Articles by Fabian Dejtiar

Luca Tranchino is a production designer well known for his participation as an art director in Martin Scorsese’s Gangs of New York, the Aviator, Hugo Cabret, and Disney’s Prince of Persia, among many other productions. His work is designed to take us to magical and historical worlds. We recently interviewed Tranchino to look behind the scenes and uncover connections between film and architecture.

Luca Tranchino is a production designer well known for his participation as an art director in Martin Scorsese’s Gangs of New York, the Aviator, Hugo Cabret, and Disney’s Prince of Persia, among many other productions. His work is designed to take us to magical and historical worlds. We recently interviewed Tranchino to look behind the scenes and uncover connections between film and architecture.

Manuel Lima is a designer, researcher and author well known for his work on visualizing and mapping complex networks. A Fellow of the Royal Society of Arts, he was named one of the “50 Most Creative and Influential Minds” by Creativity magazine, and is both the founder of VisualComplexity.com and a Senior UX Manager at Google.

Production designer Annie Beauchamp contacted me shortly after reading an article about Black Mirror series and what it can teach us about the future of architecture —something exciting for me since she was in charge of the visual look in Striking Vipers, the first episode of the dystopian series’ fifth season. Beauchamp who has extensive experience working on major productions such as Sleeping Beauty, The Yellow Birds, Adoration, Top of the Lake China Girl, LEGO’s Ninjago Movie, also served as an art director in nothing less than Moulin Rouge.

In the 1920s, work was completed on the Cité Frugès housing complex in Pessac, France. The project, meant to house Pessac’s industrial workers, would be one of seventeen Le Corbusier works on UNESCO’s list of World Heritage Sites.

Many times I have not been able to decipher whether the video or the image I was looking at was real. In the same way, I had to convince friends or relatives —namely, people unfamiliar to the idea of the architectural render— several times that a building featured in a storefront advertisement or in a printed magazine was not real. There is no longer a gap —or limits— between hyper-realistic, computer generated visualization and reality itself. Are we reaching the limits of visualization of our spaces? Do our architectural visualizations meet our architectural expectations?

How does architecture contribute to the current climate crisis? 

Floods, earthquakes, tsunamis, hurricanes, war, economic and social conflicts, pandemics. The number of refugees in the world is setting records year after year. Immediate and temporary solutions, produced in batches in response to crises, mark the difference between doing what is possible and doing what should be done, always doing a lot with what’s at hand. But how temporary is emergency architecture? Is it more permanent than we think?

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