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Archis vol. 20, #3per issue € 15

BROADCASTING ARCHITECTURE featuring The Hokusai Wave by Alejandro Zaera-Polo; Systems vs. Icons by Vincente Guallart; The Delft Attraction by Dirk van den Heuvel; The Architectural Exhibition as Medium and Message by Arjen Oosterman; Transnational Spaces, a Bauhaus Dessau research; photo essays about the ultimate success of architecture

Much more Broadcasting in this Volume:C-lab Newspaper Amo Poster Archis CD-ROM

Nothing beats daylight

www.VELUX.com

photo Marcel Molle

photo Tobias Gerber / Bilderberg / HH

Richard Meier showing his Getty Center

photo Guglielmo de’ Micheli

Guidance

Guidance | Volume III | 8 – 9

photo Timothy A. Clary / ANP

Masterplan Ghent

Tourists at ‘Bilbao’

Masterplan Jena / SHK

Fordham Spire, Chicago

Shanghai

Howard Roark in The Fountainhead, 1949

Mario Botta

Guidance | Volume III | 10 – 11

Daniel Libeskind shows his winning World Trade Center site design to Michael Bloomberg

Wiel Arets in his own design

Holocaust Memorial by Peter Eisenman, Berlin

www.brickshelf.com

courtesy MTV Networks

www.blindimagepho-tography.com

Happiness

Happiness | Volume III | 16 – 17

photo Armin Linke

This is where we fi nd Mr. Simms: [the architect in Mr.Blandings Builds His Dream House, ed.] earnest but cowed, unable to weigh in on technical issues, seemingly second to everyone on the job site. After a scene in which the Blandings hijack the schematic design of

their home, wrestling with Simms for control of the drafting board, the architect is reduced to an all-but-outdated legal necessity: the guy who stamps the drawings. His only real service is to render refl ections of the Blandings’ own starry-eyed dreams.

Philip Nobel, ‘Who built Mr.Blandings’ dream house?’, Mark Lamster (ed.), Architecture and Film, Princeton Architec-tural Press, 2000

from Mr. Blandings Builds His Dream House, 1948

Happiness | Volume III | 18 – 19

Huis ten Bosch Resort, Nagasaki, Japan

Brochure from Proper Stok

www.biochemsoctrans.org

image Prof. P. Fromherz, Max-Planck-Institut für Biochemie

Structure

Structure | Volume III | 28 – 29

The Architect: The fi rst matrix I designed was quite naturally perfect, it was a work of art, fl awless, sublime. A triumph equaled only by its monumental failure. The inevitability of its doom is as apparent to me now as a consequence of the imperfec-tion inherent in every human

being, thus I redesigned it based on your history to more accurately refl ect the varying grotesqueries of your nature. However, I was again frustrated by failure. I have since come to understand that the answer eluded me because it required a lesser mind, or perhaps a mind

less bound by the param-eters of perfection. Thus, the answer was stumbled upon by another, an intuitive program, initially created to investigate certain aspects of the human psyche. If I am the father of the matrix, she would undoubtedly be its mother.

from The Matrix Reloaded

Rat Neuron on a Silicon Chip

Structure | Volume III | 30 – 31

Mood Engineering

courtesy Academy of Motion Pictures Arts and Sciences

from the musical 42nd Street

courtesy Astralwerks Records

from Just Imagine, 1930

Batman

from Metropolis, 1927

Mood Engineering | Volume III | 40 – 41

photo Armin Linke

courtesy Serpentine Gallery, London

drawing of the War Room by Ken Adam from Dr. Strangelove

Cool and depersonalized, Adam’s looming forms and menacing perspectives confl ate the war room and the board room to evoke a post-atomic landscape of limitless power. They are intimidating spaces where Orwellian organizations with ominous names like Spectre, Power, and the Pentagon mastermind

global conspiracies of Cold War violence and death. To depict a society that glamorizes death as stylish sport, Adam transformed military hardware into Warhol-like icons of mass destruction. The Giant map in the War Room of Dr. Strangelove (1964 ed.), for example, acted as a superpower scoreboard,

rendering mankind’s extinction as more show than substance; a graphic spectacle detached from reality of human suffering.

Donald Albrecht, ‘Dr.Caligari’s Cabinets: The Set Design of Ken Adam’, Mark Lamster (ed.), Archi-tecture and Film, Princeton Architectural Press, 2000

Mood Engineering | Volume III | 42 – 43

from Domu by Katsuhiro Otomo

Hong Kong

from The Woman, 1939, set-design by Cedric Gibbons

courtesy National Por-trait Gallery, Smithson-ian Institution

Power Play

Rose Revolution, Georgia 2003

photo Keith Mellnick

photo Matthew Cavan-augh / ANP

Power Play | Volume III | 50 – 51

As a foreign policy planner in the late 1940s and 1950s, George F. Kennan is con-sidered to have been the ‘architect’ of the Cold War with his call for contain-ment of the Soviet Union.

Power Play | Volume III | 52 – 53