Alfred Hitchcock by Leo Fuch

‘Architecture exists, like cinema, in the dimension of time and movement. One conceives and reads a building in terms of sequences. To erect a building is to predict and seek effects of contrast and linkage through which one passes (…). In the continuous shot/sequence that a building is, the architect works with cuts and edits, framings and openings (…).’ – Kester Tauttenbury

Having established the connection of architecture to all art forms in Part I of our interview with architect Guilhem Eustache and producer/director Dimitri de Clercq, we became curious about a very particular relationship in Part II: architecture and film. Not only are they both arts of the auteur, but they also have a close temporal relation and — most importantly — the language and structure employed are so alike in conveying rhythm, emotion and ambience that one could suggest a shared anatomy. Guilhem and Dimitri will tell you more…

Picture 1 by Jean-Marie Monthiers

Could you explain the connection between architecture and film in a bit more detail and specific to the Fobe House? Are we the movement or do we project movement onto the design?

GE: Both parts of the question are applicable, but I’m going to go into the latter part at a later stage. For me, architecture has clear ties to all of the arts, but the strongest ones are with cinema.

The movement of a human being in an architectural project is comparable to the movement of a camera in a film.

The idea of travelling zooms, specific framing and rotations are all elements that also exist in architecture. One of my main preoccupations in designing the house has been to assemble a series of architectural sequences, which you could compare to the narrative sequences found in a film. All these sequences together complement one another and, at the same time, have a very intimate link to the landscape around the house. It’s also important that the sequences are in coherence with the person in the space.

How do the different sequences profess themselves? Do they exist in different parts of the house?

GE: If you stand in front of the Fobe House and look at it as if you were looking at a painting, you won’t necessarily be able to understand how it works. It will reveal itself in your movement, sequence by sequence. For example, in picture two you can see a thick wall at the rear of the house, and you’ll discover that behind that wall there’s a small bridge that’s followed by a very long hallway. That in itself is already a sequence, a camera movement. When you walk on the small bridge, suddenly a very long interior hallway appears in your frame, which is similar to watching a transition of shots in a film. Yet once you’re inside there’ll be a moment where you’ll feel like stopping because of the possibilities that are open to you. You can either keep going straight on towards the exterior courtyard where you find the palm tree — that’s one way of travelling that one can take easily — or if you turn left then your gaze is caught by the living room space, which frames the swimming pool with the stairs that come out of it at the end with the Atlas and a sense of infinity behind it (picture three). That’s close to what you can define as a zoom movement in cinema.

Picture 2 – by Jean-Marie Monthiers

Picture 3 – by Jean-Marie Monthiers

So walking through the house is like the narrative unfolding in a film.

GE: The narrative that is suggested by me as an architect is like a screenplay of life — and within that you have different possible routes. It’s interactive — you have the possibility to go one way or the other way. And the sequences aren’t necessarily dogmatic in the sense that it’s first this and then that. It depends on what mood you’re in. Maybe one day you’d prefer moving towards the palm tree… In this particular architectural design there are certain moments where the areas are more static and certain moments where they’re much more dynamic. The dynamic spaces are hallways, stairwells or passages. The static places are the places you tend to live in, the living room for example, which is defined by fixed furniture.

Every person is his own director and actor in the movement that he creates.

So it’s actually better than a film because you’re the protagonist and have the power to operate as opposed to the story just playing out in front of you.

GE: I would tend to agree with you in the sense that there’s much more freedom in architecture. And regarding the second part of the question — whether we are the movement or whether we project movement onto the design — it’s a bit of both because movement can also be suggested by the use of symbols. Look at the two really big walls at the rear of the house in pictures four and five. It’s like an allegory that suggests the feeling of movement. It’s a reference to the sails of a sailing boat. Depending on the way you’re looking at the walls, maybe even more in picture six, which was taken closer to nightfall, you get the feeling that the house and the walls are gliding on the ground. Or, for example, the large stairs that come out of the swimming pool suggest a more mental journey — a state of daydreaming. It evokes the feeling that these stairs lead to the mountains, to the Atlas and infinity. So all that is very much on a symbolic level.

Picture 4 – by Jean-Marie Monthiers

Picture 5 – by Jean-Marie Monthiers

What films in your opinion have used or manipulated space in the most interesting of ways?

