Chris Rogers | Writer on architecture and visual culture

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Beyond the Frame sees Chris analysing the relationship between architecture and film. Subjects include homes, sets, trains, lost architecture, visions of the future and differing scales of architectural space. Two monthly, twelve-article series have been hosted by Interiors Journal and The Big Picture; selected pieces were also published in the latter's printed magazine.

Trehearne Architects donated their historic project archive to Chris, comprising thousands of IBM-format aperture cards and dozens of rolls of 35mm film holding microfiche copies of plans and other material. It awaits indexing and further exploration, both of which will require funding.

For Excuses and Half Truths, the blog of colourist and writer Rob Wickings, Chris analysed the seminal anime series Bubble Gum Crisis, about an armoured-suit-wearing, all-female vigilante group fighting a corrupt corporation in the Japan of the future.

Again for The Big Picture, Chris wrote Brand X about fictional brands in films. Each piece adopts a different format, such as a flying car review in the style of a car magazine, a stock market report from the future using companies from science fiction films and a Wired-style interview with Eldon Tyrell from Blade Runner.

A two-part analysis (for Excuses and Half Truths again) of why the three Patlabor anime films say as much about the socio-political history of Japan over the past 40 years as they do about the future in which they are set.

A piece on World War Z for Little White Lies, looking at the making of the movie and its meaning in the context of other apocalyptic films.

This piece for Excuses and Half Truths assesses Miami Vice, Michael Mann's 2006 film version of the television crime series that made his name.

For the London Festival of Architecture 2017, Aukett Swanke quoted from Chris's research paper on atriums (written for the Twentieth Century Society's then-forthcoming Journal) in their display at the Royal Exchange showing how the firm's constituent practices have deployed and defined the feature over the last 40 years. (Photo: Agnese Sanvito)

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