Video Archive | Architecture in Los Angeles (87)

Kenneth Frampton & Eric Owen Moss Dialectical...
Kenneth Frampton responds to questions from the audience concerning his criticism of OMA's CCTV Headquarters in Beijing, the new...
Graduation 2013-clip_8264
Jean-Louis Cohen characterizes SCI-Arc as the intersection of L.A.'s architecture culture and a culture of subversion, which...
Graduation 2013
Eric Owen Moss begins SCI-Arc's 2013 commencement by describing thesis weekend and the Graduation Pavilion as expressions of...
Eric Owen Moss In Conversation With Sylvia Lavin-clip_8244
Eric Owen Moss points out the relevance of Sylvia Lavin's series of conversations for Making + Meaning students in the audience,...
Eric Owen Moss In Conversation With Sylvia Lavin-clip_8245
Using the Ave Piladas's 1980 Venice Beach group portrait as a point of reference, Sylvia Lavin and Eric Owen Moss debate how...
Confederacy Of Heretics Symposium Eccentric Projections
Todd Gannon identifies the topic as architectural drawing circa 1979 and its implications for architectural drawing now. Andrew...
Confederacy Of Heretics Symposium Eccentric...
Todd Gannon frames the afternoon's discussion as a consideration of architectural drawing circa 1979 and its implications for...
Confederacy Of Heretics Symposium Eccentric...
Andrew Zago explains his analysis of the Heretics' work in terms of a taxonomy of seven spatial projections: parallel projection,...

Kenneth Frampton & Eric Owen Moss Dialectical Lyric-clip_8413

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Kenneth Frampton responds to questions from the audience concerning his criticism of OMA’s CCTV Headquarters in Beijing, the new Barnes Foundation building, clients, and current architecture in Los Angeles.


Graduation 2013-clip_8264

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Jean-Louis Cohen characterizes SCI-Arc as the intersection of L.A.’s architecture culture and a culture of subversion, which continue to make the school an essential source of new ideas about space, construction and geometry. He congratulates the students on the three kinds of education they have enjoyed: explicit training in the curriculum, practical experience working in offices, and the latent training derived from L.A.’s distinctive urban context. With this background, Cohen urges new graduates to reconfigure thought and practice in ways that resonate in Los Angeles, and beyond.


Graduation 2013

Eric Owen Moss begins SCI-Arc’s 2013 commencement by describing thesis weekend and the Graduation Pavilion as expressions of SCI-Arc’s values.  Jean-Louis Cohen characterizes SCI-Arc as the intersection of L.A.’s architecture culture and a culture of subversion, which continue to make the school an essential source of new ideas about space, construction and geometry. Eva Franch i Gilabert remarks that while her education stressed what architecture was, SCI-Arc’s culture stresses what architecture could be. She advises the recent graduates to resist becoming either one of the three dominant types of architect–the Enabler, the Iconographer, or the Agitator–but strive to be all these at once, a fourth type she names the “SCI-Arc Architect.” Alumnus Stuart Magruder (M.Arch 1997) encourages the new graduates to get licensed and contribute an architectural viewpoint to public debate. Graduating M.Arch student Stefano Passeri describes his educational experience as learning how to change, and learning from each other, in a community where it’s impossible not to share. Hsinming Fung presents the Alpha Rho Chi Medals, Henry Adams Medals, Henry Adams Certificates and SCI-Arc Service Awards. Hernan Diaz Alonso and John Enright present the graduating B.Arch, M.Arch 1, M.Arch 2 and ESTM and SCIFI students with their diplomas. Moss presents the merit awards for best undergraduate and graduate thesis, and the SCI-Arc Gehry Prize.