DdC: We spoke about this a lot because I’m a film producer and director and that’s why Guilhem and I speak about film a lot. We worked on this list together. I would say the films I chose are by directors whose films are all fascinating because space is what defines them and makes them unique. There’s a silent film called Sunrise: A Song of Two Humans (1927) by German director F.W. Murnau, which is a fascinating film. A Japanese director called Yasujirō Ozu made a film called Tokyo Story (1953). His work is really fascinating because he really shows you that he has a completely different way of constructing space, which is very different to the way Westerners define space in film. The way that he films characters in isolated spaces is radically different to the way we look at space. In doing this he often breaks rules of basic film continuity. Yet it works because he associates people and objects in a very different way, which probably makes a lot of sense in Japanese culture.

Can you give an example?

DdC: Well, the first thing that they teach you in film school is that if you film two characters speaking to each other in a space the camera is never supposed to cross the line between the two characters. Yet Ozu crosses it very often and you’re not confused. Film teachers tell you that if you do that, the viewer won’t know if the character is on the right or the left side of the screen. But when he does it he creates a lot of dynamic, because when he goes from one shot to another you’re much more conscious of a certain moment or situation. There’s even more tension between characters that are addressing one another.

And then of course you have Alfred Hitchcock with Rear Window (1954) and Vertigo (1958), which are two movies that are very interesting because in Rear Window, for example, you’re isolated in one space. You’ve got the whole idea of voyeurism and looking into other people’s apartments. It creates all these interesting frames that you can also find in some moments of the architecture of a house. Then there are more recent movies like In the Mood for Love (2000) by Wong Kar-Wai, which Guilhem likes a lot. It’s a very sensual film and there are different moments where he shows a woman going up or coming down stairs, sometimes in slow motion, sometimes not, and this gives it a sense of rhythm.

GE: When I think of In the Mood for Love, I think of the very low narrow staircase that I created between the two large walls, the outside area and the rear of the house. There’s something very dynamic about that moment, which also has something romantic about it, the idea of going up and going down.

Picture 6 – by Jean-Marie Monthiers

Rear Window by liannespiderbaby.com

The ‘Stairway to Heaven’.

DdC: Exactly. When I look at the stairs that come out of the pool I always think of that Led Zeppelin song.

GE: There’s a French filmmaker that I like a lot because he uses space in very interesting ways, it’s Gaspar Noé. His work is quite controversial. He’s made Irréversible and more recently Enter the Void. In the latter, he brings the Tibetan Book of the Dead to life. The sets and spaces he creates in that film are a great mental trip. It’s very architectural.

There are moments where you feel that the place has turned into architectural models.

It’s very powerful.

Do you mean the buildings in the film or the structure of the way it’s made is architectural?

DdC: We were speaking about this yesterday; of course, there are amazing movie sets that are designed, like Stanley Kubrick’s Dr. Strangelove (1964) and 2001: A Space Odyssey(1968). Even some of the James Bond movies… but could you really define these amazing movie sets as architecture? Probably not, I mean they’re movie sets. In films you can only really speak about the architecture of a film. You can say that in a movie the scenes and the way the narrative is created is architecture in that sense.

Enter the Void by bigthoughtsfromasmallmind.com

Eyes Wide Shut by attheback.blogspot.com

Similar to the narrative unfolding in the Fobe House.

DdC: Exactly. And probably one of the filmmakers in whose films this is most striking is Kubrick because when you look at all of his movies you can pretty much speak of an architectural construction. 2001: A Space Odyssey is a film that Guilhem really likes a lot. You have this notion of rhythm, the way the space is constructed. More simply, you could take a more recent film like Full Metal Jacket, which has two basic volumes — the first half of the film and the second half of the film — so there’s a very strong architectural construction within it. You could even take his last film, which a lot of people don’t like but I like, Eyes Wide Shut (1999). If you look at it very carefully you can almost define that film architecturally, as being conceived of two main parts — the second part is a mirrored image of the first part. Dr Bill Harford, who is played by Tom Cruise, wanders through the movie and each place he goes to he, in a sense, goes to twice. You see the same space in the first half of the film and in the second part of the film — and the big orgy scene is the centre piece of the film. In that sense Eyes Wide Shut is an intimate journey that has a lot in common with 2001: A Space Odyssey. Yet Eyes Wide Shut is more of a personal, intimate journey and 2001 is more of a mental existential journey.

Mullholland Drive by film.onet.pl

Citizen Kane – Image by expadvice.com

That makes a lot of sense.

DdC: There are a lot of films I think where the great filmmakers are very conscious of that. What I found very interesting about the link to the website that you sent us was that they always chose movies that take place indoors. But I think that you could also look at some movies for which the principal photography was done outside that also have a very architectural sense of space. One of them is The Tree of Life (2011) by Terrence Malick. The way he films space and landscape is very much conscious of the importance space has for a character. It’s much more universal and grander. One filmmaker that I also find very interesting is David Lynch.

I love David Lynch.

