A few days ago was completed in Beijing CCTV building, and in that connection, we knew the work by Tomas Koolhaas, Rem Koolhaas's son (who Studied in the Film and Television Academy in Amsterdam Before becoming an architect). Two cuts, low resolution, a film that Tomas Koolhaas is doing about his father and presented him touring the new building.
It is obvious comparison with previous proposals, as the great movie about Bordeaux house, "Koolhaas Houselife" (2007) by Ila Beka and Louise Lemoine, where nobody knows what the house, but everyone finds the daily life and way of life their inhabitants, or films and documentaries about architects, now classic, made by their children, as the popular film by Nathanial Kahnl, Louis Kahn's son, "My Architect: A Son's Journey" (2003) or James Venturi with John Halpern on the work of their parents, Denise Scott Brown and Robert Venturi, "Saving Lieb House" (2010).
In METALOCUS we have brought different images on CCTV, including one of the best that made by José Manuel Ballester, now the short film by the Rem Koolhaas' son. The shorts that we bring you presents a truer picture of the building. Faced with the monumental image reflects the short CCTV images of everyday life, people who have used so far, workers and guards, putting it in parallel with the everyday small buildings, small shops, the real city, a reality that has been and are being crushed by the progress of the new China. The building is shown without forgetting its large scale and Rem Koolhaas smiling walking in this inner building, empty, he shows us surprised at the size of the project in front of city which lies at his feet in a view from cover.
The shorts, in this case, appear to be more. The photograph at least that seems to show us, we need to know the script and the full film, but, at the moment, the result is good. The fundamental question is; is it a description of the figure of Rem Koolhaas?, will it be a description of your work?, Will it be both or neither?
'Architecture is often viewed from the outside, as an inanimate object represented in still imagery', with this sentence begins Tomas Koolhaas explaining the documentary he has been realizing since already three years around the figure of his father, Rem Koolhaas, although not from a standpoint of filial admiration, but from the human perspective that all architecture should have. The film intends to be more revealing than the generic poster image, and more evocative than the intellectual reality of architectural renderings. Interesting.
