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For this edition of Section D, Monocle 24’s weekly review of design, architecture and craft, the team turn their attention to the crossroads where design and architecture meet film. From a documentary about Pruitt-Igoe, the St. Louis housing project, to a new reading of the title sequence of Superman, this episode investigates the role of architecture in film – and visa versa.

Chad Freidrichs on The Pruitt-Igoe Myth

The director of The Pruitt-Igoe Myth tells us about his documentary, which explores the history of the Pruitt–Igoe public housing complex in St Louis, Missouri. The show draws on archive footage and interviews with former residents to document the decline of social conditions within the complex which led to its eventual destruction in 1976.

Ben Rylan’s Ode to the Title Sequence

Discussions about design in feature films frequently focus on set design: backdrops, textures, furnishings and outfits that lay the foundations upon which the action takes place. But the often-neglected opening title sequence can also be a powerful tool for setting the mood. Ben Rylan, presenter of The Cinema Show, tells us more.

Cinemagerie at Vienna Design Week

Vienna Design Week celebrated its 10th anniversary a few weeks ago with an impressive show of contemporary design, architecture and crossover projects. Among the exhibitions was one that asked the audience to engage with cinema as a design object.

The use of corduroy concrete inside recalls the work of Paul Rudolph. Image © Aidan Montaghan/Studio Canal

Finally, James Taylor-Foster (ArchDaily‘s European Editor-Large) discusses a few films in which architecture is more than just a backdrop, as well as how architects have used film in their work.

Find out more about Monocle 24’s Section D here.

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© Jack Hobhouse

• Architects: Edgley Design
• Location: London Borough of Islington, United Kingdom
• Architects In Charge: Jake Edgley and Ben Kirk
• Area: 1015.0 sqm
• Project Year: 2015
• Photographs: Jack Hobhouse

• Structural Engineer: Hardman Structural
• Environmental/ Code For Sustainable Homes Consultant: SRE
• Building Control Approved Inspector: BBS
• Acoustic Engineer: KP Acoustics
• Fire Strategy Engineer: IFC
• Cdm Coordinator: Goddard Consulting
• Main Contractor: Cape Construction

© Jack Hobhouse

From the architect. Godson Street is a Community Joint Venture project. The three partner groups, led by Jake Edgley (director of Edgley Design), Chris Joannou (CKS partnership) and James Engel (director of Spaced Out Architecture) were neighbours of the vacant site, and formed a JV partnership to buy and develop the scheme. The brief was to create a mixed use building which would meet the varying needs of the JV partners, expressing the individuality of stakeholders while bringing this ‘difference’ together in a harmonious overall scheme

Elevation

© Jack Hobhouse

Section

The overall concept was to re-imagine the Georgian houses that once occupied the site, with a lightwell to the front and internal stair to one side. A rear lightwell creates a liveable basement. Large glazed windows to the ground floor enliven a once forgotten backstreet.  The layout has been inverted, with bedrooms to the lower levels where a more closed relationship to the street does not affect internal amenity. The living spaces are moved to the upper floors, where larger windows can give light and views out without compromising privacy. The living spaces are articulated as a metal clad, sculptural form that has been folded out of the front elevation to create windows and views to the south, maintaining privacy across the street. An angled roof creates north facing rooflights to the second floor. The faceted form of the roof is derived from a rights to light analysis of neighbouring residences. Five mixed use buildings are created, with commercial space to ground and basement and residential apartments above, and a townhouse to the north.

© Jack Hobhouse

Ground Floor

© Jack Hobhouse

1st Floor Plan

© Jack Hobhouse

Product Description. The upper residential levels are conceived as dynamic, angular forms which address surrounding neighbour and occupier issues; privacy, overlooking, daylight and rights to light. The zinc ‘skin’ (VM Zinc) is split and punctured, creating views out and exposing the core of the volume, articulated in a cementitious material. – Marley Eternit

© Jack Hobhouse

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Courtesy of ONG&ONG Pte Ltd

• Architects: ONG&ONG Pte Ltd
• Location: Singapore
• Architect In Charge: Diego Molina, Maria Arango
• Project Team: Eleazar Manahan, Tomas Jaramillo, Ryan Manuel, Julius Caramat, Lee Cheow Yeh, Amos Lau, Lim Yan Qing
• Area: 917.78 sqm
• Project Year: 2016
• Photographs: Courtesy of ONG&ONG Pte Ltd, Derek Swalwell

• Client: Vista Realty Pte Ltd
• C&S Engineer: KKC Consultancy Service
• M&E Engineer: PTA Consultants Pte Ltd
• Quantity Surveyor: CCL Chartered Surveyors
• Main Contractor: Straits Dredging

Courtesy of ONG&ONG Pte Ltd

Reclined within a well-heeled residential enclave, KAP-House reposes behind wild grassland that grows from the remains of the old Malayan Railway. Placed on a plot that was once the sprawling garden of a classic colonial black and white bungalow, the home was imagined as a paradigm of modern tropical living. 

