I produced Architecture & Influence as part the Philip Johnson Glass House Oral History Project for use on their web site and in their visitor center. Working with Project Director, Dorothy Dunn, we interviewed Norman Foster, Michael Graves. Charles Gwathmey, Richard Meier, Jaquelin T. Robertson, Richard Rogers, Vincent Scully, and Robert A. M. Stern–individuals for whom Philip Johnson was mentor, sponsor, and friend. I was responsible for selecting excerpts from the oral history interviews, selecting imagery, and scripting and editing the program in collaboration with Dorothy Dunn.
Koolhaas Houselife portrays one of the masterpieces of contemporary architecture of recent years: the house in Bordeaux, designed by Rem Koolhaas / OMA in 1998.
The film lets the viewer enter into the daily intimacy of the house through the stories and daily chores of Guadalupe Acedo, the housekeeper, and the other people who look after the building. As we follow and interact with Guadalupe, an unusual and unpredictable look at the spaces and structure of the building opens up.
“Heartfelt, thought-provoking and hilariously funny.” The New York Times
“A thoroughly delightful film!” The Wall Street Journal
“A cult movie.” El Pais
“Magic.” Le Monde
More information on the project at:
Postmodernism is the notoriously slippery subject tacked by the V&A’s exhibition, ‘Postmodernism: Style and Subversion 1970-1990’. This fast-paced film features some of the most important living Postmodern practitioners, Charles Jencks, Robert A M Stern and Sir Terry Farrell among them, and asks them how and why Postmodernism came about, and what it means to be Postmodern.
Andrew Logan: Post modernism – yes, I still really don’t understand what post modernism is. I’ve been told many times and it’s been explained to me many times and I still am bewildered. But perhaps that’s part of the movement – bewilderment.
Malcolm Garrett: I don’t think I really know too much about what post modernism actually is. For me, it’s primarily an architectural movement.
Robert A M Stern: Post modernism was a kind of style and it was kind of outrageous style at that.
Zandra Rhodes: I think we’re originals, but it wasn’t until I got spoken to by the V&A that I thought about anything that was post modern.
The way I worked I described as retrievalism.
Charles Jencks: The Independent said do use the word ‘post modernism’ because it means absolutely nothing and everything.
Malcolm Garrett: I called myself a new futurist for a while. So that’s a term I would use rather than post modernism.
Andrew Logan: Well, I suppose I had a very post modernist occurrence – I took acid. Normal things suddenly turned into something extraordinary.
Zandra Rhodes: Well, in 1977 punk was just starting to happen and I thought why not do tears that actually look like tears and then got safety pins and beaded round them like 12 years before Versace.
Malcolm Garrett: I had access to the first photocopier and I was able to modify and change the look of the image using a photocopier.
Peter Saville: And, of course, in the 70s and into the 80s the record cover was this incredibly important, vital medium of visual information. There were the music papers and occasionally the Sunday Times colour supplement might just do something about Andy Warhol in New York and that would be about it.
Paula Scher: In the 70s when I first started designing there was a predominance of the international style where the ultimate goal was to be clean and I always felt that that was like trying to clean up your room. So I was looking for ways of designing typography that could be more expressive, that were not about creating order but were about creating spirit.
Robert A M Stern: Times Square was where we were in charge – the whole revitalisation of Times Square is a very interesting, complicated story, but it does show the difference between the modernist point of view of how to redevelop or to develop a city and what we were able to do …
Charles Jencks: Post modern architecture is really to do with pluralism. You’ll find its depth, all of the great post modernism, the philosophy and now in literature, is about pluralism, pluralism, pluralism.
Robert A M Stern: To say, no, no, it’s a mess, in fact we ought to make it more of a mess. The world comes to Times Square not for tidykins, but for mess.
Charles Jencks: It’s accepting that the modern world with Freud, Marx, Henry Ford, mass production, is positive, but it can be radically improved.
Robert A M Stern: We studied the signage in Times Square and then we set minimums, minimums for sizes of signs, minimums for brightness of signs. What we were legislating in a way the capitalist impulse. Once you tell an entrepreneur that his or her sign can only be this big, he will be satisfied, he will agree with it. But if you say it can be this big or bigger or brighter, well everybody wants to compete in a capitalist society.
Charles Jencks: So you have to be on the one hand ironic about failures, probably the beginning of a new depression, another crisis of modernism, modernisation, modernity. What’s going to get us out of this? We have to re-think the modern movements in all the arts and in society and post modernism is the umbrella term for re-thinking.
Robert A M Stern: We knew 42nd Street was an incredible success when the Consolidated Edison Company called the State of New York and said, you know our grid is zapped out.