DdC: Take Mulholland Drive (2001) or Lost Highway (1997). He’s one of the filmmakers that I think really knows how to film, especially modern architecture, in a brilliant way. You see spaces in Lynch’s films, these sorts of modern California homes that are very apparent. It’s quite fascinating. It’s present in his first film Eraserhead (1977). Orson Welles‘ films are also interesting in that respect.

GE: I like the example of Orson Welles a lot because he has a tendency to dramatise spaces in many ways, which I would also like to achieve with my architecture through playing with shadows. If you look at The Trial (1962) — and of course Citizen Kane (1941) — but also Othello (1952), for example. In all these movies he’s very aware of that. And when I see it unfolding in a movie, it’s something that can feed architecture.

Interview by Christine Hogg

Images by collativelearning.com, film.onet.pl, attheback.blogspot.com, bigthoughtsfromasmallmind.com, liannespiderbaby.com, www.expadvice.com, Jean-Marie Monthiers

For all David Lynch fans, check out Artsy David Lynch

Issue 24 of one small seed asks you to ‘Listen to my Colour and Look at my Sound’. Music, motion, words and colour – looking beyond the obvious, our latest issue brings a union of the senses. To follow is an all-inclusive preview of the new issue: a full breakdown of content that resonates with inspiration. Hold on tight…

The human story is told in the language of pop culture. Coca Cola designed Santa Claus and Hugo Boss the uniforms for the Order of the Death’s Head. Jimi played The Star Spangled Banner at Woodstock and the Devil went down to Georgia. David Byrne wore a big suit and Princess Leia that bikini. We couldn’t handle the truth, needed a bigger boat and loved the smell of napalm in the morning. Assorted male models shot JFK, RFK and JR, then Biggy Smalls, Tupac and the Sheriff. And something made Andy Warhol’s Marilyns smile. Maybe it was the hand up the Mona Lisa’s skirt. (Gustav Swart)

This issue’s theme of ‘Listen to my Colour and Look at my Sound’ led us to some odd doors as we sought artists that bridged the divide between the visual and the aural.  An interview with legendary album artist Storm Thorgerson – referred to some as the 6^th member of Pink Floyd – allowed us to revisit the aesthetics of the ’70s, while 21^st Century poster designer Dan Khulken tells us about making posters for bands like Black Keys and The National. Issue 24 is a 30 000-plus words visual explosion, and one such visually exploding artist we spoke to is the infamous Gonzo illustrator and Hunter S Thompson’s partner-in-grime, Ralph Steadman. Another artist that tore through the ’70s and still doing what he does best is Horace Panter – the bass player of The Specials. In this issue, Panter gives us a candid account of his life in music and his life as an artist, from playing with The Clash to his time working as a white van man, he shares memories of his life on a road less traveled.

Our fashion spread this issue comes direct from Tokyo, Japan. Creating a 3D-like effect, reminiscent of Nintendo games and early Star Wars films, Japanese designer Kunihiko Morinaga created his Low Resolution collection around the 8-bit inspired colorful square blocks. Mari Sarai’s lewd black and white nudes feature as this issue’s photography section, her subjects including celebs like Gavin Rossdale’s daughter Daisy Lowe and model Janice Dickinson. We have a feast for the ears in the form of interviews with Kenya’s globe conquering Just a Band and the revolutionary American poet Abiodun Oyewole – the man who robbed the KKK and worked with legendary Jazz musician Gil Scott-Heron on his famous song ‘The Revolution will not be Televised’.

Ever tasted the letter ‘f’? Or smelled the colour blue? Well, some people have! One of our main features this issue is on Synesthesia – the condition that lets people see sound as colour – and trace its path through the methods and madness of some of the brightest stars in the human firmament. Click HERE for a preview of the feature. On the local frontier, we sit down with singer/song writer/actress Sannie Fox, electronic trio Digital Rockit and all four members from Cape Town band iScreamStix. Olmeca Editión Black Tequila joins us in showcasing electronic DJs/Producers, with this issue bringing Blush n Bass and Felix Laband to the party.  We watched architecture dance slowly to visible music in our architecture feature, looking at structures like The Sum of Days, NY; Stillspotting, NY; the Jewish Museum, Berlin; Jetty Square and more.

Ending with the beginning, our cover for Issue 24 is devoted to one of the street artist/videographer Mr Brainwash’s tongue-in-cheek creations. This issue features a six-page interview with the artist, who talked to us from his L.A. home about money, art and Andy Warhol. Showcasing at 34FineArt Gallery in Woodstock, Cape Town is an exclusive selection of Mr Brainwash’s latest artwork, including issue 24’s ‘Madonna’ silk screen on paper with spray paint.