Courtesy of ONG&ONG Pte Ltd

© Derek Swalwell

The defunct railway, now a preserved green corridor, provides a backdrop of natural tropical terrain. Seeking to capitalize on the beauty of the home’s splendid surroundings, the design team adopted the Japanese design principle of Shakkei, or borrowed view. Their intention was to create a home resplendent in the “likeness of nature, capturing nature alive to create a spectacular vision”.

Sections

Fully attuned to the environment, KAP-House is predicated on capturing its marvelous natural milieu, as the architects carefully aligned the home to emphasize borrowed views of the green corridor. Elemental considerations were prioritized as the design team accounted for factors such as wind direction and solar positioning, introducing a sustainable design framework that allowed the implementation of passive environmental controls within the house program.

Courtesy of ONG&ONG Pte Ltd

Simplicity reigns as clean lines and bold structural elements manifest into an elegant design. Architects deployed a programmatic approach when conceptualizing the home. KAP-House features a series of rectilinear volumes placed in interlocking juxtapositions. Individual volumes were conceived in accordance with how their space would be utilized. Underscored in KAP-House’s overall design was the optimization of the borrowed view, as the architects tried to ensure that spaces within the house would benefit from the surrounding natural splendor. 

Courtesy of ONG&ONG Pte Ltd

A holistic approach was employed in order to achieve intrinsic integration between architecture, interior design, and landscaping. Further accentuating the overall design is a meticulously curated material palette – reflected in the stone and timber facades, placid blue pools and waterways, and lush gardens greenery, which bestow KAP-House undeniable aesthetic quality. 

Courtesy of ONG&ONG Pte Ltd

The home includes four bedrooms together with an additional guest room. The front section of KAP-House that contains the guest room was imagined as a semi-private transition space, where a myriad of colours and textures greets the eye at the home’s spacious driveway entrance. An L-shaped slab of textured reinforced concrete frames a façade of gray zircon wood strips, neatly stacked atop a lower plane of champagne limestone cladding, which stretches into KAP-House’s manicured garden. 

Courtesy of ONG&ONG Pte Ltd

The entrance foyer leading to the shared common space reveals a system of fully retractable floor-to-ceiling glass windows encasing the living and dining areas. The windows, together with the timber screens found on the upper floor, provide natural cross-ventilation and overall versatility to KAP-House. The Architects’ intention was to allow the greenery of the garden exterior and the borrowed view of the rail corridor beyond to traverse into the refined spaces of the home’s interior. 

Courtesy of ONG&ONG Pte Ltd

Private spaces within KAP-House reside within the upper-most volume that holds the bedrooms, as well as the subterranean space that conceals the multimedia room. The gray zircon wood façade from the house entrance extends along the length of the home, forming a system of timber screens that veils the upper-level spaces, while the subterranean zones are distinguished by robust tobacco-colored Cohiba stone.

Courtesy of ONG&ONG Pte Ltd

Lending character and a supremely natural feel to KAP-House, planted plots of green space are strategically placed to further emphasize the naturalistic motif established within the property. The upstairs family room opens to an elevated garden belvedere, reconnecting the private zones with the exterior green spaces. The private spaces are characterized by treated wood and white stone, where passive environmental controls come in the form of screens and overhangs. 

Courtesy of ONG&ONG Pte Ltd

Product Description. Material selection was vital to the project’s underlying concept. Volumetric elements within KAP-House are subtly differentiated through the material that predominates each section. From the champagne limestone façade at the entrance, to the white plaster and glass that frames the main living area, and even the fair-faced concrete that lines upper volume, each material utilized helps create a seamless transition between spaces.

