Jeffrey Kipnis prefaces the final conversation of the Look! You got it all wrong series by introducing the session’s topic: history. Eric Owen Moss proposes history as a way of defining coordinates to orient oneself, presenting images ranging from the Nazca lines to Lucien Freud, and quotes from Ecclesiastes to Veronica Wedgwood’s “History is an art–like all the other sciences.” Kipnis and Moss discuss precedents, experience, significance, and learning about architecture historically. With a student in the audience they discuss John Lukacs’s The Hitler of History.
Jeffrey Kipnis begins the fourth and final conversation of the Look! You got it all wrong series by introducing Eric Owen Moss and the session’s topic: history. Moss proposes history as a way of defining coordinates to orient oneself. He presents images of the Nazca lines, and pictures by Goya, Dürer, Blake, Lucien Freud, and discusses quotes from Kierkegaard, Nietzsche, Isaiah, Ecclesiastes, Owen Barfield, and Veronica Wedgwood’s “History is an art–like all the other sciences.”
Jeffrey Kipnis and Eric Owen Moss discuss topics related to history, including precedents in architectural discourse, the value of experience, significance in architecture, learning about architecture historically, publications versus building.
Todd Gannon proposes five guidelines to graduate students embarking on their thesis, starting with Privilege Difference Over Similarity and Avoid Cliché Making.
Todd Gannon continues his presentation of five guidelines for thesis with Point #3: Privilege How Over What, Point #4: Develop New Vocabularies, and Point #5: Enfranchise New Constituencies.
Todd Gannon proposes five general guidelines to graduate students embarking on their thesis:
- Privilege Difference Over Similarity
- Avoid Cliché Making
- Privilege How Over What
- Develop New Vocabularies
- Enfranchise New Constituencies
Andrew Zago briefly outlines the recent trajectory of thesis at SCI-Arc, stressing the ideas of relevance and plausibility–which he distinguishes from feasibility and practicality. He illustrates the difference with the progression from Taut’s Alpine Architecture (1917), to Mies van der Rohe’s 1921 Friedrichstrasse tower, and SOM’s 1952 Lever House.
Andrew Zago briefly outlines the recent history of thesis at SCI-Arc in terms of relevance and plausibility, illustrating how a project’s plausibility might be made visceral through the visual presentation strategy. Zago distinguishes working through tradition from taking refuge in tradition. On the theme of technique, he distinguishes architectural drawing from illustration, and technique and the technical. He ends with work by Foujimoto, Gehry and Nouvel that pose challenges in terms of how they might be presented.