Broadcasting Architecture
Nothing beats daylight
Volume No. 3
www.VELUX.com
BROADCASTING ARCHITECTURE featuring The Hokusai Wave by Alejandro Zaera-Polo; Systems vs. Icons by Vincente Guallart; The Delft Attraction by Dirk van den Heuvel; The Architectural Archis vol. 20, #3 Exhibition as Medium and Message by Arjen Oosterman; Transnational Spaces, a Bauhaus Dessau research; photo essays about the ultimate success of architecture per issue â‚Ź 15
TO BEYOND OR NOT TO BE
Much m Broadc ore in this V asting olume : C-lab N ewspap er Amo Po ster Archis C D-
ROM
Guidance photo Guglielmo de’ Micheli photo Marcel Molle
photo Tobias Gerber / Bilderberg / HH
photo Timothy A. Clary / ANP
Masterplan Ghent
Richard Meier showing his Getty Center
Tourists at ‘Bilbao’
Masterplan Jena / SHK
Shanghai
Fordham Spire, Chicago
Guidance |
Volume III
| 8–9
Mario Botta
Howard Roark in The Fountainhead, 1949
Wiel Arets in his own design
Daniel Libeskind shows his winning World Trade Center site design to Michael Bloomberg
Guidance |
Volume III
| 10 – 11
Holocaust Memorial by Peter Eisenman, Berlin
Happiness
photo Armin Linke
www.brickshelf.com
www.blindimagephotography.com
courtesy MTV Networks
Happiness |
Volume III
| 16 – 17
from Mr. Blandings Builds His Dream House, 1948 This is where we find Mr. Simms: [the architect in Mr.Blandings Builds His Dream House, ed.] earnest but cowed, unable to weigh in on technical issues, seemingly second to everyone on the job site. After a scene in which the Blandings hijack the schematic design of
their home, wrestling with Simms for control of the drafting board, the architect is reduced to an all-but-outdated legal necessity: the guy who stamps the drawings. His only real service is to render reflections of the Blandings’ own starryeyed dreams.
Philip Nobel, ‘Who built Mr.Blandings’ dream house?’, Mark Lamster (ed.), Architecture and Film, Princeton Architectural Press, 2000
Huis ten Bosch Resort, Nagasaki, Japan
Happiness |
Volume III
| 18 – 19
Brochure from Proper Stok
Structure
www.biochemsoctrans. org
image Prof. P. Fromherz, Max-Planck-Institut für Biochemie
Structure |
Volume III
| 28 – 29
from The Matrix Reloaded The Architect: The first matrix I designed was quite naturally perfect, it was a work of art, flawless, sublime. A triumph equaled only by its monumental failure. The inevitability of its doom is as apparent to me now as a consequence of the imperfection inherent in every human
being, thus I redesigned it based on your history to more accurately reflect the varying grotesqueries of your nature. However, I was again frustrated by failure. I have since come to understand that the answer eluded me because it required a lesser mind, or perhaps a mind
less bound by the parameters of perfection. Thus, the answer was stumbled upon by another, an intuitive program, initially created to investigate certain aspects of the human psyche. If I am the father of the matrix, she would undoubtedly be its mother.
Rat Neuron on a Silicon Chip
Structure |
Volume III
| 30 – 31
Mood
Engineering photo Armin Linke
courtesy Serpentine Gallery, London
courtesy Academy of Motion Pictures Arts and Sciences
from Just Imagine, 1930
from the musical 42nd Street
from Metropolis, 1927
courtesy Astralwerks Records
Mood Engineering |
Volume III
| 40 – 41
Batman
drawing of the War Room by Ken Adam from Dr. Strangelove Cool and depersonalized, Adam’s looming forms and menacing perspectives conflate the war room and the board room to evoke a post-atomic landscape of limitless power. They are intimidating spaces where Orwellian organizations with ominous names like Spectre, Power, and the Pentagon mastermind
global conspiracies of Cold War violence and death. To depict a society that glamorizes death as stylish sport, Adam transformed military hardware into Warhol-like icons of mass destruction. The Giant map in the War Room of Dr. Strangelove (1964 ed.), for example, acted as a superpower scoreboard,
rendering mankind’s extinction as more show than substance; a graphic spectacle detached from reality of human suffering. Donald Albrecht, ‘Dr. Caligari’s Cabinets: The Set Design of Ken Adam’, Mark Lamster (ed.), Architecture and Film, Princeton Architectural Press, 2000
from Domu by Katsuhiro Otomo
Mood Engineering |
Volume III
| 42 – 43
Hong Kong
from The Woman, 1939, set-design by Cedric Gibbons
Power
Play photo Matthew Cavanaugh / ANP
courtesy National Portrait Gallery, Smithsonian Institution photo Keith Mellnick
Rose Revolution, Georgia 2003
Power Play |
Volume III
| 50 – 51
As a foreign policy planner in the late 1940s and 1950s, George F. Kennan is considered to have been the ‘architect’ of the Cold War with his call for containment of the Soviet Union.
Power Play |
Volume III
| 52 – 53