Architecture

3 Church Walk is a film made with writer Jonathan P. Watts and sound composer Simon Limbrick about the empty and neglected Suffolk house of modernist architect H. T. ‘Jim’ Cadbury-Brown.

In an upmarket house surrounded by an idyllic garden, there is no trace of human presence, even though a family obviously lives there. Voices, sounds and superimposed text create a feeling of disquiet whose origin continually escapes us. “A house can feel pain”… Playing on a doubling of vignettes against a black background or on a sound design that brings the off-screen world to life, Shelly Silver resuscitates the memory of this space, if only because a “house is a subconscious… a body…” And what if all this opulence and comfort were based on the exploitation of others?

Vito Acconci (b. 1940) is known as a conceptual designer, installation and performance artist. In the 1960s he embraced performance in order to "define my body in space, find a ground for myself, an alternate ground from the page ground I had as a poet." Acconci’s early performances, including Claim (1971) and Seedbed (1972), were extremely controversial, transgressing assumed boundaries between public and private space and between audience and performer.

A portrait of an unnamed city in Italy. Sidestepping the tourist attractions that make the city famous, the film/video posits an almost-imaginary place that draws closer to the reality of its inhabitants. Using a voiceover narration that collages direct observation, literary texts, historical fact, local folklore, and a bit of sheer fabrication, the film/video melds documentary and narrative, past and present.

An all-over textile constructed under the spell of Arachne, an audiovisual textile in five parts that exposes a web of raids in construction over the american houses, a landscape of protests under the webs of segmented time, the entrails of the american factory in movement through the endless american party.

San Francisco is a city where the virtual and the real co-exist. It is both a center of multi-media and Internet activity, and a city with a vibrant street life and commitment to public space. Awakening From the 20th Century explores these issues by asking the questions: Is life becoming virtual? Are we witnessing the end of the city? Will the computer replace the automobile?

This title is also available on Chip Lord Videoworks: Volume 2.

During her graduate studies at Hunter College, Alice Aycock (b. 1946) began to forge links between personal and more inclusive subject matter and form. In her quest for contemporary monuments, Aycock wrote her Master’s thesis on U.S. highway systems. Aycock’s large environmental sculptures create intense psychological atmospheres. Although she uses primitive rites and architecture as sources, her implementation of contemporary materials removes those specific connotations.

The Bats details the mating habits of flying mammals in an abandoned Mayan temple in the 14th Century.

This title is only available on Soft Science.

Beach House is a film about a unique example of rural modernism built on the UK coast of Suffolk by the architect John Penn. As well as being an architect, Penn was a painter, musician and poet. Beach House is one of nine houses Penn built across East Suffolk, each of which features designs of uncompromising symmetry, adhering to the points of the compass in their positioning in the landscape.

Block is a round-the-clock portrait, shot over a duration of ten months, of a 1960s tower block in south east London. The film is a portrait that developed out of this long duration spent there. Patterns of activity around the block build a rhythm and viewing experience not dissimilar to the daily observations of the security guard who watches the flickering screens with their fixed viewpoints and missing pieces of action.

In our 'freelancer' age in general, even before the lockdowns, many find themselves domestically confined, using mostly a computer screen to branch out. This film brings nature, lunacy, emotion and humanity indoors, using the color blue as the main protagonist. Blue is a part of Ann Oren’s video journals, a short video series responding to media culture and Instagram specifically with the square format, often starring animals.

A great example of early 1970s counter-cultural activity and the influence of Buckminster Fuller. The video, shot in Woodstock, NY in November 1971, includes footage of a communal meal being eaten in the woods, and of children playing in the mud. The video goes on to document the building of a geodesic dome. As the group works, many of them naked, they are interviewed to camera, and explain how to build a dome. 

"This film is closely related to my last feature-length project, Counting. I take the temperature of a neighborhood. In this case, the place is my New York. I think about street life and its threatened demise – a death ushered in as Big Money relentlessly re-makes cities in ever more categorical ways. I think with the camera, on the move, in fragments.