Clips

Graduation 2013-clip_8273
Graduation 2013-clip_8273
Themes:
Eric Owen Moss presents the merit awards for best undergraduate and graduate thesis, and the SCI-Arc Gehry Prize.
Graduation 2013-clip_8272
Graduation 2013-clip_8272
Themes:
John Enright and Hernan Diaz Alonso present the graduating Emerging Systems and Technologies/Media and SCI-Arc Futures...
Graduation 2013-clip_8271
Graduation 2013-clip_8271
Themes:
John Enright and Hernan Diaz Alonso present the graduating M.Arch 2 students with their diplomas.
Graduation 2013-clip_8270
Graduation 2013-clip_8270
Themes:
John Enright and Hernan Diaz Alonso present the graduating M.Arch 1 students with their diplomas.
Graduation 2013-clip_8269
Graduation 2013-clip_8269
Themes:
Hernan Diaz Alonso and John Enright present the graduating B.Arch students with their diplomas.

Eric Owen Moss In Conversation With Sylvia Lavin-clip_8244

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Eric Owen Moss points out the relevance of Sylvia Lavin’s series of conversations for Making + Meaning students in the audience, in demonstrating ways of talking about architecture. Lavin asks Moss why he became an architect. They discuss his educational experiences at Berkeley and Harvard, and working in William Pereira’s office in L.A.


Eric Owen Moss In Conversation With Sylvia Lavin-clip_8245

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Using the Ave Piladas’s 1980 Venice Beach group portrait as a point of reference, Sylvia Lavin and Eric Owen Moss debate how architectural practice was structured in L.A. in the Seventies, and the relevance of that model today. They discuss SCI-Arc, and Lavin asks Moss to articulate what his years as director might mean.


Confederacy Of Heretics Symposium Eccentric Projections

Todd Gannon identifies the topic as architectural drawing circa 1979 and its implications for architectural drawing now. Andrew Zago explains his analysis of the Heretics’ work in terms of seven spatial projections. The four panelists each discuss a drawing that they feel relates to the work in the Heretics exhibit: Annie Chu on a composite plan/elevation/section from Frank Israel’s office; John Enright on a frontal axonometric projection by James Stirling; Wes Jones on an exploded view drawing of a Douglas Skyhawk jet fighter; and Andrew Zago on one of the Micromegas by Daniel Libeskind (1978-81). The panelists discuss the autonomous architectural drawing, the opposition of making a drawing versus making a thing, the presence or absence of virtuosity now, and the influence of new tools in general. Hernan Diaz Alonso concludes the symposium by identifying an alternative set of cultural coordinates for 1979, doubting there is any point in looking back at this work, except as a register of what is valued now.

 

 

Clips

Confederacy Of Heretics Symposium Eccentric...
Confederacy Of Heretics Symposium Eccentric Projections-clip_8189
Confederacy Of Heretics Symposium Eccentric...
Confederacy Of Heretics Symposium Eccentric Projections-clip_8190
Confederacy Of Heretics Symposium Eccentric...
Confederacy Of Heretics Symposium Eccentric Projections-clip_8191
Confederacy Of Heretics Symposium Eccentric...
Confederacy Of Heretics Symposium Eccentric Projections-clip_8192
The panelists discuss the opposition of making a drawing versus making a thing, paradigmatic versus idiomatic drawings, the...
Confederacy Of Heretics Symposium Eccentric...
Confederacy Of Heretics Symposium Eccentric Projections-clip_8193

Confederacy Of Heretics Symposium Eccentric Projections-clip_8189

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Todd Gannon frames the afternoon’s discussion as a consideration of architectural drawing circa 1979 and its implications for architectural drawing now. He points out how 1970s architectural ideologies were invested in specific drawing styles, from the New York Five to  Beaux-Arts influenced postmodernists, and how the Heretics architects seemed to work across these battle lines.


Confederacy Of Heretics Symposium Eccentric Projections-clip_8190

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Andrew Zago explains his analysis of the Heretics’ work in terms of a taxonomy of seven spatial projections: parallel projection, perspective, plan rotation, flat projection, sectional rotation, graphic wrap and eccentric projection.