Marcelyn Gow introduces John Southern. John Southern shows the progression of his own work and his interest in urban activism and research. He references Karl Friedrich Schinkel, and shows examples of some public spaces his office has changed.
Video Archive | Berlin (31)
Luyanda Mpahlwa begins by describing how in 1978 he was part of the first group of Black students permitted to study architecture in South Africa. His education was interrupted by five years at Robben Island Maximum Security Prison, after which he completed his education at the Berlin Technical University. He notes how working in Berlin during the reconstruction period immediately following German reunification was a good preparation for post-apartheid South Africa after 1994.
Wim Wenders describes the theme of the second part of his talk as “How Wrong Can You Go?” He discusses how his films relate to the future, and expresses his interest in science fiction. To illustrate this point, Wenders shows clips depicting locations including Berlin, Beijing, and Tokyo.
Wenders discusses the topic of the No Man’s Land, citing examples such as Berlin’s Potsdamer Platz. Relating filmmaking to architecture, he asks how one creates a house, or a sense of place in movies. He suggests that the unplanned, unfulfilled, and empty spot is where a film enters people’s existence. Finally, he offers some advice to architects: to think about stories and histories first, before thinking about walls.
Wim Wenders discusses the relationship between film and architecture while illustrating this link with numerous examples of his own work. First, Wenders explains how the stories and histories of places inform his films. He then visits the topic of the No Man’s Land, citing specific examples of locations he has filmed while documenting specific works of architecture. Finally, he revisits his most recent work, a film shot in downtown Los Angeles.
Wenders discusses how stories and histories relate to places. He illustrates differences and similarities between architecture and film. Wenders explains how filmmakers and architects are both in the storytelling business, and creates further relationships between these disciplines. Wenders relates his experience as a traveller and his attempts to explore and understand a place and the people who live there. He offers his earlier films as examples of these relationships, including Wings of Desire, and Buena Vista Social Club with Berlin and Havana, respectively.
Eleni Gigantes and Elia Zenghelis present the first project they produced as an office, Checkpoint Charlie in Berlin, which created housing while responding to the difficult history of the area. They discuss the design of bungalows on a beach in Greece in terms of landscape design and urbanism. They present projects for Parc de la Villette, the Venice Biennale, and a competition for the Dominican Republic.
Eleni Gigantes and Elia Zenghelis present the first project they produced as an office, Checkpoint Charlie in Berlin, which created housing while responding to the difficult history of the area. They discuss the design of bungalows on a beach in Greece in terms of landscape design and urbanism. They present projects for Parc de la Villette, the Venice Biennale, and a competition for the Dominican Republic. They present a selection of recent work from their office in Athens. They document a government sponsored competition for a casino located on reclaimed land. They present another casino project, discussing the influence of Jon Jerde’s CityWalk. Gigantes and Zenghelis conclude with dormitories for a summer camp in Japan, designed with attention to the site and natural surroundings. They discuss their collaboration with engineers and builders.