Tuesday, February 28, 2012

Architecture of Bladerunner [1982] Deckard's Apartment

Along with the nearly contemporaneous Mad Max movies, but surely more convincing, Bladerunner showed a future world that actually looked like it could be the messy result of accretion from the time we live in now, rather than the pristine white worlds of past future-fictions, which always imagined hard-to-believe tabulae-rasa where no inkling of the world that led up to it was recognizable.
Between the imaginings of visual futurist Syd Mead, the selectively edited interiors of FLWright's Ennis House, and the direction of Ridley Scott, the residential interiors of hard-boiled cop Deckard reveal the lived-in layers of time, at once suggesting the gritty detritus of a post-apocalyptic future, (to repell us), the shadows of 1940s film-noir (to put us on edge),  and the romantic remains of mid-20th century home life (to draw us in). 
Together, these vicissitudes serve to excite and to mesmerize, and make believable a story that at its center asks the question of what makes us human, and answers with a troublingly elusive but instructive truth: our memories. 


"Hill House Chair" by Charles Renie Mackintosh at far right





"Argyle Chair" by Charles Renie Mackintosh at center

Special issue Johnny Walker square-bottom drinking glass






















Desk lamp, possibly by Dazor




Desk lamp by Gerald Thurston





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