Blog – Page 6 – ArchiDocu

Copyright R&R Meghiddo, 2017, All Rights Reserved.

Seen, Done, Thought, In-the Making On Photography, Films, Architecture, and 2018 Challenges

January 3, 2018/in Blog, Cinema, Documentary

The turn of the year offers an opportunity to summarize what we have seen, done and thought, and to program a new year. I am sharing with you selected photos we shot, films we watched and produced, architecture we recorded or selected, relevant books I read, and some thought on “The State of the World,” and what we can do to create a better tomorrow.

IMAGES

Showing images is the best way of “making a long story short.”

Click on: Selected Photography 2017.

Selected Photography 2017

The selection is personal and eclectic. Some have value as a document of an event rather than for its quality as a photograph. The gallery includes panoramic photos, images of historical value (such as of architects Eric Lloyd Wright and Dion Neutra getting together in Malibu during Frank Lloyd Wright’s 150th birthday celebration, and civil rights activist Dolores Huerta, who coined the slogan “Yes We Can – Si Se Puede,” borrowed by Obama ; film directors, producers and actors at Q & As’ we frequented; Richard King’s memorial and the spreading of his ashes; and some people we met. As a coda, I also added recent underwater photos sent by our daughter Gabby from the Maldives Islands, southwest of Sri Lanka and India; and a few shots of us.

“Stars” included veteran director Marcel Ophuls, Alexander Payne (“Downsizing,”) Kathryn Bigelow (“Detroit,”) director Joe Wright and actor Gary Oldman (“The Darkest Hours,”) Annette Bening (“Film Stars Don’t Die in Liverpool,”) some images of nature in Idyllwild, and even a bird visiting my desk.

This year I also published for the first time a selection of photographs shot during our “Frank Lloyd Wright pilgrimage” back in 1971, when we visited over one hundred of Wright’s buildings across twenty-five states.

https://archidocu.com/the-wright-way-2/

The Wright Way Photos.

SELECTED FILMS SEEN IN 2017

We had a busy year watching documentaries + Q & As’ (presented by the International Documentary Association – IDA ) We also saw many feature films at the American Cinematheque, at the WRAP, at the LA Jewish Film Festival, and at the Israel Film Festival. I share the list of some of them. They are all very good. The ones in bold letters are “must see.”

Alone in Berlin, Neruda, Hidden Figures, Gigi Gorgeous, Hell on Earth, Nobody Speaks, Dolores, Trophy, Icarus, Intent to Destroy, City of Ghosts, New York Times Op-Docs, 11/8/16, God Knows Where I Am, I Call Him Morgan, Step, One of Us, The Work, Oklahoma City, Finding Oscar, Atomic Homefront, The Rape of Recy Taylor, Under One Sun, An Inconvenient Sequel, Detroit, Columbus, I Am Evidence, Arthur Miller – Writer, Kedi, Chasing Coral, Ben Gurion, Epilogue, Cries from Syria, The Divine Order, The Final Year, Machines, Foxtrot, Call Me by Your Name, Downsizing, Film Stars Don’t Die in Liverpool, The Square, Human Flow, I Am not your Negro, Intent to Destroy, Strong Island, Phantom Thread, The Post.

Documentarians are real contemporary heroes. Many risk their lives in bringing to us images of genocidal wars, human brutality, racism, inequality, global warming, migration tragedies, political and corporate corruption, and also beauty in nature, indigenous cultures and extraordinary human beings. Most of this is produced following prolonged research, scouting, shooting, hard-editing work, meager budgets and scarce distribution.

They are a unique mix of artists-journalists working with passion, combining filmmaking excellence with the search for truth. Their work contributes to expanding our consciousness of the world we live in.

FILMS PRODUCED IN 2017

My own production this year was intense. With fifteen published titles, most of which have been published in Cultural Weekly, they exceeded two hours of film. This year I crossed the mark of sixty short documentaries. The ones published during 2017 are:

Tangoing with Paul & Amigos (12:13) A non-scripted experiment.

The Wright Way – An overture (17:21’) The Wright Way Hint (2:36) Both the “Overture” and the “Hint” were preliminary warm-ups towards The Wright Way feature documentary (work-in-progress.)

Tongva Park and the Angelbird (5:33′) This open public space is the best architecture that we have documented this year in Los Angeles.

Architecture + Cinema + Hollywood (29:52) Renzo Piano’s Academy Museum under construction provided an opportunity to link the museum’s content with the Hollywood context and with architecture.

Idyllwild Idyll (9:12) “Back to nature,” this documentary includes the little-known Pearlman Cabin designed by architect John Lautner in 1957.

Netflix Night (2:55’) A not-scripted documentation of my first visit to Netflix.

Normality “Lo-Normali” /(4:56’) It summarizes the documentaries I shot in Israel during 2016.

Radio Day Unabridged (26:11) and Radio Day (16:43) Both the full version (“Unabridged,” which includes questions on Israel) and the short version are the result of a radio interview hosted by Nancy Pearlman, to which I added visualization later on.

Architecture in a Nutshell (9:20’) An introduction to principles of architecture.

Human-Made Plastic Ocean (3:55) A Plastic Ocean premiere in Beverly Hills. See full cast.

Hanukkah’s First Candle (40:32) The lighting of Hanukkah’s fifth candle in a Greater Los Angeles home was not only the place for the gathering of people from many backgrounds and areas of the the city, but also for the screening of “Never Again is Now,” a new documentary telling a unique story of survival in the Netherlands during the Nazi occupation, and sending a message about the danger of raising antisemitism in Europe and elsewhere, including the United States.

Mormon Temple Visit (1:51) A brief first visit to the secluded Mormon Temple in Los Angeles.

Food for Thought (2:58) Farm Urbana, as presented in “Food for Thought,” proposes practical solutions to help the rapidly growing urban population’s access to fresh food close to home.