As regional character disappears and corporate culture homogenizes our surroundings, it's increasingly hard to tell where you are. In Chain, malls, theme parks, hotels and corporate centers worldwide are joined into one monolithic contemporary "superlandscape" that shapes the lives of two women caught within it. One is a corporate businesswoman set adrift by her corporation while she researches the international theme park industry. The other is a young drifter, living and working illegally on the fringes of a shopping mall.

A fairy tale, a road movie, a folly. The image of the road — black-top and broken white line — the most familiar and most fantastic sculptural installation; a worldwide work of art, which one sees everywhere and generally files under: "Are We There Yet?"

Each film in this series is a condensed experience of a feature film, a single 360-degree time lapsed shot in an empty cinema where the sound becomes a cacophony of past projections and the aural experience is closer to that of the projectionist than the audience.

Filmed from the artist’s window during lockdown, Citadel combines short fragments from British Prime Minister Boris Johnson’s speeches relating to coronavirus with views of the London skyline recorded in a variety of weather conditions. Recognising the government’s decision to place business interests before public health, it relocates the centre of power from Parliament to the financial district of the City of London.

C.L.U.E. (color location ultimate experience), Part 1 is a collaborative video and performance work by artists A.L. Steiner and robbinschilds, with AJ Blandford and Seattle-based band Kinski. Inhabiting the intersection of human movement and architecture, A.L. Steiner and robbinschilds (Sonya Robbins and Layla Childs) present a full-spectrum video, set to a score by rock quartet Kinski.

C.L.U.E. (color location ultimate experience), Part 1 is a collaborative video and performance work by artists A.L. Steiner and robbinschilds, with AJ Blandford and Seattle-based band Kinski. Inhabiting the intersection of human movement and architecture, A.L. Steiner and robbinschilds (Sonya Robbins and Layla Childs) present a full-spectrum video, set to a score by rock quartet Kinski.

Cobra Mist explores the relationship between the coastal landscape of Orford Ness and its traces of military history, particularly the extraordinary ruined architecture of experimental radar and the Atomic Weapons Research Establishment. Still under the official secrets act, much of what took place on the Ness will only be revealed over time. Military buildings have been left to the elements to deteriorate, creating a tension between the time it will take for their secrets to come out and for the buildings to disappear.

"This video in two parts is a newcomer's portrait of Montréal, and focuses on two of my architectural obsessions: the Hydro Québec building and the Métro. I spent my first winter in Montréal in a cold, dark, first-floor apartment. I sat in the kitchen beside the electric heater, drinking coffee and watching the disk on the electric meter spin faster and faster, all the while wondering how I would manage to pay the bills. At night, I lay in bed and looked at the enormous illuminated 'Q' on the Hydro Québec building and wondered how much it cost to keep it lit every night.

Brave new shopping worlds are being created. What have mall owners, architects, surveillance technicians, and supermarket workers done to turn human subjects into pure streams of consumers, into the perfect inhabitants of shopping mall paradise?

“But we are alone, darling child, terribly, isolated each from the other; so fierce is the world’s ridicule we cannot speak or show our tenderness; for us death is stronger than life, it pulls like a wind through the dark, all our cries burlesqued in joyless laughter; and with the garbage of loneliness stuffed down us until our guts burst bleeding green, we go screaming round the world, dying in our rented rooms, nightmare hotels, eternal homes of the transient heart.”

—Truman Capote, Other Voices, Other Rooms (New York: Random House, 1948)

A Kafkian vision of the New World. The arrival of Karl Rossman to the contemporary Babylon under the spell of the paranoid avant-garde. Kinetic coexistence of the archaic forms in dissolution.

The first of the series includes:

What Does Away Mean? by Jem Cohen advertises the need to recycle through reconsideration of landfills and garbage disposal.

Pro-Choice is Pro-Life by Jane Pratt makes its point with the simple logic that every child should be cared for and wanted.

Historic Preservation by Jim McKay counsels for the preservation of historic buildings endangered by urban decay.

[A] postcard-sized [film that]…manage[s] to implicate the audience’s ethical imagination…Distant Shores models a necessary imaginative leap simply by juxtaposing footage of a Chicago River cruise with testimony of a migrant’s harrowing voyage at sea. A three-minute film edited in camera; it nevertheless offers several ways of thinking about displacement.

