All of us have studied at various times in faculties of architecture but none of us could be classically defined as an architect. We are interested and work in design and communications, landscape planning and agriculture, light infrastructure for bicycles and small businesses for the new economy.
Ila Bêka e Louise Lemoine si sono distinti nella scena internazionale degli ultimi 10 anni grazie ai loro prodotti cinematografici conosciuti per il carattere innovativo, l’umorismo pungente e la rappresentazione dell’architettura contemporanea dal punto di vista di chi le vive, mettendo le persone in prima linea. Read More
Inside the store you pass through a sequence of scenes beginning with the access, dominated by two large LED screens. The next scene is defined by long pieces that emerge from the walls, then you find the counters of stone volumes that start from the ground and are a connecting space between male and female areas. At the end the spaces join again in a high background topped by a skylight
that floods the interior of the store with natural light.
The formal language defined by the basic geometries of solid, plane and line, materializes with glass, mirrors, stones and metals in white, gray and black tones to achieve the ideal atmosphere for exhibiting the highest quality product in an attractive play of reflections, shadows and lights.
“Living Architectures” is a series of films that seeks to develop a way of looking at architecture which turns away from the current trend of idealizing the representation of our architectural heritage. Inhabiting for about a month the “8 House”, by Bjarke Ingels Group, Ila Bêka and Louise Lemoine recount in a diary style their subjective experience of living inside this experiment of “vertical village“. As a Lego game, the film “The Infinite Happiness” builds up a collection of life stories all interconnected by their personal relation to the building. The film draws the lines of a human map which allows the viewer to discover the building through an inner and intimate point of view.
In the Spring of 2014 Kessler University announced its search for the next generation of Kessler Shooters. Julian Tryba answered the call, submitting a portfolio that immediately caught the attention of everybody. As he told at Kessler University, “if you are truly passionate about time-lapse there is no need to be overwhelmed, you will find your own path and surprise yourself how quickly you can improve and learn.”
It’s not only a time-lapse, but we can talk about a layer-lapse!
The sedentary cityscape is transformed into a metropolis emanating the frequency of life on every sensory level. It’s truly indicative of modern life experienced through a veil of ear-buds and smartphone screens. An impressive accomplishment that, “quite literally came together one layer-lapse at a time.”
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.