FILMMAKING PLANS

The Wright Way, my first feature documentary, is on the way. It is to be a cry-out documentary about how some of Frank Lloyd Wright’s ideas and principles can help to inspire and appeal the young generation to create a sustainable future of livable cities and human settlements. Not a biography, it looks at Wright with fresh eyes and will suggest alternative scenarios for the future of the human environment with a sense of urgency.

ARCHITECTURE

Although 2017 has produced many new projects, I found most of them dominated by “acrobatics,” infatuation with 3-D renderings, and little concern confronting an urgent agenda towards sustainable quality mass-production, to narrow the gap between population growth, decaying cities, climate change and poverty. The production of Organic Architecture was practically zero. I chose to produce a short documentary on one of the exceptions, the Tongva Park in Santa Monica (see “Tongva Park and the Angelbird” listed above.)

The exception is Snøhetta, an international architecture, landscape architecture, interior design and brand design office based in Oslo, Norway and New York City with studios in San Francisco, Innsbruck, Singapore and Stockholm. A major new building has opened in the south of France, framing a huge replica of one of the world’s most important examples of prehistoric cave art. Called Lascaux IV, the new visitor complex recreates the appearance and atmosphere of the caves in Montignac where the 20,000-year-old Lascaux paintings are located, but which have been closed to the public for over 50 years.

Lascaux, France. Photo:: Boegly + Grazia photographers,Dan Courtice.

Caves of Lascaux Photo:: Boegly + Grazia photographers,Dan Courtice.

Lascaux IV / Snøhetta + Duncan Lewis Scape Architecture. Photo:: Boegly + Grazia photographers,Dan Courtice.

Caves of Lascaux .Photo:: Boegly + Grazia photographers,Dan Courtice.

Lascaux IV / Snøhetta + Duncan Lewis Scape Architecture. Photo:: Boegly + Grazia photographers,Dan Courtice.

The examples that follow have been produced by committed architects and designers: Brooks + Scarpa, Snohetta, Whitaker Studio, Eric Rosen, Patkau Architects, Thomas Heatherwick, and Herzog & de Meuron.

Affordable Housing: The Six, Los Angeles. Brooks + Scarpa Architects. Photo: TaraWucjik

La Petitte Maison do Weekend. Patkau Architects.Photo: Benjamin

Vacation Home, Joshua Tree. Design: Whitaker Studio.

Paperhouse, London, UK. Design: Thomas Heatherwick.

Floating Cabin in Sweden. Architect: Snøhetta.Photo: Johan Jansson.

The Barrington Residence, Brentwood, Los Angeles. Architect: Eric Rosen.

56 Leonard St, New York, NY. Architect:Herzog & de Meuron. Photo: Iwan Baan.

CHALLENGES

World politics had been dominated by the ascent of Trump to power. He is a symptom that denotes a sick society suffering from branding brainwashing, widespread ignorance of the world’s reality and dogmatic beliefs, all of which have been brewed during the past half-century.

Solutions will demand both talking and action, such as:

Containment of Trump until 2020 through the rule of law. All other alternatives are worse.
Awareness of reality as-is. Documentarians have much to say and show on this.
Action-oriented assumption of responsibility, particularly by millennials.
A vision of a better world in healthcare, housing, justice, the urban environment, closing the gap of inequality and much more.

The UN goals for sustainable development are quite detailed about 17 areas of challenge.

BOOKS

From the books I read during 2017, the ones that I found the most relevant are:

Homo Deus, by Yuval Noah Harari

Internal Ecology, by Darío Salas Sommer

No Is Not Enough, by Naomi Klein

TEACHING

Scheduled to give a six-week class on “How to Look at Architecture” at the Skirball Cultural Center and at OLLI/CSULB, the classes will include the screening of architecture documentaries I made, to convey visually a better understanding of the importance of good design in our life.

"How to Look at Architecture" class at the Skirball Cultural Center, Jan. 16 - Fe. 20, 2018.

“How to Look at Architecture” class at the Skirball Cultural Center, Jan. 16 – Feb 20, 2018.

Radio Day A Radio Interview Hosted by Nancy Pearlman

November 21, 2017/in Architecture, Blog, Documentary, Environment

Radio Day from Rick Meghiddo on Vimeo.

We went to the open-house day of the “Pearlman Cabin” in Idyllwild, designed by John Lautner. While being at the event, Nancy Pearlman asked me if I would be willing to be interviewed for her KBPK 90.1 FM Environmental Directions program. I said, “Yes, when, where?” “Today, here,” she said. “OK,” I answered, surprised.

Pearlman Cabin, Idyllwild. Architect: John Lautner.

Nancy Pearlman

Nancy Pearlman is an award-winning broadcaster, environmentalist, college instructor, anthropologist, editor and producer and who has made safeguarding the earth’s ecosystems a career. Since 1977, she has hosted and produced the country’s longest-running environmental radio show: Environmental Directions.

I thought the main subject of the radio interview was going to be John Lautner. Unscheduled, and spontaneous, we touched many subjects: Wright, organic architecture, sustainability, Lautner’s architecture, the cabin’s integration to nature, Idyllwild, organic architects, Ruth’s Farm Urbana, solar energy, desalination and irrigation in Israel, population growth and a view of the future. Several weeks later Nancy sent me an unabridged copy of the recorded interview, edited by Robert Payne. I decided to produce an abridged version of it, including relevant images and background music. The result is in the documentary included here.

John Lautner / Bob Hope Residence

John Lautner is one of the few Frank Lloyd Wright’s disciples I appreciate for his originality. He absorbed the essence of Wright’s philosophy without becoming an imitator of “the Wright’s style.”

