Film, Amerikalı mimar Bruce Goff tarafından tasarlanan, 62 benzin istasyonundan temsili müzeye kadar binaları sergiliyor. Binalarının birçoğu, peyzajda şaşırtıcı durarak, mimaride yeni, hayal edilemeyecek yeni fikirlere zemin hazırlıyor.
“Otobiyografi olarak Mimarlık”ın bir parçasında, yönetmen Heinz Emigholz’la sürprizli şekillendirilmiş, güzelce aydınlatılmış, Bruce Goff tarafından tasarlanmış yapılar—çoğu özgün evler—bulmak için yaptığı Amerika yolculuğu ile devam ediyoruz. Manzaraya gömülü sürekli şaşırtan keşifler dizisi.
Imagine the horror of the home owners in watching Emigholtz approaching their houses from bizarre angles and zeroing in on the flaws. As for Goff, there was a lot of creativity, but often too much ornamentation, which pushes them into the realm of kitsch. His stuff worked better on a grander scale. Overall, I think both the director and the architect are guilty of self-indulgence.
Emigholz's later 'architecture-coffee-table-book' films may not be for everyone but I like them as a premise for post-human cinema. I met Emigholz once years ago at the Goethe Institut and after talking to him felt as if I knew less about the intention behind the later films. The attribution of 'meaning' is entirely up to you.
Finally. For me there is a fruitful match between the subject and object, director and architecture, in this film that for me was utterly lacking in the Sullivan, less lacking in the Maillert. The felicities of his vision, usually working around echoing and rhythms of lines had plenty to work with here. And the contingent, arbitrary nature of the two visions hummed, almost becoming revelatory of their take on life.
The architecture is this “entry” holds almost no appeal to me personally, and the static Dutch angles grew annoying, but, if you’re someone who really loves the “look” of film, these shots are expertly exposed for shadow and highlight retention, with the lensing meticulously dialed. The transfer is also of very high quality. So, I found myself appreciating the medium of film— itself— more than anything in this film.
Again, unless you have a particular interest in architecture or just feel a strange attraction to buildings, tilted camera angles, or the ambiance of birds chirping or cars driving by I couldn't really recommend this to anybody. There isn't much film-making involved other than a few alright looking shots, but to me at least they're not worth the run-time.