Ila Beka and Louise Lemoine , directors, Koolhaas HouseLife . BekaFilms, Paris, 2008, HDV and DVD, 58 min., with book, 200 pp. BekaFilms, www.koolhaashouselife.com €65, http://www.koolhaashouselife.com/html/buy.html Ila Beka and Louise Lemoine , directors, Gehry's Vertigo . BekaFilms, Paris, 2008, HDV and DVD, 60 min., release forthcoming, trailer http://www.living-architectures.com/html/trailers.html In their documentary film series Living Architectures , Ila Beka and Louise Lemoine capture the intimacy of daily life within five icons of contemporary architecture.1 Each project was designed by a “star” architect and past winner of the Pritzker Prize, which is given to celebrate the “art of architecture” and “its impact on human behavior.”2 The filmmakers are intrigued by the latter, and rather than feature the buildings themselves, they treat the architecture as a background for the action taking place within and around it. Erasing the split between art and life, commingling the formal and the social, these documentaries chronicle the events within a house, an office, a church, a refectory, and a museum. Those events include the mundane tasks of upkeep and cleaning in Koolhaas HouseLife (2008), worship in Xmas Meier , celebrating the harvest with a party in Pomerol (2010), touring the office in Inside Piano (2010), and window washing in Gehry's Vertigo (2010). By foregrounding the action, the documentaries portray the architecture through the events. Their ambition is not to demonstrate academic expertise or to present a matter-of-fact account with the interjections by authority figures or scholars—none of whom appear here—but to convey an everyday view of these exceptional buildings. To do this, the filmmakers use informal filming techniques such as handheld cameras standing in close to human subjects, who offer refreshingly unscripted and spontaneous conversations while obscuring the architecture. This presentation of contemporary architecture with all of its imperfections marks a significant shift in the ideology of representation from a collection of fixed, beautiful, and flawless photographs of buildings without life to the buildings’ messy and actual reality. These films reintroduce the figure in a way that deepens a view into the discipline of architecture by engaging a recent anxiety—the problem of post-occupancy …