I met him once. The encounter was circumstantial. During the late 1980s, a couple of clients we had planned to buy the Concannon Residence in Bel Air, designed in 1960, and wanted us to remodel it. We went to visit the site. The house was in very bad shape. It had been abandoned for more than five years by its owner, and puddles of water from leakings were everywhere.

Concannon Residence

Since Lautner was still an active architect, I suggested to visit him and check if he wanted to do the job, or if he had any particular suggestions. We went to his office, on the 7000-block of Hollywood Boulevard. In the middle of the waiting hall there was a huge model of a house at scale 1:20. When we entered his private office, a tall man with a grave voice stood up and shook our hands. I explained to him why we came. Facing my clients, he asked “with whom of you two shall I talk? I deal only with one person. If you have any differences of opinion, you solved them at home.” After listening what they had to say, he decided to delegate the project to us. Before leaving, he handed to me a complete set of working drawings.

Our clients had indeed different opinions. So much so, that they ended up divorcing before the house was bought, and the project vanished. Recently, thirty years later, I learned from Lautner’s daughter, Judith, that the Concannon Residence had been demolished.

Stevens Residence, Malibu.

Segel Residence

The problems ahead of us are not only quantitative, they are also qualitative. The message is how to create spaces for people in tune with resources and Nature.

Renzo Piano and Kerry Brougher at theThe Samuel Goldwyn Theater

Architecture + Cinema + Hollywood Work-in-Progress: The Academy Museum of Motion pictures in Context

October 31, 2017/in Architecture, Art, Blog, Cinema, Documentary

Rendering of Academy Museum. Courtesy of Renzo Piano Building Workshop

The work-in-progress of the Academy Museum in Los Angeles, designed by architect Renzo Piano, is scheduled for opening in 2019. In “Architecture + Cinema + Hollywood”, the three are connected through images of the museum’s construction at the present time, historic and contemporary examples of architecture, mementos from classic movies, metaphors of Hollywood, and segments from my previous films.

We live immersed in architectural spaces throughout our lives. Filmmaking tells us stories through space, light, motion and human scale. The Acadamy Museum of Motion Pictures offers an opportunity to make tangible the connection between the two sisters’ arts.

Both crafts have many things in common. They both are realized with the help of a team guided by a creator. On both disciplines, a spatial sequence is critical. In architecture, we perceive space as we move. In cinema, the spatial movement comes to us linearly, as may have been defined through editing.

Both disciplines interact with the other arts. Both must control sound, operate at different scales and deal with significant costs for their realization. Both create stages, one for everyday life, the other as a background for a story.

Architecture’s fundamental difference lays in its materiality. It deals with the law of gravity and with the nature of materials: strength, weight, texture, color, shape, durability. Yet the thinking process of architectural design and filmmaking is the same: we first dream, then we program/script, then we design/shoot, then we build/edit and finally we occupy/distribute. Criticism follows!

Architect Renzo Piano

Prof. Bruno Zevi

What does the museum’s “program/script” tell us? There are two main components: exhibitions and movie screenings. The exhibitions will be housed within the 1939 May Co. building, at the corner of Fairfax Avenue and Wilshire Boulevard. The main screenings will be presented in the new 1,000-seat state of the art theater.

To emphasize the contrast between the existing building and the theater, Piano chose to formalize the later with a sort of molded sphere “suspended in space,” mostly cantilevered, standing on mayor pillars. This approach reminds me both Michelangelo’s structural support of Saint Peter’s dome and John Johansen’s Mummers Theater in Oklahoma City, more than Bucky Fuller’s dome.

The overall context couldn’t be more eclectic. Within the LACMA campus, old and new “connect” only by adjacency. Michael Heizer’s “Levitated Mass” , reminding us that we are still standing on the Earth, is in total contrast with everything else. The Petersen Automotive Museum, at the opposite corner of the intersection, wraps around with metal ribbons a Bernard Tschumi-like red box, bringing to the scene a sort of caricature of adaptive-reuse. In a way, the whole area represents ultimate Los Angeles’ exiting disjunctions.

Using filmmaking techniques to communicate architecture, short of providing the physical experience of moving through space, can bring to the viewer much more than a succession of single frames. It can create associations with other places or stories, it allows for multiple perceptions in seconds, it can use drawings, photography, and art to illustrate a point. The film at the top of this blog tries to express that.

Central St. Giles Court, London

Weltstadthaus Köln

Metropolis Poster

The Shard, London

Marilyn Monroe, “Some Like It Hot” (1959)

Marcello Mastroianni and Anita Ekberg, “La Dolce Vita” (1960)

Marina Abramovic Scene at “The Great Beauty.” (2014)

The Wright Way Hint A Teaser of a Future Documentary

October 2, 2017/in Architecture, Blog, Documentary

h4>How can Wright’s ideas and principles help a young generation to create better livable cities and human settlements? This is the central question that motivated me to start the production of a feature documentary, The Wright Way, as a transformational film that may benefit people of all cultures around the world. I know that when young people begin to study Frank Lloyd Wright, a better future will be invented based on the laws of nature, which includes human nature.

Wright’s iconic works should not be turned into objects of worship, nor should his writings become a dogma. After studying Wright in depth, his ideas should be challenged to generate new ideas. By learning from history and from Wright, a new generation of designers willing to transform the world can get inspired to create original organic architecture from the city to the private dwelling.

Having visited many of his works, including less famous Usonian houses, and having met with some of his best followers, The Wright Way Hint “hints” at the production of a feature documentary that may contribute to a needed global transformation.

Hanna House, “Honeycomb,” Stanford, CA, 1937-1962.

Hanna House, “Honeycomb” Plan, Stanford, CA, 1937-1962.

Rayward–Shepherd House, "Tirranna," 1955. Copyright R&R Meghiddo, 1971, All Rights Reserved.