–– Max Goldberg, KQED Arts

El Livahpla (Alphaville spelled backwards) is about the ways in which we "normals" are encapsulated in architecture and technology. Through the lens of Alphaville, we see into a past that exists in the present, while showing a future that looks old. It is a waking dream in which the objects of design that surround us fail to provide the answers or the escape that we seek.

This title has been remade as Une Ville de l'Avenir.

El Zócalo is an observational portrait of Mexico City’s central Plaza de la Constitutión during one day in August. Soldiers, Aztec dancers, clowns, food vendors, protestors, rain, dogs, tourists, kites, balloons, and dignitaries all meet in the public space of the Zócalo. This documentary presents daily life in one of the largest and most vibrant urban centers in the world, but it begins with a dream of history and ends with a dream of the space full of people for a Zapatista rally.

El Zócalo is an observational portrait of Mexico City’s central Plaza de la Constitutión during one day in August. Soldiers, Aztec dancers, clowns, food vendors, protestors, rain, dogs, tourists, kites, balloons, and dignitaries all meet in the public space of the Zócalo. This documentary presents daily life in one of the largest and most vibrant urban centers in the world, but it begins with a dream of history and ends with a dream of the space full of people for a Zapatista rally.

Failing Up describes career advancement despite bad decisions, bankruptcies, and intellectual mediocrity. In this short film, the Manhattan real estate holdings of the King of Failing Up are catalogued and synced to a soundtrack that suggests how it feels to be one of his subjects.

Whip pans, zooms, lens twists, and bursts of stop-frame animation transform eight minutes of borrowed audio from Home Alone 2 (a film that features a cameo of the current US President) into a political work of slapstique concrete.

A short anecdote created for an exhibition in commemoration of the events of September 11.

Buckminster Fuller (1895-1983) was both a pioneer architect of the modern era and a global theorist. Fuller developed a system of geometry that he called “Energetic-Synergetic geometry,” the most famous example of which is the geodesic dome. His many designs for automobiles and living spaces were applications of a wider theory.

Futures for Failures is a double narrative of failure: architectural and social. Archival footage from a demolition of the Pruitt-Igoe building in St. Louis manifests as the materialization of modernity’s failure. Meanwhile, an intimate voiceover recounts a moment of laughter erupting during a stranger’s funeral, staging anachronous conversation between the disappeared and the disappearing.

A Yosemite gargoyle climbs two gothic arches.

This title is also available on Sympathetic Vibrations: The Videoworks of Paul Kos.

Glass House examines the creative process of a modern architect who builds a house made of glass and concrete for his family.

There is no better place to meet people than in the temporary community which gathers under a scant awning on a New York street in a downpour.

"Superimposing the stories of two women—the filmmaker’s late grandmother and the amateur filmmaker Joan Thurber Baldwin—Home When You Return explores the psychogeographies of mourning through a variety of modes, from documentary to melodrama. Emptied and put up for sale following its matriarch’s passing, the family home becomes the site of a winding tour through polymorphic representations of the past in media and memory." - NYFF Currents

Hub proposes that the idea of home is today perhaps better expressed as a sense of being between places. Within the dalectical interplay between global processes and local environments, Hub suggests that displacement and mobility itself might be thought of as a new way of belonging. Hub uses the transitory space of the airport—defined by its arrivals and departures—to introduce the notion of disappearance to articulate new ideas on belonging and identity.

In this video, MICA-TV interprets the dark spaces of architect Peter Eisenman’s Wexner Center for the Visual Arts at Ohio State University through a fractured narrative of psychological perspectives. Eisenman’s pastiche of historical and contemporary architectural motifs, a characteristic of the postmodern style he pioneered, finds a parallel in this tale of haunted castles and a disappearing golem, told through a correspondence back through time.

In this video, MICA-TV interprets the dark spaces of architect Peter Eisenman’s Wexner Center for the Visual Arts at Ohio State University through a fractured narrative of psychological perspectives. Eisenman’s pastiche of historical and contemporary architectural motifs, a characteristic of the postmodern style he pioneered, finds a parallel in this tale of haunted castles and a disappearing golem, told through a correspondence back through time.

