Bureau of the Modern Movement

Bureau of the Modern Movement Manifesto: Protect, Restore, Preserve, Save, Promote, & Serve the Patrimony, Legacy, & Philosophy of the Modern Movement Architecture, Art, & Culture.

Twenty‑five years ago, the world was shaken by a darkness that tried to silence hope. Yet even in that moment of sorrow,...
09/11/2026

Twenty‑five years ago, the world was shaken by a darkness that tried to silence hope. Yet even in that moment of sorrow, the American spirit began weaving its quiet strength. New York— the city that embraced my family nearly a century ago—was wounded, but never defeated. I still remember standing in the Twin Towers in 2000, guided by a kind stranger whose fate I will never know. I carry the hope that he survived.

When I returned in 2009, and again in 2013, I saw the transformation of the site—grief slowly giving way to renewal. The Memorial, with its gentle trees and flowing water, feels like a sanctuary where courage breathes. The photographs of the fallen whisper stories of love, sacrifice, and families forever changed. I thought of my brother in the U.S. Air Force, and of all who served with devotion, some never returning home.

The new tower rises like a promise—an emblem of a nation that rebuilds, evolves, and keeps moving toward greatness. I was blessed to sketch the memorial while the tower was still growing, capturing a fleeting moment in its rebirth. A cold day, black ink on white paper, and a city healing before my eyes.

Hope lives in this place. Strength lives in this place. And the gratitude I feel for firefighters, police officers, and the men and women of our military is endless. Their courage continues to shape the light that guides us forward.

We Will Always Remember You!

#911

Educational Park – Municipality of Zaragoza, by ROHO + TAU 🇨🇴  - Project DescriptionZaragoza, located in the Bajo Cauca ...
09/10/2026

Educational Park – Municipality of Zaragoza, by ROHO + TAU 🇨🇴

- Project Description

Zaragoza, located in the Bajo Cauca region ina Antioquia, Colombia. A culturally diverse mining town, was selected in 2015 for Antioquia’s Educational Parks program to create small public buildings that support cultural exchange and community learning.

- Urban and Architectural Proposal

The project reorganizes the existing plaza to link the building with the native forest, adding an outdoor theater and a walkway to create a stronger public space and a new community gathering area.

- Architectural Design

The building consists of four simple, offset volumes with open and enclosed spaces. A double‑skin louver façade provides shade and views toward the forest, and classrooms can open to the outdoor theater to connect learning with the landscape.

- Bioclimatic Strategy

A double‑skin façade with vertical sun‑breakers reduces heat gain, while permeable façades promote cross‑ventilation and natural cooling.

ISABELLA CARRIAZO 🇨🇴  Is a Colombian visual artist from Barranquilla whose work investigates how historical narratives s...
09/01/2026

ISABELLA CARRIAZO 🇨🇴

Is a Colombian visual artist from Barranquilla whose work investigates how historical narratives shape our understanding of identity, vulnerability, and the human condition, reinterpreting classical mythology, Renaissance iconography, and contemporary visual culture through the human body as her central site of inquiry. Working primarily in oil on collage, she creates layered visual dialogues between Renaissance painting and modern imagery, exposing how representations of the body construct ideas of power, fragility, irony, and cultural tension. Carriazo holds a degree in Architecture, Design, and Urbanism from Universidad del Norte (2020) and a Master’s in Fine Arts from the Accademia d’Arte di Firenze (2022), an experience that cemented Renaissance study as a foundation of her practice. Her work has been exhibited in Colombia and Italy, including Cartavetra Art Gallery and Gadarte Art Gallery in Florence, Elsa Piñeres Galería in Barranquilla, and Proceso Art Gallery in Bogotá.

1 - This Is Not For Your Applause, 2024, oil on news paper 100 x 70 cm

2 - 3 Femme Fatale, Not Femme Fatale, 2024, oil on news paper 50 x 50 cm

4 - Is It Love or Is It Allure, 2024, oil on news paper 100 x 140 cm

5 - Ondina, 2024, oil on news paper 70 x 100 cm

6 - Look Mom I Can Fly, 2024, oil on news paper 100 x 70 cm

7 - I’m Not Here To Sip Softly, 2025, oil on news paper 100 x 70 cm

8 - Cheat, 2024, oil on news paper 50 x 36 cm

9 - Prude, 2024, oil on news paper 50 x 36 cm

10 - Motherhood, 2025, oil on news paper 70 x 70 cm

At BMM this September, we will be celebrating the Latino American Heritage and Culture Month. As always, we will continu...
08/31/2026

At BMM this September, we will be celebrating the Latino American Heritage and Culture Month. As always, we will continue promoting the legacy as well as patrimony of the Modern Movement. A lot of great things will continue to come. Thank you very much! Muchisimas Gracias! Muito Obrigado! Merci Beaucoup! mèsi anpil! for following us and all your support! Please Stay Tuned!

AUGUST 2026 COLLABORATORS "Replicants are like any other machine — they're either a benefit or a hazard. If they're a be...
08/29/2026

AUGUST 2026 COLLABORATORS

"Replicants are like any other machine — they're either a benefit or a hazard. If they're a benefit, it's not my problem." - Deckard, Blade Runner

Thank you very much for your amazing participation!