Rayward–Shepherd House, “Tirranna,” New Canaan, CT, 1955. Photo: R&R Meghiddo.

Melvin Maxwell and Sara Stein Smith House, Bloomfield Hills, MI, 1950. Copyright R&R Meghiddo, 1971, All Rights Reserved.

Melvin Maxwell and Sara Stein Smith House, Bloomfield Hills, MI, 1950. Photo: R&R Meghiddo.

Sol Friedman House, “Toyhill,”, Pleasentville, New York, 1948. Photo: R&R Meghiddo.

Turkel House, Detroit, MI, 1955. Photo: R&R Meghiddo.

TRANSFORMING THE WORLD

U.N. Sustainable Development Goals, 2016,

In 2016 the General Assembly of the United Nations adopted a resolution of 17 Sustainable Development Goals for 2030. They included:

1. End poverty; 2 . End hunger; 3. Ensure healthy lives; 4. Ensure inclusive quality education; 5. Achieve gender equality; 6. Ensure water and sanitation; 7. Ensure sustainable energy; 8. Promote sustainable decent work for all; 9. Build resilient infrastructure, sustainable industrialization and foster innovation; 10. Reduce inequality within and among countries, 11. Make cities and human settlements inclusive, safe, resilient and sustainable; 12. Ensure sustainable consumption and production patterns; 13. Take urgent action to combat climate change; 14. Keep oceans, seas and marine resources sustainable; 15. Protect and restore terrestrial ecosystems; 16. Promote peace and justice for all; 17. Strengthen the means of implementation.

It is an ambitious wish-list out of which architecture can play a vital role (Goal #11.) If adopting Wright’s organic architecture principles, the result could extend a sustainable life on Earth well beyond 2030.

Frank Lloyd Wright, c. 1957.

WRIGHT IDEAS IN A NUTSHELL

Like Galileo, Newton, Darwin and Einstein, who discovered laws of nature, Frank Lloyd Wright formulated principles which have affected design throughout the ages, from the Nuraghe of Sardinia (1900-730 BCE,) to the Katsura Imperial Villa (1624,) to Fallingwater (1939.) Although he was as prolific a writer as he was an architect, the reading and studying his ideas has remained confined to few scholars. His language is not easily accessible, his books are rarely put in the schools of architecture’s “must read” list. How can one overcome these obstacles while young people’s span of attention is getting shorter and shorter?

What are Wright’s essential ideas?

Nature is the architect’s principal school. The creative possibilities of form, color, pattern, texture, proportion, rhythm and growth are all well expressed in nature.

The building grows out of the landscape as naturally as any plant. Its relationship to the site is so unique that it would be out of place elsewhere.

Materials are to be used based on their intrinsic nature: strength, color, texture. One material is not to be disguised as another.

A building should convey a sense of shelter, refuge, or protection against the elements. Its inhabitants should never lack privacy or feel exposed and unprotected.

Space: “The reality of the building does not consist of the roof and the walls but the space within to be lived in”, said Wright, quoting Lao Tzu. The interior space determines the exterior form. Interior space is not packed in boxes called rooms; rather, space should flow freely from interior area to interior area. An area is never fully comprehended when viewed from a single point, but it must be slowly experienced as one moves through space.

The human body should be the only scale of a building and its furnishings.

Each building has its own grammar, its distinct vocabulary of pattern and form. All parts of the building, from the smallest detail to the overall form, speak the same language. The grammar may be completely different for two buildings of similar functions.

Ornament, when used, it is to be developed as an integral part of the material, not applied.

Simplicity in art is a synthetic positive quality in which we may see evidence of mind, breadth of scheme, wealth of detail and with the sense of completeness found in a tree or a flower.”

Furniture should be built-in as much as possible.

Sculpture and painting are to become elements of the total design.

Unity Temple, Skylight Detail, Oak Park, IL, 1904. Copyright R&R Meghiddo, 1971, All Rights Reserved.

Unity Temple, Skylight Detail, Oak Park, IL, 1904. Photo: R&R Meghiddo.

Kaufmann Residence, "Fallingwater," Bear Run, PA, 1939. R&R Meghiddo, 1971, All Rights Reserved.

Kaufmann Residence, “Fallingwater,” Bear Run, PA, 1939. Photo: R&R Meghiddo.

Johnson Wax Headquarters, Detail, Racine, WI, 1939. R&R Meghiddo, 1971, All Rights Reserved.

Johnson Wax Headquarters, Detail, Racine, WI, 1939. Photo: R&R Meghiddo.

Herbert F. Johnson House, "Wingspread," Skylight, Windspread, WI, 1939. R&R Meghiddo, 1971, All Rights Reserved.

Herbert F. Johnson House, “Wingspread,” Skylight, Windspread, WI, 1939. Photo: R&R Meghiddo.

Annunciation Greek Orthodox Church, Wauwatosa, WI, 1961. R&R Meghiddo, 1971, All Rights Reserved.

Annunciation Greek Orthodox Church, Wauwatosa, WI, 1961. Photo: R&R Meghiddo.

Solomon R. Guggenheim Museum, Skylight, NYC, 1959. Copyright R&R Meghiddo, 1971, All Rights Reserved.

Solomon R. Guggenheim Museum, Skylight, NYC, 1959. Photo: R&R Meghiddo.

Beth Sholom Congregation, Philadelphia, PA, 1959. R&R Meghiddo, 1971, All Rights Reserved.

Beth Sholom Congregation, Philadelphia, PA, 1959. Photo: R&R Meghiddo.

First Unitarian Society Meeting House, Shorewood Hills, WI, 1951. R&R Meghiddo, 1971, All Rights Reserved.

First Unitarian Society Meeting House, Shorewood Hills, WI, 1951. Photo: R&R Meghiddo.

