The Future of Architecture In Film

The current trend in disaster movies seems to dwell on an uncertain future caused by global warming. The reason for this ‘fear of the future’ can be traced to society’s concerns about the repercussions of our treatment of the planet.


The medium of film has captured the thoughts and actions of people throughout the 20th Century. Science Fiction films in particular gave audiences visions of the future, ranging from horrifying to utopian. As well as this, the film industry was, and is, influenced by current affairs. Early films from 1920s Germany are a prime example: The fast conversion to modernity in Germany at this time can be seen to have caused a fear of the future. Modernism offered a complete change, a new way of life in contrast to the 19th Century historic values people held so dear.



These fears were best captured in the visionary films of Fritz Lang. His Metropolis (1927), a blockbuster that spiralled way over budget, depicts a dystopian future where man is controlled by machines. This was undoubtedly a reaction to the faith Germany was putting in its machines and its growing dependence on them. Although architecturally Fritz Lang and the set design team may have been a little wide of the mark as to the scale of the city, they were right about our dependence on machines. There is hardly any aspect of life today that isn’t greatly influenced and controlled by machines.



These dystopian views weren’t shared by the architects of the 1920’s and 30’s. They saw the role of architecture to enlighten and emancipate the common man and improve conditions for everyone. These views are largely shared in the H.G.Wells’s film Things To Come (1936). Here a lighter future is depicted where the futures troubles can be solved by technology and, even when faced with war, the technological breakthroughs that come with it are seemingly worthwhile.


Both films deal with a vision of the future highly influenced by the preoccupations of the present. So what can this tell us about our future? Certainly the one depicted in current science fiction films shows a future scarred by the actions of the past. Films like 2012 (2009) and Children of Men (2006) show nature hitting back at humankind. These are all issues concerning us today. Maybe we find it comforting to see them played out on screen as fiction. At a recent debate held at the British Film Institute, architects pondered the question ‘Have we lost sight of the future?’ The resounding response was yes, we have, or perhaps, we never really had a vision at all. We never show an accurate view of the future, be it through film or architecture. But aspects of today will certainly influence our future.


Tomorrow may bring increased re-use and rebranding of our buildings where offices become homes. But it becomes apparent that to greater understand what the future holds for us we must first understand our present.

London Southbank University is leading the way in the Nation-wide drive for Sustainability

The new K2 building has just opened on campus to much critical acclaim. The pioneering building sets a benchmark for construction in the capital.


The new building is set to solve many of the University’s architectural problems on campus. Designed to fit seamlessly between the Learning Resource Centre and the relatively new Keyworth building, great lengths were taken to ensure as little disruption as possible. The architect commissioned for the building was Grimshaw Architects, a practice who has for some time been connected with the university. In keeping with the university’s view on sustainability Grimshaw’s took it upon themselves to push the boundaries and ensure that the building would inspire and educate its users in the benefits of sustainability and provide a benchmark to other London developments in the hope of creating a greener city.


Buildings the size of K2 usually have a high CO2 emission. It is important for the future of London to set an example to developing cities all over the world that more can be done to reduce carbon emissions and use natural resources to power our buildings. The K2 building sets out to produce most of the energy required to run the building on site, using various natural methods, and promote a low dependency on mechanical ventilation systems. Geothermal piles are used which heat the building naturally. Piles are supports that help anchor a building to the ground. By running a mixture of water and anti-freeze, cooled to some 30 degrees below zero, through a series of pipes down into the ground the building can benefit from the earth’s natural warmth. Other means of sustainability include solar shading, natural ventilation and photovoltaic panels. The Centre for Efficient and Renewable Energy in Buildings is housed on the roof of the building. This will put the University at the centre of future debates about sustainability in London. The building currently houses the Faculty of Health and Social Care and the Department of Education, Sport and Exercise Science.


The K2 building is one of the first to be completed as part of a wider regeneration of Southwark by several world renowned architects like Grimshaw. Renzo Piano’s Shard building is under construction at London Bridge while the Strata building by Hamilton Architects is near completion near Elephant and Castle. Watch this space for further developments.

Chipperfield at the Design Museum

Despite having recently finished its four month stint at the Design Museum, the exhibition of David Chipperfield Architects projects will continue to be an influence on all who saw it.

The exhibition combined models, drawings and photographs to provide an insight into the architect’s works. All the models were finished to a high standard but overall there seemed to be a lack of initial design work exhibited. A more confident unfinished presentation showing schemes from concept to reality would have been appreciated by the public. One of the most extensive proposals on show detailed the renovation of the Neues Museum, Berlin. The presentation included small scribbled sketches on paper trough to finished sections and working drawings, large exploratory models through to finished presentational mock-ups. Garnishing the walls were photographs of the interiors and construction work. Taken using an analogue camera the grain of the photographs perfectly captures the juxtaposition of the old and new parts of the building.


The Neues Museum was heavily bombed in the Second World War and had remained near derelict for sixty years. In 1997 David Chipperfield Architects and the conservationist Julian Harrap won a competition to renovate the museum therefore completing one of Berlin’s main tourist attractions, Museum Island. In their proposal they preserved many of the building’s original features, in some cases removing sections of wall that had been painted over. The building had sustained a lot of damage. Rain-damaged ceilings had to be restored and preserved columns reinstated. In a short film displayed at the exhibition David Chipperfield described how during the design stages of the project they felt it necessary not to try to renovate Stüler’s original designs, but to add something new. In homage to the original museum Chipperfield used the same proportions of many of the original features but re-imagined them in a contemporary way. The main staircase in particular uses the exact same proportions as Stüler’s design but crafts them in a modern way, free of ornamental gestures. In doing so Chipperfield has freed the museum and made it more democratic. The architect added some of his own touches including a large dome adorning one of the gallery rooms. By preserving the life of the building he has fought off criticism some might have had about the changes he made. Many conservation groups were keen to preserve the original Stüler design leaving Chipperfield with an archaeological conservation. But his design has preserved key aspects from the buildings past and brought the museum into the 21st Century. The building comes across well at the exhibition. The old and new features are well matched and spatial arrangements are maintained to preserve the power of the building. Plans are in motion to connect the whole of Museum Island via underground passageways.


The exhibition was a resounding success, remaining busy up until its closure. It confirmed a tour de force in model making and gave an informative insight into one of Britain’s most celebrated architects. His sensitive and thoughtful work has seen his buildings realised all across the world. So when you’re on your travels make sure to find out if he’s built anything in the area. Pay a visit; I’m sure you won’t be disappointed.


The David Chipperfield exhibition is now moving on to the Fundación Pedro Barrié de la Maza in Spain.