"Bricks are the resonating fundamentals of society. Bricks are layers of clay that sound like records, just simply too thick. Like records they appear in series, but every brick is slightly different – not just another brick in the wall. Bricks create spaces, organize social relations and store knowledge on social structures. They resonate in a way that tells us if they are good enough or not. Bricks form the fundamental sound of our societies, but we haven't learned to listen to them.

An uncompromising look at the ways privacy, safety, convenience and surveillance determine our environment. Shot entirely at night, the film confronts the hermetic nature of white-collar communities, dissecting the fear behind contemporary suburban design. An isolation-based fear (protect us from people not like us). A fear of irregularity (eat at McDonalds, you know what to expect). A fear of thought (turn on the television). A fear of self (don’t stop moving).

Part of paraconsistent sequence series and the hauntology series.

Born out of an "objective hazard" (a 16mm roll where two different subjects were imprinted by mistake), jeny303 is a composite work intertwining two portraits. On the one hand there is jeny, the feminine alter ego of a transgender millennial dealing with a heroine addiction. On the other hand there is the 303 building, an iconic modernist architecture in a public university in Bogota (Colombia). The images of the body and the edifice interlace and depict jeny303, a character on the threshold of a transformation to come.

In his New York City landscape, Cohen finds inspiration in disturbance. Looking to life for rhythm and to architecture for state of mind, he locates simple mysteries. Just Hold Still is comprised of an interconnected series of short works and collaborations that explore the gray area between documentary, narrative, and experimental genres.

A voyage into the labyrinthine memories of a Uitoto man, who worked for the drug Lords in the Colombian Amazon back in the 80s. Following his path between the forest and the ruin of a Narco's mansion imitating the Carrington mansion in the soap opera Dynasty, the film unfolds the hallucinatory account of a near-death experience.

A series of unnatural deaths and departures (almost all, of men) disrupts the lives of nine families sharing an apartment building in Jerusalem.

Whether they inhabit the desert or are lost in it, three men are clearly confronted to the ruins of modern times. They are explorers or players or performers of times past. Their encounters, their moves, their assessment of location take the form of an acoustic sounding of space. Filmed in Shaabiyat al Ghurayfah in Sharjah, a repertoire of simple gestures playfully engages with structure, space, movement, threshold, surveillance and perspective.

A collaboration with writer Luc Sante made in Tangier, Morocco, a city where neither of us had ever been. En route from the airport to the city center, we found ourselves amazed by the landscape outside of the car windows; a massive construction project under way in all directions. While not in itself unusual, we were by struck dumb by the epic scale and seemingly incomprehensible plan of the development and were drawn to return together to this puzzling zone.

-- Jem Cohen

Buffalo, New York, which was once a prosperous city, is home to several architectural masterpieces built in the late 19th century to the early 20th century, such as the Darwin D. Martin House by Frank Lloyd Wright, the Guaranty Building by Louis Sullivan, and Kleinhans Music Hall by Eliel and Eero Saarinen. While some important buildings, including the Larkin Building by Wright, were demolished, the preservation movement has been active for the past several years. Architecture is embraced as a treasure, but it can be a burden to the city at the same time.

Lost Sound documents fragments of discarded audio tape found by the artists within a small area of East London, combining the sound retrieved from each piece of tape with images of the place where it was found. The work explores the potential of chance, creating portraits of particular places by building formal, narrative, and musical connections between images and sounds, linked by the random discoveries of the tape samples.

Lost Sound documents fragments of discarded audio tape found by the artists within a small area of East London, combining the sound retrieved from each piece of tape with images of the place where it was found. The work explores the potential of chance, creating portraits of particular places by building formal, narrative, and musical connections between images and sounds, linked by the random discoveries of the tape samples.

Awarded a MacArthur “Genius” Fellowship in 2014, Rick Lowe is a leading practitioner of social practice art. His Row Houses project is a highly lauded example of relational aesthetics successfully deployed. This interview focuses particularly on that work and the artist’s entrance into social practice.