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© JIN Wei-Qi

• Architects: ARCHSTUDIO
• Area: 1720.0 sqm
• Project Year: 2016
• Photographs: JIN Wei-Qi

• Design Team: HAN Wen-Qiang, LI Xiao-Ming, WANG Han, JIANG Zhao, HUANG Tao
• Location: Guzhi District, Tangshan City, Hebei Province, China
• Project Type: Agricultural Architecture
• Site Area: 6000 sqm
• Design Time: 2015.06 – 2015.09
• Construction Time: 2015.09 – 2016.04
• Author: Han Wen-Qiang

© JIN Wei-Qi

From the architect. The project is located in the farmland on the fringe area of Guye district, Tangshan. Villages and houses are scattered around. The site is a rectangular flat land covers an area of 6000m². The basic function of the building is acting as a processing workshop of organic food – raw materials come from organic producing areas across the country, being collected, processed and packed here, and then being delivered to other places as finished products. The design is inspired by traditional courtyard building, the initial idea is to build a magnified courtyard house, a workplace full of natural atmosphere and flexibility, a workplace which is self-contained and forms a corresponding relation with the surrounding broad and flat field.

© JIN Wei-Qi

Structure Diagram

© JIN Wei-Qi

The entire building is made up of four enclosed relatively independent houses, including Material Storage, the Mill, Oil Pressing Workshop and Packing Area. The inner courtyard is the Grain-Sunning Ground, and a convenient work cycle line is formed around the inner courtyard. The boundary of the building is the external corridor that connects the four areas, and it is the route to visit the food processing workshop. The central courtyard spans out around the building randomly, topologically form a courtyard space of multiple layers, which meets the demand for natural ventilation, natural lighting and views of a workshop while maintaining nice interior and exterior space quality. The organic connection of courtyard and house creates functional areas of different sizes under one big roof: small sized corridor, medium sized rooms and large sized workshop, which flexibly meet the requirements of compound use of the workshop.

© JIN Wei-Qi

Floor Plan

© JIN Wei-Qi

The design chooses glued timber structure as the major structure due to its light weighted, easy processed and installed and natural properties. The building is “floating” above the ground. It sits in a 60cm cement base, which allows the wood structure being moisture proofed against the ground and allows it to hide pipelines of some fixed equipments. In order to control the construction budget reasonably, the building adopts light wood structure-wood frame wall with a length of 2.1m, the upper part is glued timber truss beam, and the top is wooden and felt roofing. The facade is covered with translucent pc board which is light and easy to be installed as well. The space, structure, materials and the multiple layered exterior courtyards together creates a warm, natural and continuous working atmosphere for this farm.

© JIN Wei-Qi

© JIN Wei-Qi

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© Takumi Ota

• Architects: PUDDLE
• Location: Hyogo Prefecture, Japan
• Area: 276.0 sqm
• Project Year: 2016
• Photographs: Takumi Ota

• Text: Masaki Kato

© Takumi Ota

The Harmony between Architecture and Belongings across Time: A Former “Kenban” Turned Into a Home

© Takumi Ota

© Takumi Ota

Kinosaki Onsen, located in Hyogo Prefecture, is one of the leading onsen areas in Japan, with a history of over 1300 years. Just a short path in from the main street of this onsen city is a small stream, along which stands a former “kenban” (a place for geisha performers from the onsen to gather). Built 50 years ago, and surrounded by a bamboo forest, we converted/renovated this building into a residence.

© Takumi Ota

The owner, who is originally from Hyogo Prefecture returned back to his hometown from Tokyo, and because of his friendly and caring nature, friends and acquaintances – from both near and far – often visit to have heart-to-heart conversations, or to talk about common interests, such as art. We thought it would be a perfect reflection of their personality to design the kitchen at the center, to be used as the main area for such discussions. And with a vast collection of treasured belongings (furniture, art, clothing, and other furnishings), we wanted these to surround the kitchen – this is the point from which we started our design work. 

Section

It also helped that I know the owner personally and consider him a good friend, so we are familiar with his collection and it’s importance to him and his family.

© Takumi Ota

The dynamic elements of the third floor include the kitchen at its center, two dining areas, a slightly raised living area designed on a former performance stage, and a studio for the owner’s wife – who is a manga artist – all in balance with one another in the warm, open space. A large beam made of chevron-shaped boards, which is part of the existing structure, surrounds this entire space. We only discovered this beautiful beam structure after deconstructing the ceiling, and to be able to expose it for the first time in 50 years was a very exciting detail to add.

© Takumi Ota

Finding the balance between these modest, yet important elements – an existing structural beam and the owner’s personal belongings – was crucial.  To find a way to privilege and acknowledge both, highly influenced all the design details of the entire space.