MODERN, CONTEMPORARY AND ORGANIC ARCHITECTURE

What became labeled as “Modern Architecture” or “Modernism,” originated in Europe of the 1920s. Walter Gropius’ Bauhaus, Le Corbusier and Mies van der Rohe’s ideas, based on constructive social programs, provided with a machine –like with no decoration and easy to learn slogans, such as “less is more,” ribbon glass windows, all-white rectangle walls, and building on piloti. They influenced the design of thousands of architects around the world, some with positive results, many with catastrophic effects of massive housing and urban sprawl lacking identity.

Wright’s work, although classified by historians under the umbrella name of “Modernism,” refused to be categorized in any one architectural movement. His master-teacher, Louis Sullivan, who pioneered the use of steel for office building, had coined the concept of “form follows function”, later on modified be Wright as “form and function are one.” Simplicity for Wright was an end-result of chiseling out the unnecessary, not a point of departure.

For most young architects eager to start building their own projects, it was impossible to learn Wright’s principles and ethic code without studying in depth his writings, analyzing his drawings and visiting his buildings. Most chose the shortcut.

In the 1960s the term “modern” was substituted by the more inclusive term “contemporary.” It included hundreds of art and architecture languages and grammars. Some were authentic, some were progressive, like “High-Tech,“ some were regressive, like “Post-Modernism,” many were trendy, and some “stararchitects” indulged in building acrobatics having little to do with people’s needs. “Contemporary” implied a freedom of expression that many interpreted as “anything goes.”

The Italian Website ADAO (Friends of Organic Archirecture) (http://www.architetturaorganica.org/architetturaorganica/HOME.htm ) shows links to many organic architects, such as John Lautner, Carlo Scarpa, Bruce Goff, Bart Prince, Kendrick Bangs Kellog, Robert Harvey Oshatz, to name a few, their numbers remain a small fraction in comparison to all what is being built.

Luigi Pellegrin’s Casa Bifamiliare sull’Aurelia, Rome, Italy, 1964.

Bruce Goff’s Joe D. Price House and Studio, Bartlesville, OK, 1956.

Carlo Scarpa’s Brion Cemetery, San Vito D’Altivole, Treviso, Italy, 1978.

Robert Harvey Oshatz’s Elk Rock Residence, Oswago, OR, 1959.

John Lautner’s Silvertop, Los Angeles, CA, 1956-1976.

Kendrick Bangs Kellogg’s Bev Doolittle House, Joshua Tree, CA,1993.Photo: Lance Gerber.

A ONE-HUNDRED YEAR AGENDA

At a philosophical level, the quests of Dario Salas Sommer’s Moral Physics, Yuval Noah Harari’s New Human Agenda, and Frank Lloyd Wright’s Organic Architecture, interact as “a cosmic vision beyond ever-changing creeds or viewpoints that have until now divided human beings according to their geography, their culture or their ideas.” God / Nature / Truth / Unity / Existence / Being / Whole become interchangeable words implying the working and interacting together as a whole. The time is now. As the world’s population grows to a likely ten billion by mid-century, twelve billion by 2100 and possibly 30 billion by 2200, planetary management that crosses borderlines and governments become indispensable.

In addition to all said, mixed-use and multi-functionality are integral components of a sustainability agenda. While mixed-use juxtapose multiple functions (housing, commerce, education, ) multi-functionality makes possible the multiple uses of the same space, and the multiple-use of a same component: a stairway as structure, a column or beam as a container of ducts, a wall as container of storage, a roof as an edible garden.

Proximity between living space and working space are part of the sustainability agenda. Working space can be: a. within the dwelling unit; b. adjacent to the dwelling unit ( see Price Tower); c. Within walking or bike distance from the dwelling.

Mobility is integral to both human needs and to sustainability, yet it demands a total revision of how it works. It consists of three categories. A. Emergency access (firemen, ambulances, police, rescue from disasters.) b. Public use: air mobility and public transportation of multiple kinds: trains, tramways, air tram cable cars, moving conveyors, buses, taxis (with drivers or driverless,) hot air balloons. c. Private: bikes, skateboards, cars, trucks (owned or rented.)

Organic architecture needs to awaken from its long sleep. It requires reinterpretation without falling into nostalgia or an imitative expression of Nature. Although nature remains the most important source of inspiration, it is to be interpreted, not copied.

The United Earth Wheel of Synergy. Copyright United Earth, 2016.

Copyright Ruth and Rick Meghiddo, 2015. All Rights Reserved.

Idyllwild Idyll Learning from Nature

September 13, 2017/in Architecture, Blog, Documentary, Environment

The planets were aligned in an uncommonly rare position: a. architect John Lautner‘s Pearlman cabin in Idyllwild was scheduled to be open to the public on Labor Day, September 4; b. it coincided with our anniversary; c. we had not been in Idyllwild for about fifteen years; d. we didn’t have a real vacation for a very long time; e. an organic architect from New Zeland, Peter Crenwell, whom I “discovered” while doing research for “The Wright Way,” wrote me that he had a friend living in Idyllwild, Michael Newberry, a painter.

It took us minutes to decide that the time was right for “time out.” I checked for availability at the place we used to go when our daughter was a young girl. We liked it because it was simple and it had a large glazed wall which allowed us to see a forest as soon as we opened our eyes in the morning. I made a reservation for four days of “idyll.”

We did not have any program other than walking through nature and filming without a script, visiting the Lautner’s cabin, and meeting with Michael Newberry. In slightly over two-hour drive from home, we were at an altitude of 6,000 feet. For a mid-summer day, the temperature was about 75 F at noon. The air was clean. The horizon was wide and deep.

