neighborhood of SoHo in New York, this slick and nimble concrete building becomes not a sacrosanct piece of art, but a block of marble unscathed by the sculptor’s chisel. In a place home to counter-culture, activism, and artists’ lofts, an architecture is created that works to try and be altered and corrupted by the environment in which it sits. As the sickly sweet animatronic voice guides viewers through part 2, one is exposed to the unique paradox of “Shibuya”: the more you stick out, the more you blend in. The viewer is taken on a disorienting ride through the blinking lights and cacophonous noises of a theoretical housing project that could exist only in Shibuya, Tokyo, Japan. Like an architectural Tower of Babel, the discordant spaces and idiosyncratic styles come together to create one amalgamated object, which disappears into the hustle and bustle of Tokyo’s busiest neighbourhood. In part 3, “Detroit”, the architecture is interpreted as a vessel of potential energy. Detroit’s crumbling infrastructure and architecture is viewed as a tool for reinvention. The project proposes a paradigmatic shift in the way we discuss and view the crumbling bricks and exposed rebar of an architectural space in decline. A new standard of creative expression emerges from the rubble, like a phoenix from its ashes. “Through the mechanisms of vandalism, idiosyncrasy, and dilapidation – Szot says – the buildings raise the possibility that architecture might transcend its practical obligations to become our most potent form of cultural expression”.
2 World Trade Center
a short film by Squint/Opera
architecture by BIG | Bjarke Ingels Group
United Kingdom 2015, 3’
Looking back at its 13 years of activity, if we are searching for Squint/Opera’s trademark we could find it in the group’s great skills in developing immersive and visionary storytelling about architecture to come, with a pinch of fun. When a team with these qualities meets an architect like Bjarke Ingels, who is an omnivorous tester and user of every medium an architect can take advantage of, the result is for sure interesting and leaves matter for discussion.
The “2 World Trade Center” short film unveils BIG’s design for the completion of the World Trade Center to unite the streetscapes of TriBeCa with the towers Downtown. The film combines film footage with a range of visualization techniques. At first Ingels recounts the main design concepts developed on the idea to build a vertical village made of singular buildings stacked one on top of the other. The architect stays in the city, talking and gesturing on the existing to show how it is going to change: the real interlaces with future reality. The second part of the film, mainly developed in 3D graphics, offers a tour into the architecture, both meandering in the outer and inner spaces.