(Images from The Third and the Seventh. Left is real, right is rendering. See the making of here.)
For an art so endlessly photographed–even boasting its own discipline–architecture is the subject of surprisingly few decent films. There’s My Architect, of course, but wasn’t that more about a father and his son? And there’s Sketches of Frank Gehry, but it fell victim to the weirdness of its subject (more about Frank being silly than Frank being a genius, or even an architect). (Am I missing any good ones?)
The list of films inspired by architecture–or simply in awe of it–is a hundred times as long, from 2001 and Blade Runner to Vertigo and The Passenger, to, my favorite, The Naked City (check out the epic Williamsburg Bridge chase scene at the end). If buildings can be characters in movies like those, why can’t they star in films all their own? Where’s architecture’s Helvetica?
My pick is Hiroshi Teshigahara’s Antonio Gaudi. Practically wordless, it lets the buildings do the talking–and man, do they talk. I never really saw Gaudi’s work until I saw it on film.
And now there’s this: The Third and the Seventh, a totally animated short movie by Alex Roman (real name Jorge Seva), a 30-year-old architecture renderer in Madrid.
We instill a lot of romantic power in the architectural sketch–but the rendering still has a stigma of tackiness to it. With software companies making big strides in creativity and realism (AutoDesk’s NavisWorks stitches together dozens of engineering and architecture plans into one super-realistic model and Solidworks’s Morphogenesis uses bio-morphic form-generating technology) and designers like Roman pushing those programs to their limit, that stigma won’t last for long. And we might get some good films out of it too.
[Via boing boing]