May 2010

Why I Dislike Architects *

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Renowned Dutch archi­tect Rem Koolhaas spoke this evening in Beirut about issues affect­ing not only the con­tem­po­rary archi­tect, but just about any­one who’s ever lived in a build­ing.

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Jad’s Day in the Park

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I’m trans­form­ing my room into an office, and over the past month have been unearthing books, pho­tos, and oth­er bits and pieces of the past. My favorite so far is an essay my then ten-year-old broth­er Jad pre­sent­ed in English class.

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Dear Steve

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Dear Steve, I’m an archi­tect and film­mak­er, and recent­ly launched my blog. So in short, I sup­pose I fall smack dab in the mid­dle of the demo­graph­ic affect­ed by the ongo­ing Apple vs. Flash issue.

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Small Town in a Big City

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Small places present the film­mak­er with a dilem­ma: Shooting a film is an act of rev­e­la­tion, of uncov­er­ing secrets, yet the essence of a small place is often its shy­ness, its ambi­gu­i­ty, the fact that it refus­es to reveal itself.

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The Godfather

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From start to fin­ish, The Godfather (1972) is a mas­ter­piece of pac­ing and mood, and an excel­lent exam­ple of how the estab­lished rela­tion­ship between cin­e­ma and archi­tec­ture can be upheld while being used in com­plete­ly fresh and excit­ing ways.

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Taxi Driver

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Martin Scorsese is wide­ly con­sid­ered the most influ­en­tial American film­mak­er of the last thir­ty years, and this is due in large part to his abil­i­ty to cap­ture the hec­tic ener­gy of the city in which he grew up. In many ways, Taxi Driver (1976) is his most effec­tive movie: an unre­lent­ing por­trait of angst, nihilism, and the debil­i­tat­ing effects of urban life on the psy­che.

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