BUILDING HEAVEN, REMEMBERING EARTH: CONFESSIONS OF A FALLEN ARCHITECT
“Cinematic poetry of epic scope and ambition.” Ken Anderlini
trance essay » speculative docu-travelogue
Cornell Environmental Film Festival
University of Toronto
DC Environmental Film Society
Pleasure Dome, Toronto
University of Florida | Harn Museum of Art
Embassy of Canada, Washington, D.C.
Ithaca University | Environmental Studies
Through the Looking Glass | Online
Melbourne International Film Festival
Vancouver International Film Festival (Competition)
International Biennale Film & Architecture,
Graz, Austria (Competition)
International Festival of Films on Art, Montréal (Competition)
European Media Arts Festival, Germany
Architectuur FilmFestival Rotterdam as part of the Netherlands Architecture Biennale Rotterdam
Kerala International Film Festival, India
African Architecture Film Festival; Screenings in Durban, Johannesburg, Port Elizabeth, and Cape Town. 2008/2009
“Filmmaker Oliver Hockenhull’s shockingly beautiful digital video essay on the philosophy of architecture.”
A challenging and ambitious mix of experimental drama, travelogue, and poetic personal essay from the maker of Aldous Huxley: The Gravity of Light , Building Heaven, Remembering Earth offers a cross-cultural, pan-historical reflection on how the spiritual and intellectual aspirations of self and society are expressed in, and confined by, the language of architecture. "Beginning with a glimpse of Brueghel's Tower of Babel, this wild and opinionated essay peruses some of the world's most resonant architectural sites, among them the Pantheon of Rome, Palladio's Rotunda, Renzo Piano's New Metropolis, Barcelona for Gaudi, then Mies van der Rohe, the Hagia Sophia in Istanbul, and Lingaraj Temple in Bhubaneswar, India.
Director Hockenhull makes exuberant use of digital video's ability to compose and fragment images. Towering, ornamental, and unyielding structures acquire distorted scale and unexpected malleability. The architect searches for man's identity, trapped between the unpredictability of nature and the rigidity of the constructed environment. Building Heaven, Remembering Earth suggests that somewhere in between chaos and form lies the space of our humanity and, perhaps, a new architecture" (Steve Seid, Pacific Film Archive).
Other events include the Berkeley Art Museum/Pacific Film Archives & the Siemens-Nixdorf Museum in Paderborn, Germany (for the VRML component).
Producer/Director: Oliver Hockenhull Music: Lisa Walker Produced with the Assistance of The Canada Council for the Arts, B.C. Cultural Council, The Canadian Independent Film and Video Fund. A co-production with The Banff Centre For The Arts
Architectural VRML Studies and Experiments Spotlighted By
Architecture E Zines:
DEATH BY ARCHITECTURE (1999)
& IMAGE ARCHITETTURA IN MOVIMENTO (1999)
An Architextural Journey Building Heaven Transcript.pdf
“A breath taking thesis, a bookish subject made delightful and absorbing.”
Oliver Hockenhull's voluptuous, textural, and thematically (and experientially) dense essay film is an intricately constructed, stream-of-consciousness meditation on architecture, memory, immortality, and transcendence.
Evoking the sprawling, trans-continental journals of the faceless, globe-trotting (metaphoric) time traveler and ethnographic filmmaker Sandor Krasna in Chris Marker's Sans soleil, Building Heaven, Remembering Earth: Confessions of a Fallen Architect is similarly infused with a certain wide-eyed curiosity and sense of adventure, thoughtfulness, and self-effacing humor.
From the film's introductory anecdote on the first book of architecture, a ten-volume documentation of buildings, machines, and timepieces, Hockenhull presents an implicit interconnection between architecture and time, both serving as materialized representations of projection, shadows, and geometric space. The analogy is subsequently developed in the filmmaker's exposition on the Pantheon in Rome as he reflects on the ancient structure's innate symmetry through negative projection for which the apparent structural complement - and therefore, its spatial negation - occurs at an intersection on an imaginary axis that is defined by infinity. The realization of imaginary intersections and approaching theoretical limits similarly provides the underlying concept for the Aquatic Pavilion in Neeltje Jans, Holland, an example of media architecture in which undulating, nodal mesh forms characterize the functional construct of the numerical data: the ideal form generated by a human-less, synthetic vision of empirical limits and discrete interpolations.