Idyllwild has not changed much since we first came there about thirty years ago, to spend a couple of weeks taking classes at I.S.O.M.A.T.A ., now called Idyllwild Arts. A place that attracted artists and “city refugees,” Idyllwild seemed to send a message of lifestyle simplicity in contact with nature, for a planet that can not sustain the on-going consumeristic alienation of the developed world. In some ways, the Pearlman cabin represented that kind of vision for the future with creative simplicity.

Getting in touch with nature is a good way of going back to fundamentals delivered by boulders and trees: life and death, change, the nature of materials, gravity, light and shadow, adaptation and wise economy of form.

Pearlman Cabin, Idyllwild.

Tree

Manzanita Tree

Manzanita Tree – Detail

Flow 1, oil on canvas, 20 x 24 inches

Michael Newberry, Painter

2017

1966

Trail Walking

Tangoing with Paul & Amigos A personal spinoff of Paul McCarthy's exhibition at the Hauser & Wirth Gallery in LA's downtown Art District

August 28, 2017/in Art, Blog, Documentary

“Impacting” is what first comes to mind when visiting Paul McCarthy’s wood sculpture exhibition at the Hauser & Wirth Gallery in LA’s downtown Arts District.

The combination of crafted wood at a large scale and the integration of a Baroque language speaking a surrealistic critique of the contemporary world signals an art mutation

McCarthy titled his works “WS Spinoffs,” ”Wood Statues” and “Brown Rothkos.” The word “spinoff” is precise. In media, a spinoff is a radio or television program, film, or any narrative work, derived from one or more already existing works, that focuses in more detail on one aspect of an original work. In this case, the Snow White tale and Rothko’s paintings.

The gallery’s website includes a well-written description of McCarthy’s show, and also an 8-minute video presentation by Donatien Grau. See: https://www.hauserwirthlosangeles.com/exhibitions/paul-mccarthy-20170701

My reaction to the exhibition was more visceral than intellectual and so is my short documentary, “Tangoing with Paul & Amigos.” I made a sort of non-scripted “spinoff” that includes free association with like-minded artists and some memories from my Argentinean upbringing. The tango music is a metaphor of a dynamic nonlinear fluidity.

I tried to imagine the statues made out of white marble. The conflicts, sarcasms and subtleties they contain would become more evident, such as Bernini’s positioning the “Rio de la Plata River” sculpture in Piazza Navona as fearing that the facade of Borromini’s church of Sant’Agnese would crumble over him. Yet McCarthy’s choice of dark walnut wood is intentional. It makes harder to see the thematic at first sight. The eye is caught first by the craftsmanship and by the large scale as macro-layers of a complex composition.

Bernini’s Four Rivers Fountain, Piazza Navona, Rome

The abstraction of the hanging Brown Rothkos, made of foam and sprayable polyurethane coating, resemble melting lava and brings a powerful contrast to the statues. They are both at an architectural scale.

Brown Rothkos with Rothkos

Snow White Sculpture

Paul McCarthy

The Wright Way – An Overture On Wright's 150th Birthday and the Future of Organic Architecture

June 30, 2017/in Architecture, Blog, Documentary, Environment

Why Wright now? What can a man born 150 years ago, tell to a young generation of architects likely to be responsible for the invention of the future? The following documentary is intended to emphasize the link between Wright ideas and the needs of tomorrow.

At the time of his death, the world’s population was three billion. Today it is 7.2 billion, likely to become ten billion by mid-century. We must confront sustainability, higher mix-use urban density, working space closer to dwellings, less dependence on the car, food production closer to home, flexible prefabrication and self-help.

During the last years of his life, when asked how he saw the future of architecture, Wright’s answer was: “the future of architecture is the future of the human race. If civilization has a future, so will architecture. Democracy was never intended to be a mass production affair. A free life is not necessarily a free-for-all. It is nothing someone gives you. A free life is something you work out for yourself. Freedom is not conferred, must be worked out from self.”

There is no substitute for reading Wright’s prolific writing while filtering “the Wright’s Style” from his principles. There is no alternative to walking through his spaces, to absorb them in their totality – fluidity, scale, light, views, and details. To take Wright’s words literally would be as misleading as all dogmas are. Wright’s principles of Organic Architecture can be understood and reinterpreted to match the needs of our time.

Here is my take:

1. Space is the fundamental component of the architecture. In a profound sense, it is mostly “interior space,” where streets and plazas are the interior spaces of a three-dimensional city.

2. Continuity, physical and spatial, is as essential for organic architecture as the relationship between skin, muscles, bones, organs, blood, and nerves.

3. Nature implies not just the nature of a site, or the nature of materials, or the nature of production; it also means the nature of humans, both in their ergonometric and psychological dimensions.

4. Human scale is the only scale of architecture, and it should not be confused with “size.” Human scale defines the relation to purpose. Bernini’s Saint Peter’s square is at human scale, in spite of its size. Fascist architecture, whether governmental or corporate, is not.

5. Context is not only the relationship between a building and its surroundings; it is also a connection between a building and the culture within which it surges.

Flashback: we were recently graduated architects, influenced by our master teachers and mentors, Prof. Bruno Zevi and architect Luigi Pellegrin when we decided to come to the United States to experience Wright by ourselves. Together with our friend Viviana Campajola, we embarked on a “Wright pilgrimage” that took us through ninety-six of his works along more than twenty states.

Following are some samples of photographs we shot during our trip (click on the link.) They are presented here for the first time. After more than 40 years we remain amazed at seeing how much of Wright’s architecture withstood the passage of time. His works look as fresh today as when we visited them.

Let’s face it: the world won’t stop at ten billion. The order of “pragmatic idealism” remains unchanged, independently of scale, place or time: DREAM first, then PROGRAM and quantify, then DESIGN, and then BUILD.

Wright 150

SOME TIPS

– For The Wright Way gallery of selected photos, click here.

