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berrin chatzi chousein

born in Greece and graduated from Middle East Technical University,Faculty of Architecture,Department of Architecture.She has served as Country Editor at World Architecture Community since 2008 and become Editor-in-Chief at WAC in 2014.Berrin was also curator of London-based studio Studio Egret West(SEW) exhibition under the title of ’Young British... / More

Oscar Winner ’’Birdman’’ film analysis in terms of Space&Design


image courtesy of Interiors

87th Academy Awards Oscar 2015 has been announced Sunday and ''Birdman'' has received 4 awards in 4 categories;Best Picture,Original Screenplay,Cinematography and Director.Interiors,is a film and architecture publication,analysed the film interms of a space and design and evaluates the film through film techniques,stage,actors and their effects on a film.

image courtesy of Interiors

There has been much said and written about the use of the long take in Alejandro Gonz&a’lez Iñ&a’rritu’s Birdman (2014), and how its filmmakers stitched together numerous long shots in an attempt to make the majority of the film feel like a continuous scene. The film follows (literally) its protagonist, Riggan Thomson (Michael Keaton), an actor past his prime, as he plans his career comeback with a stage production.

Emmanuel Lubezki seems the ideal collaborator for the director’s vision. The cinematographer, known for his extended takes in films such as Y Tu Mam&a’ Tambi&e’n (2001), Children of Men (2006) and Gravity (2013), has made use of the technique as a way of bringing audiences closer to the action. Birdman is the culmination of his experimentation with the form, bringing together these ideas and creating an immersive experience with a sense of urgency.

image courtesy of Interiors

The film, despite its structure, is still broken down into scenes. In our floor plan, we examined the scene in which Riggan finds out about the cover story in the newspaper, in which Mike (Edward Norton) seemingly takes credit for the production (00:53:37 - 01:04:53). The scene begins outside Riggan’s dressing room with an impossible shot that moves through steel bars and into the interior space. In addition to the two characters in this scene, Riggan and Laura (Andrea Riseborough), we also hear the voice of Birdman mocking Riggan......Continue Reading

> via Interiors

Concept Cars by OKOLO


A.L.F.A. 40/60 HP Aerodinamica, 1914 x Antonio Sant'Elia and his futurist architecture visions, 1914


Humanism on a Grand Scale

photography by Thomas Struth‘Thomas Struth: Photographs’ at the Metropolitan MuseumAlthough it has come late to contemporary photography, the Met has a few favorites in the field. One of them is the German photographer Thomas Struth, whose midcareer survey in 2003 had the rare distinctio ...

Meet the Finalists of Guggenheim Helsinki Design Competition

image courtesy of Guggenheim Helsinki Design CompetitionStage Two of the Guggenheim Helsinki Design Competition Brings Finalists to Helsinki and Presents Full Submission Materials to the PublicThe Solomon R. Guggenheim Foundation today announced that the six architectural teams whose concepts were s ...

Architecture on Film:Bernardes + Q&A


Sergio Bernardes. Courtesy Arquivo S&e’rgio Bernardes

Tues 13 January 2015, 7pm

The Architecture Foundation is delighted to announce that the screening will be introduced by Pedro Campos Costa; a Lisbon-based architect and the curator of Homeland, which saw the Portuguese Pavilion manifested as a newspaper for the 14th Architecture Exhibition, La Biennale di Venezia (2014). Following the screening, Pedro will host a Skype Q&A with the directors of Bernardes, Paulo de Barros and Gustavo Gama Rodrigues.

Bernardes (UK Premiere)

A documentary tracing the life and work of iconic Brazilian architect Sergio Bernardes (1919 - 2002), through an incredible story of architecture, family, history and politics. Grandson Thiago traces Sergio’s path from a playboy design star of the jet set to a controversial radical futurist innovator, whose idiosyncratic ideas and approach would eventually leave him bankrupt and erased from architectural history.