Peter Saville: In the case of, particularly, Joy Division and then New Order, they could never exactly agree amongst themselves. There was no hierarchical structure, particularly in New Order after the end of Joy Division, after Ian Curtis had died. The responsibility for the covers came to me and so they were about what I was interested in, they were about in a way beginning to learn the canon.
Carol McNicoll: The thing that I was doing was I was using slip casting. A lot of the Leach tradition and minimalist things also had that idea of expressing the deep, inner, mystic qualities of clay. And I thought that was a load of complete rubbish. And I thought what was wonderful about clay was the fact that you could make it look like anything else.
V&Aの展覧会「Postmodernism: Style and Subversion 1970-1990」に合わせて収録された、ポストモダニズムの実践者たちへのインタビュー集。チャールズ・ジェンクス、ロバート・A・M・スターン、ザンドラ・ローズ、ピーター・サヴィルなど。
“Quality is an attitude of mind.” The great architectural mastermind of our time Norman Foster, who turned 80 in June 2015, here reflects on a long and prosperous career – and life – with prominent buildings and more than 1,000 employees all over the world.
Foster has always considered technology to be an ally. As a child he was immensely excited by machines and their speed – he spent many hours making sketches of and reading about them. He left school at age 16, did National Service for two years, worked different jobs to earn money, but never abandoned his private world of drawing and dreaming. When he discovered that he as an architect could actually do the things that had always excited him, it simply didn’t feel like work.
Respecting the structure of a city or a place is essential: “I’ve realized the important links between individual buildings and infrastructure.” Architecture has to address the bigger issues and make a difference to the world we live in. Architects can’t solve every problem in the world, but what they can do, however, is to contribute by turning the complex into something simple via shape as well as material and being aware of the “urban glue” that binds everything together: “We have rethought, redesigned, reinvented. We have questioned and gone back to basics.”
Norman Robert Foster (b. 1935) is an English architect and designer, who is considered one of the most prolific architects of his generation. He is the founder of Foster and Partners (1967) and responsible for renowned buildings such as London City Hall and Millennium Bridge (London), Reichstag (Berlin), Bilbao Metro, Hearst Tower (New York), Hong Kong International Airport, Beijing Capital International Airport and Apple Spaceship Headquarters (est. 2016). Foster, who is a Fellow of the Chartered Society of Designers and winner of the society’s highest award, The Minerva Medal, has received several awards such as the Pritzker-prize in 1999 (often referred to as the Nobel Prize of architecture), the Stirling Prize in 1998 and 2004, as well as the Aga Khan Award for Architecture – the biggest architectural award in the world – for the University of Technology Petronas in Malaysia (2007). He was knighted in 1990, and in 1999 he was created a life peer, as Baron Foster of Thames Bank, of Reddish in the County of Greater Manchester.
Norman Foster was interviewed by Marc-Christoph Wagner in his home near Geneva, Switzerland in April 2015.
Camera: Mathias Nyholm
Edited by: Kamilla Bruus
Music: ‘Draw a Blank’ by Søren Dahl Jeppesen (from Find the Tune)
Produced by: Marc-Christoph Wagner
Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2015
Supported by Nordea-fonden
Students from the Harvard Graduate School of Design discuss their work and experiences during the Fall 2013 Studio Abroad taught by architect Rem Koolhaas at the OMA offices in Rotterdam, Netherlands. They reflect on the research and concept design they are preparing for the exhibition “Elements of Architecture” presented in the Central Pavilion at the 2014 International Architecture Exhibition in Venice, Italy.
Learn more about the GSD’s Studio Abroad Program: gsd.harvard.edu/studioabroad
レム・コールハースの指導のもと、2014年のヴェネチア・ビエンナーレでの展示「Elements of Architecture」の制作に参加したハーバード大GSDの学生たちの記録。
As the life of Tokyo’s iconic Hotel Okura draws to an end, Monocle is granted exclusive access to capture on film the gracious ways of this much-loved modernist gem.
To read the full article on the Hotel Okura, head to www.monocle.com/magazine/issues/75/final-check-out/
Central Saint Martins is flying the flag for art and design education in the UK, despite short-sighted government policies. Monocle meets the principals at Stanton Williams, the architects behind the college’s award-winning new home.
To discover more about Monocle magazine head to www.monocle.com
Torre David, a 45-story office tower in Caracas, was almost complete when it was abandoned following the death of its developer and a national banking crisis that crippled the Venezuelan economy in 1994. Neglected for over a decade, in 2007 it became the improvised home for a community of over 800 families living in an extra-legal and tenuous occupation that many called a vertical slum.
This short documentary reveals what life was like for residents several years prior to the government’s eviction in 2014. Filmed as part of larger project by the interdisciplinary design team, Urban-Think Tank, the movie was part of a larger research and design project that resulted in a book and numerous exhibitions, including the Golden-Lion-winning exhibition at the 2012 Venice Biennale of Architecture.
More information on the project at: