The director and screenwriter Roger Leenhardt made an appearance in the film Une femme mariée by Jean-Luc Godard. Pierre, Charlotte and Leenhardt begin a succession of monologues in three sections: Pierre speaks of memory, Charlotte of the present, while Leenhardt concludes by defining intelligence and praising compromise. His monologue is partly transcribed here.
The Austrian experimental scene of the 1960s marked the architecture of its time. It brought together a great generation of avant-garde Austrian architects and artists such as Walter Pichler, Hans Hollein and Raimund Abraham. This prestigious group notably influenced the (often theoretical) production of many international architects of the 60s and 70s. In successive exhibitions, architectural, urban and technological themes were questioned and models such as vertical city were explored.
At the end of the 1960s, the Swiss architect Pierre Zoelly designed a house for the sculptor Peter Hächler. He built a concrete structure, the organic heart of the house, which will be the perfect interlocutor for the sculptures it houses.
For the 1964 Olympic Games, Japan invested huge amounts of capital in the construction of sports infrastructures. The architecture of the sports buildings gave the image of a modern nation, developed and more powerful than ever. The gymnasium architecture of Kenzo Tange can be considered as a manifesto of the modern Japanese architecture that revealed itself to the world during the Olympic Games.
Une femme mariée is Godard’s eighth film. The main subject of the film is a woman in her twenties, Charlotte, of course without a conscience of its own, and presented as empty of substance, as is often the case with Godard. She leads her life between her husband Pierre and her lover Robert but doesn’t know which one to choose.