1 - BLADE RUNNER FILM - ARCHITECTURE

2 - BLADE RUNNER FILM - VEHICLES

3 - BLADE RUNNER FILM - FASHION

4 - BLADE RUNNER - SKETCHBOOK

BLADE RUNNER - SKETCHBOOK The Blade Runner Sketchbook is a 1982 production-art book created during the making of Blade R...
08/26/2026

BLADE RUNNER - SKETCHBOOK

The Blade Runner Sketchbook is a 1982 production-art book created during the making of Blade Runner (released the same year). It’s one of the most important visual documents of the film’s development, containing the original concept art that shaped Ridley Scott’s dystopian Los Angeles.

The sketchbook features artwork from the film’s key visual architects:

Syd Mead – Visual futurist; designed vehicles, architecture, street tech, and the “retrofitted future” aesthetic.

Mentor Huebner – Production illustrator; created environmental and architectural sketches.

Charles Knode – Costume designer.

Michael Kaplan – Costume designer; responsible for Deckard’s wardrobe and the film’s fashion language.

Ridley Scott – Director; contributed sketches and visual direction.

Editorial & production team:

Editor: David Scroggy

Publisher: Bill D. Schanes

Art Director: Steve Schanes

Design & Production: Jim Cornelius and Lori Barbano

Publication Details
Publisher:

Blue Dolphin Enterprises, San Diego, California
Publication Year: 1982

Format: Softcover, landscape orientation

Length: 95–96 pages (different listings round differently)

ISBN: 0‑943128‑02‑1

Distribution: Pacific Comics

BLADE RUNNER FILMS - FASHION Fashion in the Blade Runner films exists in a world where the future has already grown old....
08/17/2026

BLADE RUNNER FILMS - FASHION

Fashion in the Blade Runner films exists in a world where the future has already grown old. It’s a style born from rain‑slick streets, humming neon signs, and the quiet melancholy of a society drifting between humanity and machine. Clothing becomes armor—layered, textured, and purposeful—reflecting lives shaped by survival, memory, and longing.
The silhouettes blend retro nostalgia with dystopian futurism: sharp shoulders, long coats that trail through perpetual night, and fabrics that look worn yet strangely timeless. Materials feel industrial—leather, wool, synthetic blends—yet they carry a certain elegance, as if every garment remembers a better era. Colors are muted and shadowed, interrupted only by the electric glow of the city around them.

Characters wear their stories. Deckard’s trench coat speaks of weary resilience. Rachael’s structured suits and sculpted hair evoke a haunting, vintage glamour. Joi’s translucent layers shimmer like digital dreams. Even the replicants express identity through fashion—rebellion, vulnerability, defiance.
In Blade Runner, fashion is not just clothing. It is world‑building. It is mood. It is the poetry of a future that feels heartbreakingly human.

BLADE RUNNER FILMS - VEHICLES The vehicles in the Blade Runner films are defined by the iconic Spinner, a dual‑mode VTOL...
08/11/2026

BLADE RUNNER FILMS - VEHICLES

The vehicles in the Blade Runner films are defined by the iconic Spinner, a dual‑mode VTOL craft capable of driving, hovering, and high‑speed flight through fictional jet and anti‑gravity systems. Designed by Syd Mead and fabricated by Gene Winfield, the original 1982 Spinners combined angular, aerodynamic forms with practical engineering—some were built on modified Volkswagen Beetle chassis for ground shots, while others were lightweight shells used for crane‑assisted “flight” sequences. Their illuminated pods, gull‑wing doors, and detailed cockpits helped ground the futuristic design in believable industrial realism.
In Blade Runner 2049, Spinners evolve into heavier, more tactical machines, including K’s LAPD Spinner with drone bays, reinforced panels, and sharper brutalist geometry. Civilian vehicles appear boxy, utilitarian, and weather‑scarred, reflecting the world’s environmental decline and social stratification. Across both films, vehicles function not just as transportation but as extensions of the city’s vertical, decaying futurism, reinforcing the narrative’s blend of technological ambition and urban collapse.

1 - Police Spinner

2 - Deckard's Sedan (Police Sedan No. 56)

3 - 5 Gaff's Spinner

6 - Ad Blimps

7 - Luv’s Spinner

8 - 10 Officer K’s Spinner

BLADE RUNNER FILMS - ARCHITECTURE The architecture of Blade Runner presents a dystopian haunting vision of urban futuris...
08/07/2026

BLADE RUNNER FILMS - ARCHITECTURE

The architecture of Blade Runner presents a dystopian haunting vision of urban futurism where towering megastructures, brutalist forms, and neon‑soaked streets converge into a dense, multilayered metropolis. It embodies a “used future” aesthetic in which decay, overcrowding, and cultural hybridity shape a city built on top of its own past. Central to this visual language is the film’s incorporation of Frank Lloyd Wright’s Mayan Revival architecture, most notably through Deckard’s apartment, which draws directly from the textured concrete block patterns of Wright’s Ennis House. By integrating Wright’s geometric ornamentation into a retro‑futuristic interior, the film bridges ancient architectural symbolism with speculative modernity, reinforcing themes of memory, identity, and urban stratification. Through monumental corporate pyramids, richly layered interiors, and endlessly vertical skylines, Blade Runner portrays architecture as both a symbol of human ambition and a reflection of societal collapse. Its visual language remains one of the most influential in cinematic history, defining the architectural identity of the cyberpunk genre.

BLADE RUNNER At BMM this August, we will be exploring the world according to the Blade Runner films. We will continue pr...
08/04/2026

BLADE RUNNER

At BMM this August, we will be exploring the world according to the Blade Runner films. We will continue promoting the legacy as well as the heritage of the Modern Movement from a dystopian future that already started back in 2019; a lot of great things will continue to come. Thank you very much for following us and all your support! Please stay tuned! "More human than human is our motto" - Tyrell Corporation

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