The Templo Mayor was the center of the Aztecs' religious life in Tenochtitlán, a ceremonial building in the heart of Mesoamerica. A center of political battles of contemporary Mexico. A ritual of resistance.

Using the opening of Godard's film Alphaville as a foundation, Lord constructs a vision of the evolving global city during the last years of the 20th Century. Structured as a series of repetitions, the montage of the changing city is offset by shots of corporate Silicon Valley facades. The result is a dialectical contrast between urban and suburban space, body and mind, chaos and order, and the postmodern and the modern. Shot in Hi-8 video in Tokyo, Fukuoka City, Mexico City, Rome, San Francisco, Naples, and Los Angeles.

Memo Mori is a journey through Hackney tracing loss and disappearance. A canoe trip along the canal, the huts of the Manor Garden allotments in Hackney Wick, demolition, relocation, a magical bus tour through the Olympic park and a Hell’s Angel funeral mark a seismic shift in the topography of East London.

"I brought live reptiles, birds of prey and exotic flowers to a very stereotyped and neglected section of the city of St. Louis, Missouri which suffers from from severe abandonment and despair, but also has many tranquil vacant lots where nature flourishes. I chose these birds of prey for their symbolic meaning- The bald eagle a symbol of the United States, hawks and owls are messengers.  But this is not a film about St. Louis, It's about an anonymous archetype more than a specific locale. St.

Urban parks consist of two major elements: nature and man-made forms. Parks play an important role in the urban environment, offering relief in everyday life. While parks provide green spaces, they are not natural spaces; they are highly designed. Nature and Geometry in the Park is a series of short videos that explore parks, focusing on form. Case 1 features Herbert Von King Park in the heart of Brooklyn’s Bedford-Stuyvesant neighborhood.

Urban parks consist of two major elements: nature and man-made forms. Parks play an important role in the urban environment, offering relief in everyday life. While parks provide green spaces, they are not natural spaces; they are highly designed. Nature and Geometry in the Park is a series of short videos that explore parks, focusing on form. Case 2 features Fort Greene Park in Downtown Brooklyn, which was originally the site of a fortification built for the Revolutionary War.

Urban parks consist of two major elements: nature and man-made forms. Parks play an important role in the urban environment, offering relief in everyday life. While parks provide green spaces, they are not natural spaces; they are highly designed. Nature and Geometry in the Park is a series of short videos that explore parks, focusing on form. Case 3 features WNYC Transmitter Park, a relatively new park located on the waterfront in Greenpoint, Brooklyn, which opened in 2012.

This is not a sight-seeing film, but a poetic journey through light and darkness reflected on the city of New York, where I often found empty spaces and times like Ma in Japanese.  You do not often see the people walking on the streets or in the buildings, but you may feel the air and the light coming and going.  It's not a deserted city, but a city full of energy that is there even without the people.  You see the wind is blowing as the bubbles are floating over Wall Street, then up, up to the sky.  The Sun sets under the Washington Bridge, where all the cars are runnin

A montage of architecture and cabaret, juxtaposing a second hand view of New York as refracted through this artist's eyes.

This title is also available on Half-Lies: The Videoworks of Ximena Cuevas.

No Damage is a composition made out of fragments from over 80 different feature and documentary films that show the architecture of New York City — its architectural presence as captured on film over eight decades. Lifted out of their original context and juxtaposed in groups, these scenes reveal their emotional implications: grandeur, glamour, the wake of modernism, post-modernism and, most recently, post 9/11 sentimentalism. A number of particular clips that resonate such emotions enter into a non-verbal discourse on age, status, functionality and aesthetics.

Nocturne is a 5-minute film shot entirely at night in deserted streets of London. The film attempts to find images of the city that reveal the presence of the past, or the presence of the dead, hinting at a concealed history. The deserted streets around the east end of London and Docklands reflect an echoic city filled with shadows. Nocturne is composed of long static viewpoints, each shot slowly unfolding in time as though by looking long enough the city's secrets will be revealed.