© Takumi Ota

One example is the choice of flooring – its width and coloring. And another example is that we avoided the use of white for any paint coating, but instead, selected four different tones of gray. The effect we were aiming for was to accentuate the existence of the beam structure, and at the same time, to give the entire space a sense of depth.

© Takumi Ota

In contrast, the second floor was designed to have a more passive function, with the entrance, bathroom, and bedrooms at its center. The entrance is purposely located on this floor in order to give a sense of anticipation towards the floor above.

Plan 1

Because of the bamboo forest surrounding this residence, we needed to consider the problem of humidity. Thus, for the master bedroom, we decided to use diatomite earth from Hokkaido as the finish for the walls and ceiling, as this material has natural humidity adjustment properties.

© Takumi Ota

And whilst decision to use diatomite earth was of course to solve the humidity problem, there was an additional, more meaningful reason for this decision.  The construction company for this project is operated by the owner’s high school friend. The company first started as a small team of skilled plasterers, so we were very much interested in incorporating their skills in our design. So, like the finish to the master bedroom, the second floor consists of many other areas with a “plastering” type finish (by coating). The bathroom sink, for example, adopts this concept of “coating”, by finishing the veneer with a thin layer of FRP resin, applied at the hands of a skilled plasterer.

Plan 2

Finally, the ground floor is currently left untouched after deconstruction, exposing its skeleton structure. This space will remain in this state, free to be designed and used in any which way, as the owner continues to meet new people, and encounter new things with which to fill this space, in the near future and for a long time to come.

© Takumi Ota

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© Aaron Pocock

• Architects: SCDA Architects
• Location: Singapore
• Architect In Charge: Soo K. Chan
• Design Team: Edward Lau, Jin Oon, Yvonne Tan, Edric Choo, John Vencer, Kingsley Tan
• Area: 26000.0 sqm
• Project Year: 2015
• Photographs: Aaron Pocock

• Developer: Chiu Teng 8 Pte Ltd
• Main Contractor: Chiu Teng Enterprises Pte Ltd
• Structural Engineer: KTP Consultants Pte. Ltd.
• M&E Engineer: KTP International Pte Ltd
• Quantity Surveyor : Langdon & Seah Singapore Pte. Ltd.

© Aaron Pocock

From the architect. Tagore 8 is multi-user light industrial factory located in Tagore Industrial Estate.The main generating concept of the project lies in a continuous driveway and ramp which spiral up the centre of the building, providing vehicular access to each individual factory unit. This circulation path becomes the main organizing device, both horizontally and vertically, around which all the primary spaces are arranged. A large central landscaped courtyard is located in the centre of the factory to provide lighting and ventilation to the inward facing units.

© Aaron Pocock

Each factory floor is six meters in height. In order to achieve a minimum vehicular ramp length, the factory is bisected into two wings, each wing offset sectionally by three meters. The central ramp negotiates this reduced height difference and is integrated into the driveway loop therefore reducing circulation areas and optimizing saleable area efficiency.

© Aaron Pocock

Each factory unit has a six meter high space and selected units are designed with a loft style mezzanine that overlooks the factory floor.

Typical Plan

The main elevation is articulated by vertical aluminum sunshade fins that generate a sequential rhythm on the floor-to-ceiling glazed curtain wall façade. This rhythmic backdrop of glass and fins is intermittently punctuated and juxtaposed by balconies that form a compelling visual counterpoint. The ground floor shop-front units are recessed, fully glazed and back mullioned to create a transparent datum onto which the volume of the upper floors appears to float. The roof of the building is capped with a deep projecting eave that creates a sharp profile to the façades

© Aaron Pocock

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Courtesy of Pezo von Ellrichshausen

Chilean studio Pezo von Ellrichshausen has erected a temporary wooden tower of “an ambiguous” scale in the Jardin des Tuileries in Paris. Named the “Deci Pavilion,” the structure is made up of ten stacked octagonal wooden drums of decreasing size. While in reality only large enough to hold one visitor at a time, the column’s form and relationship to its surroundings give it the presence of a much larger structure.

Courtesy of Pezo von Ellrichshausen

“This column, a hollowed octagonal shaft that decreases its size upon ascension, embodies an ambiguous scale, resonating with historic landmarks while distorting the perspective of the most monumental axis in Paris. As a temporary wooden monolith, the object has a familiar yet remote presence,” explain the architects.

Courtesy of Pezo von Ellrichshausen

Courtesy of Pezo von Ellrichshausen

Following both gravitational logic and the “ancient and arbitrary rule of ‘entasis’,” the tower’s design draws from many historical tower archetypes, such as “a babel barbican, a ziggurat, a lighthouse, an epic pedestal or an obsolete telescopic observatory.”

