Summarize this content to 2000 words in 6 paragraphs in Arabic The Brutalist begins in darkness; a chaotic, crowded space of stress and strange sounds, the hold of a ship.\u00a0It\u2019s an origin story for L\u00e1szl\u00f3 T\u00f3th, a Jewish-Hungarian architect, newly arrived in America in 1947, whose subsequent work will be characterised by an obsession with darkness and light, confinement and release, defined by trauma.\u00a0You might ask whether this is the best experience to subject his subsequent building\u2019s users to.\u00a0But then, you never actually see any of the users of his buildings.\u00a0The movie skips from the construction site to a belated recognition of his brilliance, decades later, at a Venice Biennale of Architecture.\u00a0Even his first US work, a home library for his wealthy benefactor-to-be, is never seen being used, only displayed.\u00a0Despite its undoubted, epic brilliance, Brady Corbet\u2019s film falls into the trap of the clich\u00e9d portrayal of the architect as tortured male genius, working in solitude. The screen architect\u2019s career is defined by struggle, a desire for complete control, a battle to defend the purity and perfection of his vision and a refusal to compromise. It\u2019s intriguing that the movies, which use architecture and space so magically, get it so wrong.\u00a0There is an Ariadne\u2019s thread running from the labyrinthine spaces beneath the hilltop community centre that forms the obsessive centrepiece of The Brutalist right back through to that most unintentionally hilarious of all architectural films, King Vidor\u2019s The Fountainhead (1949).\u00a0An extrapolation of Ayn Rand\u2019s dreadful, but insanely influential, paean to the individual over the collective (which titans of finance and tech so adore), the movie manages to be sillier than the book.\u00a0At one point in both films, the pigheaded architect protagonist quits design for the horny-handed construction site rather than see his dream despoiled by wealthy philistines.\u00a0The real villain, incidentally, of The Fountainhead, is the architecture critic.The building in The Brutalist is a community centre. The community is, of course, not involved (though we do see T\u00f3th presenting his model). The building in The Fountainhead is a corporate office tower.\u00a0Here the workers are not involved \u2014 or even considered.\u00a0These are architects as visionaries whose work we must take as so brilliant that it cannot be questioned or interfered with. It is an almost insane simplification of architecture which understands any concessions to the user as a compromise. Certainly there are architects like this, the solo virtuosos, the creators. It\u2019s an image deeply ingrained in culture, but it needs to be expunged. Architecture is a collective venture.It is perhaps even more bizarre in the case of The Brutalist, in which we learn that the rooms planned for the community are based on painful memories from T\u00f3th\u2019s past.\u00a0This then is a \u201cserious\u201d, existential building, one concerned with life and death, darkness and light, suffering and redemption.\u00a0Fine, perhaps, for a memorial or a crematorium chapel, less so, perhaps, for a community space, gym and library.\u00a0For most of Hollywood history the profession of architecture appears only to indicate a solid, bourgeois dependability. Think Tom Hanks in Sleepless in Seattle, Liam Neeson in Love Actually\u00a0or Henry Fonda, the decent architect juror who stands alone against injustice in 12 Angry Men. But occasionally the profession pops up as an analogue of a kind of capacity for brooding creative intensity and even second sight. In Nicolas Roeg\u2019s Don\u2019t Look Now it is not accidental that Donald Sutherland\u2019s grieving architect is involved in the endless struggle against the entropy of Venice\u2019s churches and somehow foresees the tragedy of his daughter\u2019s \u2014 and his own \u2014 demise.The problem usually arises when architecture appears at the heart of a movie. Perhaps the movie director, trying to get the perfect film made without interference from the studios and the money men, inevitably identifies with the lone (male) hero.\u00a0This was the impression you might have received from last year\u2019s Megalopolis, in which Adam Driver\u2019s pompous architect Cesar Catilina seems a cipher for director Francis Ford Coppola\u2019s own dream of total control.\u00a0This architect seems to have developed a technique for stopping time, and what he does with it is a party trick to catch himself from falling off a skyscraper. That\u2019s it. Incidentally, when we do see Catilina\u2019s city plan, it is ridiculous, an incoherent student fantasy, almost unimaginably bad.\u00a0As is the movie.None of these films show the reality of architecture, which is inevitably contingent; it is about working with existing realities, acknowledging the world as it is and its imperfections. It is about accommodating people; users and clients, neighbours and authorities.\u00a0T\u00f3th\u2019s niece, Zs\u00f3fia, mute at the start of the film but vocal at its end, sums up her uncle\u2019s dedication by saying, in a speech: \u201cNo matter what the others try to sell you, it is the destination, not the journey.\u201dThe most haunting space in T\u00f3th\u2019s fictional building appears as a kind of sinister, cavernous cistern.\u00a0Initially we see the architect sketching a space in charcoal characterised by a grid of columns. In the movie we see it mostly as an uncompleted volume, flooded and illuminated by torchlight.\u00a0To me it evoked the climax of Andrei Tarkovsky\u2019s Stalker and its \u201croom\u201d with an undulating floor of what appears to be salt contained by pillars of massive industrial concrete. This is a place where wishes might be granted, or it might be a collective hallucination or dream.\u00a0Once experienced (in the movie or by the viewer), Tarkovsky\u2019s room cannot be forgotten. It creates its own afterlife. In one of T\u00f3th\u2019s lines, architecture is about the creation of something that outlives the individual. \u201cMy buildings were designed to endure such erosion,\u201d he says. In fact, architecture is highly vulnerable to changes in use and fashion; it seems permanent but it is not.\u00a0Just look at the ashes of the modernist villas of LA.\u00a0The irony perhaps is that the movies, with their impermanent constructions and powerful image-making, often preserve space better than does reality.<\/p>\n","protected":false},"excerpt":{"rendered":"
Summarize this content to 2000 words in 6 paragraphs in Arabic The Brutalist begins in darkness; a chaotic, crowded space of stress and strange sounds, the hold of a ship.\u00a0It\u2019s an origin story for L\u00e1szl\u00f3 T\u00f3th, a Jewish-Hungarian architect, newly arrived in America in 1947, whose subsequent work will be characterised by an obsession with<\/p>\n","protected":false},"author":1,"featured_media":183397,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65],"tags":[],"class_list":{"0":"post-183396","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture"},"_links":{"self":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/183396","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/comments?post=183396"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/183396\/revisions"}],"predecessor-version":[{"id":183398,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/183396\/revisions\/183398"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media\/183397"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=183396"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=183396"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=183396"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}