– A great PBS visual biography of

Frank Lloyd Wright by Ken Burns and Lynn Novick Part 1

Frank Lloyd Wright by Ken Burns and Lynn Novick Part 2

THE MIKE WALLACE INTERVIEW with Wright, 1957.

– Frank Lloyd Wright Collected Writings:

Volume 1 Volume 2 Volume 3

Volume 4 Volume 5

– One of the best books about Wright:

Frank Lloyd Wright by Neil Levine

Netflix Night IDA's "Awards Spotlight" Night at Netflix, in Beverly Hills

June 1, 2017/in Blog, Cinema, Documentary, Event

IDA’s “Awards Spotlight” event at Netflix’s quarters in Beverly Hills, organized by Amy Jelenko , was out of the ordinary. The spectacular staging was part and parcel of the panel’s presentation. While we listen to stories behind the scenes of four accomplished documentarians – Brian McGinn (Amanda Knox, Chef’s Table,) Ava Du Berney (13th,) Greg Whiteley (Last Chance U) and Ryan White (The Keepers) – moderated by IDA’s Executive Director, Simon Kilmurry, the eye wandered through a multitude of lights, sounds and shapes. The catering added delight to the senses.

Documentarians are an extraordinary mix of artists-journalists with a passion for the truth, no matter how bitter that may be. Quite frequently they risk their lives to get the footage, of which a small fraction is distilled through long days of editing. A sample story was provided to us by John McDonald, director of “Mule,” now in post-production. Pilar Galvez also had interesting stories related to her Latin-American background. To observe a group like this in that kind of atmosphere was more than unusual: it was surreal.

Observation Point - Tongva park. Copyright Rick and Ruth Meghiddo 2017. All Rights Reserved.

Tongva Park and the Angelbird A new destination and gathering place of great social, ecological, and symbolic value

May 5, 2017/in Architecture, Blog, Documentary, Environment

Tongva Park in Santa Monica is a unique model of sustainability and Organic Architecture, sensitive to the site’s geological and human history. It was designed by James Corner Field Operations to turn the area into “a new destination and gathering place of great social, ecological, and symbolic value.”

During February of 2016, we were invited to see a performance at the park by Elizabeth Yochim, a dancing art historian who acts in public spaces. The encounter with both the park’s design and the Angelbird’s dancing was captivating.

Angelbird – Elizabeth Yochim

I began to study about the park’s history. I went to the park to shoot for the second time, but the editing was derailed by other projects and the footage remained dormant. In the meantime, When I learned that its main designer was British-born landscape architect James Corner and his New York firm Field Operations, I started to connect the dots. Corner had been one of the leading architects of Manhattan’s High Line, in collaboration with Diller Scofidio + Renfro (the Broad’s architects) and Piet Oudulf,. It has been one of the best urban design projects since Paris’ Promenade Plantée and Parc de Bercy.

The Tongva nation, also known as Gabrielinos (the way the founders of Mission San Gabriel Arcángel called them) were a Uzo-Aztecan-speaking people who moved into coastal Southern California 3,500 years ago. Prior to the arrival of Europeans, the Tongva excelled at building homes and sea-worthy canoes. A Tongva hut, or ki, was usually constructed with tule or willow reeds and resembled a large dome in its design. A Tongva canoe, or ti’at, was made of wooden planks sown together with tar or pine pitch and could hold as many as twelve people. Ti’ats were used for fishing and for transport to the islands that are now known as Catalina and the Channel Islands. The Tongva ki was very architecturally efficient because of its design, which gave the structural stability to withstand an earthquake.

American natives, California. Photo by H. A. Brooks, 1916

James Corner’s thoughtful plan based its design on the theme of the arroyo, the local geology, and the Tongvas heritage. The park is dominated by a series of winding paths and modest hills thickly planted with a mixture of native and drought-tolerant native plants. Original plants on the lot were preserved, and over 300 trees and thousands of plants were added to flush out the landscape.

Tongva Park Plan

Water features, as reminders of the arroyo, are potable, so that children can play in them. LED lighting reduces energy use, and materials were carefully selected to focus on non-tropical hardwoods that have been sustainably forested. Local aggregates and stone, recycled content materials, low-VOC paints, sealants, and adhesives, and soy-based anti-graffiti coatings are all components of this green symphony. A small park right at the foot of City Hall is called Ken Genser Square, in honor of the city’s late mayor. The fountain at its main entrance seems to be a favorite gathering place for seagulls.

Children Playing with Water – Tongva Park

The central public art feature by artist Iñigo Manglano-Ovalle, Weather Field No. 1, is a site-specific sculpture composed of 49 telescoping stainless steel poles aligned in a highly ordered grid. Each pole supports a weather vane and anemometer. These finely tuned instruments are designed to accurately respond to prevailing wind conditions. Weather Field strikes a balance between the order of the instrument grid and the unpredictable response of its kinetic elements to produce its own microclimate. It is a constant reminder of our connection to both local and global conditions.

Weather Field No. 1. Copyright Rick and Ruth Meghiddo 2017. All Rights Reserved.

Weather Field No. 1
Artist: Iñigo Manglano-Ovalle

I went to shoot for the third time. I decided that the time had come to produce a short documentary that would link the park with people, with the invisible spirit of the Tongvas, and with the metaphor of the Angelbird.

Tel Baruch Beach - 6:30 AM. Copyright Rick Meghiddo. All Rights Reserved.

Normality “Lo-Normali” Snapshots of Tel Aviv and Jerusalem defies misconceptions about Israel's reality.

April 4, 2017/in Blog, Documentary, Lifestyle

Normality “Lo-Normali” (ambiguous Hebrew slang for ‘abnormal, crazy, exceptional, wonderful, insane, magnificent) synthesizes itwo previously published documentaries, “The City that Never Sleeps” and “Jerusalem Journal.” Although the editing is different, the message remains the same. It presents contrasts between Tel Aviv and Jerusalem and within each of the two cities as a showcase intended to defeat misconceptions about Israel’s reality.