Courtesy of Pezo von Ellrichshausen

Small rectangular opening puncture each surface of the faceted drums, contributing to the distortion of scale. Since the openings remain the same size while the drums diminish, the tower’s height is fixed at the point where an additional drum’s surface area could no longer contain the stipulated openings.

Inside the structure, the allotted space is just large enough to hold a single person, forcing the individual to become a part of the column, and enticing the tenant to look upward through the final drum’s octagonal opening to the sky.

"Deci Pavilion" Painting. Image Courtesy of Pezo von Ellrichshausen

"Deci Pavilion" Painting. Image Courtesy of Pezo von Ellrichshausen

“Technically, this little tower might be read as a tenth of another building. Literally, the name of the construction is given both by that conventional proportion to reality but also by its amount of levels, by its ten octagonal drums.”

“Deci Pavilion” can be viewed as an extension of Pezo von Ellrichshausen’s study into the creation of architecture through the setting of internal mathematical rules, as seen in projects like the Vara Pavilion at the 2016 Venice Biennale, created through the overlapping of 10 cylindrical forms; Casa Mila, consisting of 10 adjacent square rooms; and their “Finite Format” exhibition, which contained a room-sized model of 100 interlocking circles.

"Deci Pavilion" Model. Image Courtesy of Pezo von Ellrichshausen

Courtesy of Pezo von Ellrichshausen

Pezo von Ellrichshausen designed the pavilion for the 2016 edition of the annual International Contemporary Art Fair (FIAC), which has invited architects such as Kengo Kuma and Sou Fujimoto to create temporary structures in the Jardin des Tuileries.

News via Pezo von Ellrichshausen.

Courtesy of Pezo von Ellrichshausen

Courtesy of Pezo von Ellrichshausen

Credits

Client: Foire Internationale d’Art Contemporain (FIAC 2016)
Author: Pezo von Ellrichshausen (Mauricio Pezo & Sofia von Ellrichshausen)
Collaborators: Diego Perez, Victoria Bodevin, Findlay Barge, Iven Peh, Sarah Biffa, Anton zu Knyphausen, Daniel Andersson, Teresa Correia
Production: Solo Galerie, Paris (Christian Bourdais & Eva Albarran)
Construction: Pezo von Ellrichshausen
Materials: Tinted pine wood
Dimensions: 120x120x730cm
Date: 2016
Photography: © Pezo von Ellrichshausen

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© Fuji-Shokai / Masahiko Nishida

• Architects: ALTS Design Office
• Location: Bodaiji, Konan, Shiga Prefecture 520-3242, Japan
• Creative, Design And Art Director: Sumiou Mizumoto
• Area: 130.09 sqm
• Project Year: 2016
• Photographs: Fuji-Shokai / Masahiko Nishida

© Fuji-Shokai / Masahiko Nishida

From the architect. This proposed new café project is of a plan to renovate a premise that was once used as a restaurant.

© Fuji-Shokai / Masahiko Nishida

While the existing facilities have a large area horizontally, it gives us an oppressing feeling spatially. So, we wish to create an opened spatial environment there by means of introducing some external element.

Floor Plan

In the proposed café plan, external spaces and internal spaces are created only by means of installation of iron frames. And, those frames divide spaces mildly without disturbing environment of the total open space. In the open space, iron frames are sprinkled in a manner of images of wooden birdcages so to create an atmosphere as if you are outside of the building. And, some specific meaningful atmospheres are given to each counter seats corners, sofa seats corners and table-and-chair areas.

© Fuji-Shokai / Masahiko Nishida

Also, installation of iron frames and counter seats corners are designed as if they are under the eaves so that people can have a feeling of outside space even if they are inside of the building.

© Fuji-Shokai / Masahiko Nishida

In the process of the formulation of the project concept under which space dividing are made in keeping open feeling, an idea was come to our mind. That is a concept of space creation by “Torii”, a gateway at the entrance of a Japanese Shinto shrine.

© Fuji-Shokai / Masahiko Nishida

“Torii” plays a role as a symbol of a shrine as well as a role of separating shrine area from outside areas. When we visit a shrine and walk through under “Torii”, we have such a feeling that we come to another world. Even though we are in an open space, we feel something like “space is divided”. We applied this feeling to the proposed café.

© Fuji-Shokai / Masahiko Nishida

A space created purposely using iron frames extends so to give us a feeling of something like another world.

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