A watchful dog in a confusion of reflected chairs begins and ends Cohen’s finely tuned observational portrait of London’s Essex Street, and the inhabitants who work the shops and throng the pavement there. People hurrying, pausing, waiting or simply standing, intermingled with worn statues of historic peerage in the slanted light of late afternoon. A man holds a copy of The Law of Privacy and the Media as though testing its resilience against the quiet onslaught of an average work day.

Take a joyride through comfortable suburbia—a landscape molded by seductive television and corporate America (and keep in mind: disaster is another logo for your consumption...). This is the age of the "culture jammed" consumer preened with Friends hair, Survivor courage, and CNN awareness. A generation emptying their wallets for the most important corporate product of all: lifestyle. The psychological road trip across a slightly battered America travels at One Mile per Minute.

The Palace at 4 am is the experience of a fragile palace of collisions suspended in a montage vision. A hazy patchwork of structures. The Palace becomes visible only to repeatedly collapse in a liminal interference of the absence. An unrest landscape of the insight. Space-time of thresholds. This is The Palace at 4 am.

"Persistence was shot in 1991-92 in Berlin, and edited with films by U.S. Signal Corps cameramen in 1945-46, obtained from Department of Defense archives. Interspersed through these materials are filmic quotations from Rossellini's Germany Year Zero (1946). A meditation on the time just after a great historical event, about what is common to moments such as these—the continuous and discontinuous threads of history—and our attachment to cinematic modes of observation that, by necessity, shape our view of events.

Applying the same economy used in César's other films — one shot which uses the duration of an entire 16mm film reel — Porto 1975 is a tracking shot that unfolds at the social housing complex Cooperativa das Águas Férreas da Bouça, designed by Álvaro Siza Vieira as an integral part of the Ambulatory Service of Social Support (SAAL, 1972–76). The work's construction was initiated in 1975, but only completed in 2006.

Public Discourse is an in-depth study of illegal installation art. The primary focus is on the painting of street signs, advertising manipulation, metal welding, postering and guerrilla art, all performed illegally. Public Discourse is about passionate artists who want their work to be seen by a wide range of people rather than be confined to the systemic structures of galleries and museums.

Public Discourse is an in-depth study of illegal installation art. The primary focus is on the painting of street signs, advertising manipulation, metal welding, postering and guerrilla art, all performed illegally. Public Discourse is about passionate artists who want their work to be seen by a wide range of people rather than be confined to the systemic structures of galleries and museums.

Public Discourse is an in-depth study of illegal installation art. The primary focus is on the painting of street signs, advertising manipulation, metal welding, postering and guerrilla art, all performed illegally. Public Discourse is about passionate artists who want their work to be seen by a wide range of people rather than be confined to the systemic structures of galleries and museums.

Red House is an animation that playfully explores metamorphosis in relation to the stability and structure of housing. Created using the AMIGA computer console and Deluxe Paint IV software, hand drawn sequences delight in the constant reconfiguration of images, characters and forms.

Animated by Barry Doupé
With sound design by James Whitman

Rong Xiang is a work on architectural replicas, piracy and its consequences. It is a comparison of LeCorbusier's chapel Notre Dame Du Hautin Ronchamp, France with its exact replica in Zhengzhou, Henan province East China. The work further compares LeCorbusier's human-scale informed "Modulor" concept with ancient Tao philosophy of Confucius and master builders of the Han dynasty. The Ronchamp replica in Zhengzhou is now a legend--it was short lived, erected in 1994 and demolished in 2006 after a three-year long dispute with the "Foundation LeCorbusier" in Paris.

With sampled image and sound sequences referring to one another in a precisely calculated rhythmic alternation on four projection surfaces, Călin Dan draws a portrait of the city of Bucharest. Dilapidated tower blocks next to estates of terraced houses, Roma families camping with their horses and carts in the wastelands in the midst of the city, broken streets and new shopping paradises--today the formerly communist Bucharest is a city in upheaval, full of social contradictions and oppositions.

"Three months in an architects’ firm in Berlin. From the architecture down to the tiniest door handle, a questioning of matter and the verb."

— Harun Farocki

Sentences is a beguiling, hypnotic meditation on the poetics of space.