Hockenhull further correlates the process of architectural construction as an innately human quest for immortality - a mortal bridge to the divine (note the thematic correlation to György's underlying futile search for the harmonies of the gods in Béla Tarr's Werckmeister Harmonies) - a rapture. It is this ephemeral state of artificially induced transcendence that is thematically threaded to the juxtaposition of images between a heroin addict and the somber, forbidden architecture of New Metropolis, an asymmetric and aesthetically nondescript behemoth commercial space projecting ominously from the industrial landscape of an Amsterdam harbor town, both representing a depersonalization of the individual: the erasure of the human element (which, in turn, expounds on the idea of architecture as a means of achieving closeness to gods).
In correlating the confluence of structure and time, Hockenhull characterizes architecture as commemorations of history. From a statue immortalizing the commander of the Dresden raid (a personally traumatic episode for Hockenhull's father that the filmmaker revisits in the short film Mother, Father, Son) to an examination of the works of artist and architect Karl Friedrich Schinkel, Hockenhull illustrates the inevitable bifurcation between the conceptually ideal - the "glowing painting of a reconciled world" - and the ravaged artifacts of human history (most notably, in the bullet-ridden pillars of the New Watch Building and the variegated rubble used to line the perimeter of a summer house in postwar, suburban Berlin). It is this corruption and decay of the ideal that is encapsulated in the utilitarian history of the Prince Albrecht Palais, a stately residence later transformed as a headquarters for intelligence gathering and dissemination of propaganda by the Nazis.
Traveling eastward to Asia, Hockenhull then forgoes the inherent politicization of 20th century European history and returns to the more abstract theme of transcendence through architecture, remarking after a Sergei Eisenstein retrospective in Istanbul of the role of cinema as "time and aspiration of memory", and further concluding that architecture and memory are integrally correlated by the nature of their "pure constructions".
This idea of continuity through memory and architecture - the intertwining of the mortal and the immortal, life and death - is perhaps best represented in the Indian city of Kashi, known as the city of light - a cremation grounds where nature and structures represent, not only ancient relics of the past, but also a continuity and an afterlife.
In essence, the architecture serves as a place of ceremony and ritual: the human imperative to define the amorphous nature of God and consequently, find a path to transcendence. It is this complex interconnection of functionality and meaning that is inevitably embodied by the egg-shaped stone that punctuates the film, an eternal, indefinable object that curiously encapsulates the genesis, mortality, human imprint, and metaphysical enigma of a greater, and unfathomably more complex, immortal design.
Film Ref | Acquarello
"Combining the poetic, political and critical in a new digital form, Oliver Hockenhull's study of the confines of architecture and the self has been described as unequivocally the best documentary produced in Canada' in the last year. Cinematic poetry of epic scope and ambition, the film constructs and deconstructs a digital personality as part of a probing enquiry into the effects of architecture on consciousness and identity. Hockenhull's work traverses space and time, scrutinising ancient edifices, classic monuments and contemporary structures in a quest for an aesthetic pattern. Examination of Bruegel's Tower of Babel, the Pantheon, Schinkel's Berlin and Renzo Piano's New Berlin, the other-worldly temple of Bhubaneswar in South India and the erotic Sun Temple at Konark casts a wide net for Hockenhull to explore passion, inspiration and religious and philosophical motivation. Offbeat detours are made along the way to examine Amsterdam's singular prostitution industry and even gossip about Albert Speer's ignominious death.
A breath taking thesis, a bookish subject made delightful and absorbing."
"Building Heaven, Remembering Earth: Confessions of a Fallen Architect" is filmmaker Oliver Hockenhull’s shockingly beautiful digital video essay on the philosophy of architecture. Not a documentary in any traditional sense, it refuses to explain, instead relying on image, poetry and music to meditate on the ideas and implications of buildings, time and existence. “
Mari Sasano, See Magazine.