Beginning as a contemporary of Oscar Niemayer – designing luxurious houses for the rich and swinging with Brigitte Bardot – after a key meeting with Buckminster Fuller Bernardes would go on to ascetically shun high society, his family, and his wealth in favour of establishing a progressive architectural research studio, ambitiously devoted to solving the problems of urban life and the future. But despite his efforts to effect change and even become mayor of Rio, his pragmatic approach to politics would in the end be his undoing.

Through candid interviews, visits to architectural projects and archival footage, Bernardes tells an amazing story about an amazing man and his innovative, long forgotten, ideas and work, allowing the outside world to learn of this important yet virtually unknown star of 20th century design.

Winner of the Lusofonia Prize at Arquiteturas Film Festival Lisbon 2014.

Brazil 2014, Dirs. Paulo de Barros, Gustavo Gama Rodrigues, 92 min.
In Portuguese with English subtitles.


History of investment written in the evolving global skyline

Property is emerging as a mainstream asset class, and the world’s biggest and most eye-catching buildings are particularly in demand by investors. The Financial Times’ lead illustration shows a selection of the world’s most famous buildings, reflecting the main markets that we cove ...

What is Interior Urbanism?


This review was first published on Quaderns on December 15, 2014; photos by Claudia Mainardi 

In 1969 Reyner Banham in his book The Architecture of the Well-tempered Environment marked the shift between the concept of interior to that of an artificial environment. Technology and new human needs in fact had become an integral part of architecture, defining a new paradigm to describe indoor space, that it was not any longer a concern of the singular living-cell but rather of its internal atmosphere.


Acoustic Deconstruction of 2626 Bancroft Way


To capture and perform with the acoustic soul of a magnificent brutalist space in Berkeley, CA, before it is changed forever

The Berkeley Art Museum and Pacific Film Archive (BAM/PFA) is relocating to a new building, and the fate of their current home, Woo Hon Fai Hall (Mario Ciampi, 1970) is uncertain. If the building is repurposed, the open gallery space will be reinforced and divided up. Whatever the building's fate, the beloved acoustic of this brutalist gem will soon change forever.

On January 28, 2015, when the last exhibition is gone and the galleries are empty, we will measure, study, listen to, and document the acoustic nature of the space. We will then commission sound artists to engage creatively with the palette of data and perform for the public in acousmatic style at The Lab in San Francisco. For the performance, a state-of-the-art Meyer Sound Constellation audio system will be installed at The Lab, and a live recording will be released in digital and vinyl LP formats. Listeners will experience the acoustic soul of the Ciampi building, disembodied from the physical space and modified through the lens of the artists.

Traditional (dodecahedral loudspeaker) and cutting edge (laser scan) measurement techniques will be used to better understand how sound energy develops within the space. Impulse responses, point clouds, and simulations will be generated for artistic, scientific, and archival use.

Awareness of the sonic importance of brutalist architecture will be raised at a time where buildings of this style are being demolished at an alarming pace. The Ciampi building's cascading planes of concrete, cavernous interior, and spare finishes amount to a unique acoustic praised by performers and audiences for decades, and this is a rare window of opportunity understand and preserve, in-part, how its acoustics influenced the performances that took place inside it.

This Kickstarter is the sole source of funding for this project. BAM/PFA are providing access to the space but only if we can fund the project ourselves. The funding goal is the minimum required for the success of this important project.

This concept was devised during an overlap of residencies at the Curtis R. Priem Experimental Media and Performing Arts Center (EMPAC) at Rensselaer in Troy, NY. Playback system, measurement equipment, and measurement support generously provided by Meyer Sound.


Secret Operation 610 nominated for Mies van de Rohe Award 2015


© Michiel de Cleene, Raymond Rutting

Secret Operation 610
When aircraft Shelter 610 opens its ruthless doors, a monstrous black behemoth slowly comes driving out. The object revives the mysterious atmosphere of the Cold War and its accompanying terrifying weaponry. At an almost excruciatingly slow pace, the artwork uses its caterpillar tracks to cross the seemingly infinite runway. Due to this brutal object's constantly changing position in the serene landscape, it allows the visitor to experience the area and the history of the military airbase in new ways.


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