thenorthroom + Le Corbusier

Such Is Our Pleasure
Szu-Han Ho and Jesse Vogler
16 mm film loop
2008

This film reanimates one account of the utopian impulse–Le Corbusier’s Plan for a City of Three Million, a project that has become iconic of both the visions and failures of the modernist moment. That this work has come to epitomize a modernist directive for city planning, one both eerily familiar and outlandishly distant, serves as the basis of our inquiry into the uncanny space of a dislocated subject. By collapsing a digital animation of the City of Three Million onto the recognizably antiquated medium of 16mm stock, this project attempts to complicate the path between a memory of existing urban forms and the possibilities of future urban arrangements.

http://www.thenorthroom.org 

Matthias Müller + Costa / Niemeyer

Matthias Müller
Vacancy
1998
16 mm film transferred to DVD, projected, 14:30 minutes
Courtesy Thomas Erben Gallery, New York

Ursula Mayer + Goldfinger

INTERIORS
2006
3,10 min
super 16 mm transfer on DVD
color and black and white
Copyright © Ursula Mayer

THE RELATIONSHIP BETWEEN ARCHITECTURE AND ITS SOCIAL IMPLICATIONS IS AGAIN AT THE CENTRE OF URSULA MAYER'S FILM INTERIORS (2006). FOR THE SET, MAYER CHOSE THE HOME OF THE ARCHITECT ERNÖ GOLDFINGER AND HIS FAMILY, LOCATED ON 2 WILLOW ROAD IN HAMPSTEAD. THIS PLACE REPRESENTS THE ARTISTIC AVANT-GARDE IN 1930S LONDON. GOLDFINGER'S ART COLLECTION, WHICH COMPRISES CLASSICAL MODERN WORKS FROM MAX ERNST TO MARCEL DUCHAMP, IS USED IN THE FILM AS A UNIQUE SETTING AND DRAMATIC ELEMENT. WITH THIS HISTORICALLY SIGNIFICANT BACKGROUND, A MEETING BETWEEN A YOUNG WOMAN AND AN ELDERLY ONE IS IMAGINED TO TAKE PLACE, WHEN IN FACT IT NEVER DID. ULTIMATELY, A REPLICA OF A SCULPTURE MADE BY THE PROMINENT BRITISH SCULPTRESS BARBARA HEPWORTH, AS A DIFFERENT PERCEPTION OF TIME AND REALITY, BECOMES BOTH A SEPARATING AS WELL AS A BINDING ELEMENT BETWEEN THE CONTRASTS OF THE TRADITIONAL AND THE MODERN.
“MAYER'S FILM HIGHLIGHTS THE ABSENCE OF A FEMALE PRESENCE IN ARCHITECTURE AND FILM BY MEANS OF A SEQUENCE OF ENCOUNTERS, SOME OF WHICH APPEAR LIKE STILLS, IN THE TRADITION OF CINDY SHERMAN'S UNTITLED FILM STILLS.”
(WALTER SEIDL, INTERIORS, CATALOGUE, VERBUND SAMMLUNG WIEN)

CREDITS:
Written and directed by
URSULA MAYER
Cinematographer
DAVID ROM
Actors
ELAINE BANHAM
KATI URHO
Editors
URSULA MAYER
KONRAD WELZ
Sound design
KONRAD WELZ
Thanks to
NATIONAL TRUST
MILNER REBECCA
MARTIN FLETCHER
Produced for
steirischer herbst 2006
No space is innocent!

Andro Wekua, Pink Wave Hunter

Andro Wekua, Pink Wave Hunter, 2011
Installation view with Pink Wave Hunter Series, 2010/2011 and Sunset Painting, 2005/2011. Courtesy: the artist and Gladstone Gallery, New York/Brussels. Photo: Nils Klinger

Marc Camille Chaimowicz + Mies van der Rohe

 

Curtain (MvdR), 2008.

Tilman Wendland + Hansen / Le Corbusier / Niemeyer

Untitled, 2006

Cardboard, masonite, magazine copy,

varible dimensions

Courtesy of the artist & European Art Projects

Photos: Krzysztof Zieliński / European Art Projects

Tilman Wendland (*1969, lives in Berlin) creates from basic, light materials such as paper, cardboard and PVC ephemeral structures, which are integrated in existent architectural situations. They provide comments, criticisms or also caricatures. Normally, his works, which are seldom intended to last, are rendered completely in white. In spite of the strict reduction of colour and form they reveal themselves through a playful-ironic treatment of the subject.

