Formafantasma has come up with an exploration of the relationship between the animal and plant “species” that inhabit our planet. The title says it all: I, You and It: Stories of Entanglement between Species. The curators of the 2021 Bloom section, focusing on the relationships between man and nature, have brought together a series of experimental and investigative films that invite reflection in the round. While apparently not strictly within the realm of design, the idea falls entirely within that of designing and producing. Leafing further through the programme, a practical response would appear to come from the reflection on Belgian design by Alexandre Humbert (The Object Becomes) and the representation and new lexicon of objects. In counterpoint, there is the history and life of the plastic monobloc chair, one of the ugliest, most disputed and globally best-selling (Monobloc by Hauke Wendler). Meanwhile the aim of the collective Campo Abierto (A Bus Stop for Tathuen) is to emancipate the local Argentine communities through the valorisation of craftsmanship and traditions, as per the following statement: “There is no future in architecture without a conciliatory memory between peoples in conflict.”
The other relationships explored by the documentaries are conflicts, history, memory and society, with stories of edifices (The Building by Andréas Lang) and cities (to name but a few: Rift Finfinnee by Daniel Köter, Where to With History? by Hans Christian Post, Sabaudia by Lotte Schreiber, and Travelogue Tel Aviv by Samuel Patthey). Not surprisingly, many of the 26 films vying for the AFA Architecture Film Award by Grand Seiko are devoted to this theme. The winners will be announced during a ceremony at the end of the festival (24th October) with a dedicated screening. They evidence the urgent matters to which architecture is called to respond, as also highlighted by the documentary that does not form part of the competition and is making its global premiere, The Importance of Being an Architect, by Giorgio Ferrero and Federico Biasin, as seen through the eyes of Antonio Citterio and Patricia Viel who, amongst other things, reflect on responsibility and context.