An homage to Chicago's East 95th Street Bridge, Calumet Fisheries and to a couple of the city's infamous brothers.  The take-out shack, originally glimpsed in the background of a scene from The Blues Brothers, still operates.  It has become a real-world portal to a cinematic past.  Propped along the edge of the 95th street drawbridge, the building is framed by the towering infrastructures of the Chicago Skyway and Calumet Harbor.

Prompted by Apple’s Siri to ask questions, Magenheimer takes the AI invitation seriously and invents a long list of queries. We see them appear one by one over scanned images from Architectural Digest magazine’s idealized interiors of 1981, the year Magenheimer was born and the year Ronald Reagan became president.

1. The idea that a film about a city, a quiet, architectural film no less, can tell us anything that we don’t already know about urban life at this point in our new century is perhaps a bit arrogant. But the city is an organism that changes constantly; our knowledge of it is provisional at best. So a film that examines the urban environment under the cloak of darkness must presume to reveal a reality that we don’t know, and tries to dispel projections and fears that are for the most part located in the imagination... in a memory of film, television, or the novel.

The Spender House in Essex was designed in 1968 by Richard and Su Rogers (Team 4) for photographer and artist Humphrey Spender. The film is a biographical portrait of both architecture and inhabitant.

Spender died in 2005 but his spirit is still very present in the house and studio. The film explores the unique architectural qualities of the house and studio and provides a glimpse of its former inhabitant’s life and work as a painter, textile designer and photographer of British life in the 1930s for Mass Observation.

still/here is a meditation on the vast landscape of ruins and vacant lots that constitute the north side of St. Louis, an area populated almost exclusively by working class and working poor African Americans. Though it constructs a documentary record of blight and decay, still/here is a refusal of closure that dwells within the space of rupture and confronts the presence of a profound absence.

–– Christopher Harris

Camera, sound, edit: Christopher Harris

Additional camera: Joel Wanek

Storyteller recomposes aerial shots from the Las Vegas casino skyline to create a slick, artificial world, reminiscent of science fiction. At first glance, the viewer might think of jewelry-like space ships floating slowly through the universe. When the camera zooms in on buildings and architecture, the detailed glitter and kitsch of the city hypnotically reveals something of pure beauty and madness.

I drove around the U.S. filming these super maximum-security prison buildings the spring and summer after the World Trade Center bombing. I knew that counties within various states had been frantically outbidding each other to get these high-tech gulags to replace the farming and manufacturing jobs that have been lost over the last 25 years. The timing seemed right to remind everyone what we have been doing with our public funding and to draw parallels with the neo-liberal economic policies espoused with variations by the Reagan, Clinton and both Bush administrations.

In 1966, the Syrian government's Ministry of Endowments solicited plans for a building to replace a 14th-century Mamluk mosque in Martyr's Square in the center of Damascus. A young architect proposed a design for a 5-star hotel and new mosque. In 1971, his plans were scrapped. In 1982, a building began to be built. Hospital? Parking garage? Military housing? The project--now called the Basel al-Asad Center--has been the subject of much rumor and speculation. As of 2007, the building remains unfinished.

In 1966, the Syrian government's Ministry of Endowments solicited plans for a building to replace a 14th-century Mamluk mosque in Martyr's Square in the center of Damascus. A young architect proposed a design for a 5-star hotel and new mosque. In 1971, his plans were scrapped. In 1982, a building began to be built. Hospital? Parking garage? Military housing? The project--now called the Basel al-Asad Center--has been the subject of much rumor and speculation. As of 2007, the building remains unfinished.

Hermine Freed collaborates with James Ingo Freed to create a video essay/documentary that reflects upon memories of the holocaust during the design of a US memorial building. Hermine Freed provides video accompaniment that brings to life a lecture entitled The Architecture of the United States Holocaust Museum conducted by James Ingo Freed for the Architectural League at Rockefeller University, New York on November 11th 1993.

A personal essay about connection and disconnection, in and through different realities.

A history of New York City from Prehistoric times through the Space Age, composed entirely from documentary street footage.

"The richness of Cohen's vision is found in his haunting imagery and the perception that the thriving city of New York is really the accumulation of humanity's failures, as well as its triumphs."

