Presentato a Venezia un film-documentario su Rem Koolhaas

Alla 73esima mostra del cinema di Venezia, è stato presentato (sezione Fuori Concorso) il film-documentario sulla vita di Rem Koolhaas. Una pellicola biografica, diretta dal figlio della archistar, Tomas, che racconta i progetti nelle città di New York, Doha, Rotterdam, Pechino e Venezia. Scorci urbani in un “viaggio incredibilmente umano sull’essere, a livello filosofico, e sul mondo in cui viviamo insieme”. Read More

Dalla Fondazione Prada al Fuori Salone. Che cosa resta ai cittadini di Milano?


Che le zone più periferiche della città abbiano valori e risorse da potenziare non lo scrivono solo urbanisti e sociologi illuministi. Da tempo lo stanno dichiarando con le loro pratiche e scelte localizzative i più vivaci attori economici. Quel fascino tutto novecentesco della periferia industriale, organizzata per grandi isolati, puntellata di monumenti al lavoro, di fabbriche facilmente riutilizzabili appare come l’ingrediente fondamentale di chi cerca non solo uno spazio meno costoso con ampie metrature, ma soprattutto un luogo che abbia un proprio sapore. Read More

Tutti a leggere il libro che non c’è di Rem Koolhaas


Rem Koolhaas ha scritto un libro misterioso. Come in un racconto di Borges, c’è un libro che non si sa davvero se esista. Al contrario di un racconto di Borges, non si parla di un luogo inventato, ma di una città reale: è Lagos, Nigeria. La fama del presunto autore, l’originalità del tema e la misteriosità del libro continuano ad alimentare la curiosità intorno al lavoro di Koolhaas su Lagos, tanto che professori e studenti sparsi in tutto il mondo continuano a sostenere di aver sbirciato il libro. Ma chi siamo noi per credere ad oscuri studentelli e non al premio Pritzker Rem Koolhaas?

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Building Pictures

The work of Landon and Clemence is a natural fit for the theme of this year’s Biennale— Fundamentals, directed by Rem Koolhaas. In their book, they look so closely at the processes of architectural perceptions that the object itself nearly disappears, but only to make way for new kinds of poetic structures, both in words and images. They will be joined by two distinguished architects, Jean-Pierre Pranslas-Descours and Martino Pietropoli, in a panel discussion to be moderated by renowned architectural critic Fred Bernstein.

Works by Zaha Hadid, Frank Gehry, Jean Nouvel and other modern and contemporary masters are the inspiration for the pioneering new book Here/After: Structures in Time, by award-winning photographer Paul Clemence and architectural writer Robert Landon. At once theoretical and poetic, Here/After combines strikingly original images and genre- bending essays to investigate the phenomenology of architecture—in particular, architecture’s invisible fourth dimension: Time.

Paul Clemence’s photography and Robert Landon’s essays remind us of the essential relationship between architecture, photography and time,” writes architect, critic and former MoMA curator Terence Riley in the book’s introduction. “Buildings may be static, but our experience of them never is,” adds Landon. “They are subject to perpetual flux as our eyes move through three dimensions.” With his uncanny eye, Clemence captures exactly this experience of moving through buildings—capturing not just three dimensions in two, but four. “His images don’t merely illustrate architecture but engender a living encounter—an encounter always deeply embedded in time,” writes Landon.

The 38 black & white and color photographs in ‘Here/After: Structures in Time’ grow out of Clemence’s restless search for new architectural encounters, which have taken him from Rio de Janeiro to New York, from Barcelona to Cologne. In the process he has photographed some of the world’s most celebrated buildings, including: Frank Lloyd Wright’s Guggenheim Museum; Frank Gehry’s Guggenheim Bilbao; Zaha Hadid’s Broad Museum; Ludwig Mies van der Rohe’s Barcelona Pavilion; and Oscar Niemeyer’s Casa das Canoas. The book also features works by Marcel Breuer, I.M. Pei, Studio Glavovic, and Jean Nouvel.

However, Clemence never limits his lens to starchitects. As Here/After: Structures in Time reveals, his camera discovers hidden beauty in unexpected places—an anonymous back alley, a construction site, even a graveyard. In response to Clemence’s photos, Landon’s lyrical essays mine the same territory: that knotty borderland between reality, perception and representation.

The exclusive preview limited edition is printed on beautiful Mohauk eggshell paper in New York City, where the book was conceived, written and designed.



Through these films, Ila Bêka and Louise Lemoine put into question the fascination with the picture, which covers up the buildings with preconceived ideas of perfection, virtuosity and infallibility, in order to demonstrate the vitality, fragility and vulnerable beauty of architecture as recounted and witnessed by people who actually live in, use or maintain the spaces they have selected. Thus, their intention is to talk about architecture, or rather to let architecture talk to us, from an “inner” point of view, both personal and subjective.

Unlike most movies about architecture, these films focus less on explaining the building, its structure and its technical details than on letting the viewer enter into the invisible bubble of the daily intimacy of some icons of contemporary architecture.

Through a series of moments and fragments of life, an unusually spontaneous portrait of the building would emerge. This experiment presents a new way of looking at architecture which broadens the field of its representation.







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