Normality usually does not produce headlines. Stories related to terrorism, war and political scandals on the negative side, and innovations in science and technology on the positive does. During the five months that I spent in Israel in 2016, a focused my attention on capturing images of everyday life: riding a bus, walking by the beach, witnessing some of Israel’s unique events, such as having the entire population standing still for two minutes at the sound of the sirens during Memorial and Holocaust remembrance days, and the Pride Parade and White Night in Tel Aviv.

Although the two largest cities represent only a part of Israel’s reality, the contrast between the two make more legible the country’s complexity, usually oversimplified with reports on conflicts – right versus left, religious versus secular, sacred versus profane, Palestinians versus Israelis.

Israel is a unique country in a unique situation. That is why its normality is simply “Lo-Normali.”

Food for Thought

January 16, 2017/in Blog, Documentary, Environment

Farm Urbana, as presented in “Food for Thought,” proposes practical solutions to help the rapidly growing urban population’s access to fresh food close to home. Ruth Meghiddo challenges developers, architects, and property owners to include urban farming as an integral part of the built environment. She sees bridging between urban farming and design a critical response to the planet’s sustainability problems.

Ruth founded Farm Urbana in 2013, with a vision for cities to be prosperous. Her clients, forward-thinking developers and owners, value innovation and anticipate rewards for advancing a lifestyle amenity for their residents. She helps them offer a desirable eco-friendly solution that is aesthetic and stimulates creating local communities.

The system consumes 90% less water, little labor, and a fraction of space and weight of traditional vegetable gardens. For more, visit: http://farmurbana.com/

Farm Urbana Website

The City That Never Sleeps

September 30, 2016/in Architecture, Art, Blog, Documentary, Lifestyle

Tel Aviv, “The City that Never Sleeps,” is on its way to become one of the world’s great metropolitan areas. It projects a sense of informal freedom, in plain contrast with the distortions frequently delivered by the media.

Cities are not just compilations of buildings, streets and open spaces; they are – or they are supposed to be – places where people can increase their chances of self-realization as happy human beings. The “State of Tel Aviv,” as is commonly labeled, to distinguish it from the rest of the country, is a city that looks more into the future than into the past.

The fourteen-hour non-stop flight from LAX to TLV brought me back to a place that has changed in many ways. Yet in spite of Israel’s contradictions, inequalities and extremes, I found the country exceptionally better than when I left it, back in 2001. Its energy cannot be described neither visually nor in writing; it must be felt.

I saw people of all ages, colors and countries of origin. I saw construction going on everywhere, with high-rise buildings becoming commonplace, and not only in Tel Aviv. During an “Architect’s Day Symposium” at the Cinematheque, the City’s Director of Planning told us that, at this time, there are in plan-check residential and commercial projects for a total of almost eight million square meters, or about 86 million square feet. That is the equivalent of four hundred twenty-story high building on the Wilshire Corridor.

The new wing of the Tel Aviv Museum of Art, designed by architect Preston Scott Cohen as an addition to the museum’s Main Building, is the latest development in a process that started in the 1930s, when the city’s first mayor, Meir Dizengoff, created a municipal art museum in his own house.

The project’s main concept was the creation of an 87-foot-high atrium, called “the lightfall,” which brings natural light deep into the building. The program for the new addition was demanding. Rectangular galleries had to fit into a triangular site, which also had to accommodate a new art library that takes one third of the total 200,000 square feet, or about 18,000 square meters.

One may argue whether the design belongs to the trend triggered by the “Bilbao Effect,” which resonates in the works of Zaha Hadid and Daniel Libeskind. Yet, in spite of the building’s trendy aspects, the use of light in the atrium brings a poetic contribution to the building.

Ramat Aviv, the North Tel Aviv neighborhood, is a place of normality within abnormality. At its center is Neveh Avivim, where many notorious people lived, among them Prime Minister Ytzhak Rabin and President Shimon Peres. Besides being close to the sea, it has a powerful anchor: the Tel Aviv University campus, which serves as a magnet to a highly educated population. It is also strategically located next to important arteries of mobility.

Tel Aviv’s 18th annual Pride Parade was officially titled “Women for Change.” Although it joins similar manifestations around the world to assert tolerance and equal rights for all, this event, under the particular situation of the Middle East, and given Israel’s political map, is not just about personal liberty. It is about freedom from coercion of any kind. It has the symptoms of a revolt against all establishments.

Tel Aviv’s “White Night,” unlike its siblings “Nuit Blanche,” “Notte Bianca,” “La Noche en Blanco,” “Noaptea Alba,” and so on, carries a powerful message to many who still have hard time to accept Israel as a vibrant civilization. It sais: we, the people, young, old, men, women, straight and gay, secular and religious, Jews, Muslims, Christians and atheists, enjoy life and contribute to culture and any way we can.”

The festival was spread throughout the city. I counted at least eighteen areas, from the City Harbor, the University of Tel Aviv and the Haaretz Museum in the north, to Jaffa in the south, from the beaches in the west to the new Sarona development area in the east. They included dancing, theater for adults and children, artworks, music, public singing, magic, image projections, DJ’s stages, art events, poetry readings, exhibitions and street performances. My video covers only a fraction of what went on, an approximately ten-kilometer walk along Rothschild Blvd., the Habima Square, Dizengoff Street and Rabin Square.

My observations through the lens of a camera tried to capture some of the elements that reflect some aspects of a country that is a mosaic of cultures, tribes and ideas, frequently clashing to one another: right (nationalist, secular or religious) vs. left (liberal-progressive,) orthodox-religious vs. secular-cosmopolitan, straight vs. gay, machismo vs. feminism. And yet, coexistence is possible, in spite of the many differences.