-- Steve Seid, Seduced and Abandoned: The Homeless Video by Sachiko Hamada & Scott Sinkler and Jem Cohen (Berkeley: Pacific Film Archive, 1989)

The 1949 Housing Act, often seen as the beginning of urban renewal, reshaped the landscapes of many American cities. One of the nation’s largest urban renewal projects was the Lincoln Square Title I Project in New York City led by the powerful public official Robert Moses, which created Lincoln Center for the Performing Arts along with Fordham University’s Manhattan Campus and middle- to high-income housing. The area selected for the project was a working-class, predominantly Black neighborhood with a large population of Puerto Ricans.

A rumination on Time, with a capital "T". Time and its ravages, which really just means its progression, its nature. Set off by an "old" poem, a T.S. Eliot poem that's literally haunted me for 30? or 40? yrs
... even before I became an old man myself.

(It's an old man's rumblings, and it never fails to move me. I used a quote from it in a film I made 25yrs ago, and the book still calls to me from its place on the bookshelf, its pages yellow, dry as bone.)

Transit journeys through the East End of London, quietly observing the shifting architectural and social landscape. Through the soundtrack the writer Iain Sinclair provides the pieces of a labyrinthine narrative by which the viewer can navigate these landscapes in transition.

The artwork on trial is Richard Serra's public sculpture, Tilted Arc, commissioned and installed by the U.S. government in 1981. Four years later, a public hearing was held to consider the removal of the sculpture from its site in Federal Plaza in New York City. In documenting the climatic General Services Administration hearing, The Trial Of Tilted Arc is a thought-provoking indictment of the state of the arts.

This tape deviates from the more purely formal investigations of Snyder’s earlier work; it has no soundtrack and uses camera images exclusively. Employing Quantel digital effects and editing procedures, a novelty in video post-production at the time, Snyder manipulates images of tract houses shot in a small Indiana town. Cubist re-constructions of the monotonous facades fracture spatial planes into intricate geometric arrangements, with frames enclosing frames, spiralling like Chinese boxes.

Trip is inspired by the main oeuvre of architect Raine Karp--the concert hall designed for the city of Tallinn between 1975-1980. Considered the most important building realized in Estonia, Linnahall is a time capsule preserving the utopian ideas of centralized power and of egalitarian modernism, and an example of how architecture can stir public emotions in our times of corporate dominance.

Trip is inspired by the main oeuvre of architect Raine Karp--the concert hall designed for the city of Tallinn between 1975-1980. Considered the most important building realized in Estonia, Linnahall is a time capsule preserving the utopian ideas of centralized power and of egalitarian modernism, and an example of how architecture can stir public emotions in our times of corporate dominance.

This project started with an email from a stranger in 2017. The sender was the widower of the late artist Tania and he invited the filmmaker to look at her “archive.” Tania was born to Jewish parents in Poland in 1920. The family moved to Paris in the 1930s, but during the WWII they fed to Montreal, then emigrated to New York. Tania eventually became an artist. While facing many hurdles as a female artist in the 1960s and 70s, Tania vigorously created a wide range of artworks, not only paintings and three-dimensional pieces, but also public art projects.

We will live to see these things... is a documentary video in five parts about competing visions of an uncertain future. Shot in 2005/06 in Damascus, Syria, the work combines fiction and non-fiction. Each section of the piece--the chronicle of a building in downtown Damascus, an interview with a dissident intellectual, documentation of an equestrian event, the fever dream of a U.S.

We will live to see these things... is a documentary video in five parts about competing visions of an uncertain future. Shot in 2005/06 in Damascus, Syria, the work combines fiction and non-fiction. Each section of the piece--the chronicle of a building in downtown Damascus, an interview with a dissident intellectual, documentation of an equestrian event, the fever dream of a U.S.

Eyal Weizman is a British-Israeli architect and academic. He’s the founder of Forensic Architecture, which uses architectural research to investigate violations of human rights around the world. In this interview, Weizman discusses his career and the importance of Forensic Architecture’s work with Jonathan Solomon, Director of the Department of Architecture, Interior Architecture, and Designed Objects at the School of the Art Institute of Chicago.