Right, without further ado… Here’s the breakdown for Issue 24 “Listen to my Colour and Look at my Sound”.

FEATURES

American Civil Rights Icon

Abiodun Oyewole: Grand, High Wizard

Founder member of The Last Poets talks about verse, Gil Scott-Heron and robbing the KKK. Click HERE to read our blog ‘The Revolution will not be Televised’ and find out more about the legendary Gil Scott-Heron: a spoken word poet, jazz genius and close friend to Abiodun Oyewole.

Defiant Photographer

Mari Sarai’s Girls on Film

Black-and-white nudes that stare right back and you and challenge the Gaze. Check out a video interview we found with Mari Sarai by visiting onesmallseed.tv HERE.

Aural architecture

Echo Chamber: The Sound of Space

Our investigation of sound and concrete spans the globe and classic art movies. First we took Manhattan, then we took Berlin. Click HERE and visit onesmallseed.tv to watch the video titled Berlin: Die Sinfonie der GroBstadt, which showcases a selection of abstract visual content that portrays the ‘life’ of a city.

Cape Town-based breakout band

iScreamStix: It ain’t Sorbet

A big scoop of local talent

Kenyan Globetrotters

Just an Interview with Just a Band

Meet the voice of East Africa’s ‘superhero’ Makmande. He may not exist but he sure kicks ass

Cross-sensory Exploration

Neuromagic: The Harmony of Synesthesia

We dive into the magical world inhabited by synesthetes: individuals who see, hear, feel, smell and even taste colour. Such people include legends of our time, like Syd Barrett of Pink Floyd, Marilyn Monroe and Vladimir Nabokov to name a few. Click HERE for a preview of the feature and then visit one small seed TV to see a video about this unique condition

Genre-busting rocker

Sannie Fox: Rage with the Machine

This star of stage and screen proves that you don’t have to be a fatbottomed girl to make the rocking world go round.

Gonzo illustrator

Ralph Steadman: Another Freak in the Freak Kingdom

We can’t stop here. It’s bat country

Controversial Pop Artist

Mr Brainwash: Laughing all the Way to the Banksy

We got a call from the man who calls himself ‘Banksy’s biggest piece of art’. We’ve uploaded a snippet of the interview featured in the magazine, simply click HERE and see if you can make out who Mr Brainwash really is…

Jozi Beats

Digital Rockit: The Neon Gods they Made

Local veterans of the electronic scene look forward and back

Classic Album Art

Storm Thorgerson: Dark Side of the Tunes

We get under the covers with the man who designed for bands like Pink Floyd, Led Zeppelin, Black Sabbath, Muse and machineri.

Troubadour’s Poster Boy

Dan Kuhlken: Dreaming of Electric Sheep

The National, The Black Keys, Red Hot Chilli Peppers… just some of the bands that LA-based design team DKNG have worked for

Musical contrasts

eleKTRONIK Dialogues

A new department brought to you in conjunction with Olmeca Editión Black Tequila dedicated to showcasing the best and brightest musical talent.

Ska rocker and painter

Horace Panter: If Music is your Special Thing

The bass player of The Specials went from fame to obscurity and back again

Avant-garde Fashion

Kunihiko Morinaga: Pretty in Pixels

Chic couture meets the chunky pixels of 8-bit arcade games on the catwalk. Check out our interview with Morinaga in the latest issue, and if you’re thirsty for more information on pixel fashion then check out our blog HERE.

DEPARTMENTS

IN STORE

Products for your eyes, hands, and mind…

BOOK REVIEWS

Get the critique on books that will read you.

SELECTED CREATIVES

We reveal the winners for Selected Creatives 06, a showcase of the very best uploaded to onesmallseed.net. Click HERE to check out who made the cut, voted by you on the one small seed network.

FILM REVIEWS

This issue we check out Mike Cahill’s Another Earth; Clint Eastwood’s J. Edgar, Martin Scorsese’s Hugo, Tarsem Singh’s Immortals, Lars von Trier’s Melancholia and Paula Van der Oest’s Black Butterflies.

MUSIC REVIEWS

We dissect the beats that are supposed to move your feet.

NOW SHOWING

Issue 24 showcases some of the most gripping videos we found in 2011, including Influencers; Jeff Staple; Earth time-lapse view from Space; Press Pause Play; Morpho Towers: Two Standing Spirals; Brain Eno’s Imaginary Landscapes and Berlin Die Sinfonie Der Grosstadt, a fascinating video that sheds light on the discourse of aural architecture. Click HERE to watch these awesome videos.

THE LAST WORD

We leave this to South African writer duo Headline Payoff and illustration by Mark Venter.