For Ideal City - Invisible Cities Wendland developed a room installation, which enquired into the architectural and city planning shapes and elements of Le Corbusier, Oskar Hansen and Oscar Niemeyer. The ideal city concepts of the architects were condensed by Wendland into space-penetrating white cardboard shelves, sublime and also perishable

via Invisible Cities

Valeska Soares + Niemeyer

Tonight, 2002

Titled Tonight (2002), the video was first installed in the very dance hall where the sequences had been filmed. The soundtrack is a remixed version of Burt Bacharach’s song The Look of Love (1967), altered by Belo Horizonte sound artists O Grivo. A first version of Folly has been shown at the 51st Venice Biennial in 2005.

Anthony Auerbach + Johnson

The State of New York, aerial survey, New York State Pavilion, Flushing Meadows Corona Park, Queens, New York, 11–13 October 2006, 2,427 vertical photographs

Lucy Williams + Mies van der Rohe

The Glass-Walled House in Summer 2005 mixed media, 28-1/2 x 28-1/2 x 1-1/2 inches Courtesy McKee Gallery

Jim Isermann + Le Corbusier

Project Unité Firminy
1993
papier peint sérigraphié, linoléum coupé, coussins de mousse
dimensions variables

 via Jim Isermann

Natasha Kissell + Mies van der Rohe

 

Pink Canyons, 2008, 48" x 42", oil on canvas

Angelina Gualdoni + Costa / Niemeyer

Praca dos Tres Poderes, Noon
Oil and Acrylic on Canvas
48" x 84"
2005

via Angelina Gualdoni

Christine Erhard + Lubetkin

Penguin Pool, 200670 x 90 cm

via Christine Erhard

AKassen + Mansilla / Tuñón

Window to the world
Window glass from the facade of the museum is installed in three sets of joined automatic slidingdoors. The piece functions as a kinetic sculpture activated by the movements of the audience and itself.

via AKassen

Christian Anderson + Mies van der Rohe

Installation view: Christian Andersson, From Lucy with love, Moderna Museet Malmö, 22 January-24 April, 2011. Photo: Terje Östling © Christian Andersson/BUS 2011. All works courtesy the artist and Galerie Nordenhake, Berlin/Stockholm.

http://www.christianandersson.net/shows/from-lucy-with-love

Fiona Tan + SANAA

 

Cloud Island I, Project for the Venice Architecture Biennale, 2010

2 channel HD installation
colour, stereo
2 HD-cam safety masters, 2 HD projectors, 2 harddisc players, 2 stereo amplifiers, 4 stereo speakers, 1 double-sided white projection screen 2.0 x 1.12 m

Filmed on location on Inujima and Teshima, Japan

Commissioned by the Naoshima Fukutake Art Museum Foundation
Funded by Naoshima Fukutake Art Museum Foundation and Wako Works of Art, Tokyo

via Fiona Tan

John Riddy + Soane

London (Bank) 2008, 2009
Photograph on paper
image: 720 x 930 mm
on paper, print

Ed Ruscha + Armet & Davis

 

Norm's, La Cienega, on Fire, 1964, oil on canvas 64 1/4 H x 124 1/2 W (inches)

Ed Ruscha + Pereira

Los Angeles County Museum on Fire, 1968, oil on canvas 53 1/2 H x 133 1/2 W (inches)

Pierre Bismuth + Le Corbusier

 

Complexe des villas / Bâtiment Le Corbusier (élévation)
2010
Ink on polyacetate
28.35 x 20.47 inches
Pièce unique
Pierre BISMUTH performs the impossible synthesis between the two faces of Le Corbusier: from the villas blanches to housing projects, with a sense of humor and economy of means that are his trademark. He superposes, in a small scale model, section views and computer generated images (Complexes des villas / Bâtiment Le Corbusier, 2006-2010), several Villas Savoye, to create a building that the Swiss architect might not have rejected – let alone the destiny of neglected social housing and the carcass of torched cars in front.

via Bugada Cargnel.