Wolf Prix discusses the importance of drawing in his own work, and in the work of Raimund Abraham. He describes his discovery of 3D modeling, and demonstrates recent applications in the Pavilion 21 MINI Opera Space (2010) in Munich. He discusses how robotic construction may make realizing complexity economical.
Video Archive | Drawing (109)
Wolf Prix begins by speaking of Raimund Abraham as a friend and founding father for a generation of Viennese architectural rebels. He identifies in Viennese architecture from the Baroque to now a concern with spatial sequences. He surveys many works by Abraham from the 1950s and 1960s, relating them to his own work, and work by Hans Hollein, Walter Pichler, and Günther Domenig. Prix discusses the importance of drawing in his own work, and in the work of Abraham. He concludes by discussing recent projects, including the Dalian International Conference Center (2012); the Open Parliament of Albania project (designed 2011); the House of Music II, Aalborg, Denmark (2014); a small church in Hainburg, Austria (2011); and the European Central Bank, Frankfurt (2014).
Marcelyn Gow reviews dozens of thesis projects produced by SCI-Arc graduate students 2006-2013. She stresses the significance of minute nuances of line: frayed, tangled, calligraphic, fuzzy, sharp. She discusses projects in terms of lines defined by folds, flips, stacks, trajectories, and tomographs. She concludes with remarks on the rhetoric of color: black and white, greyscale, and embracing color as a material property.
Marcelyn Gow reviews dozens of thesis projects produced by SCI-Arc graduate students 2006-2013, stressing the significance of minute nuances of line: frayed, tangled, calligraphic, fuzzy, sharp. She also discusses projects in terms of lines defined by folds, flips, stacks, trajectories, and tomographs. She concludes by classifying recent SCI-Arc thesis projects into fourteen categories inspired by “The Analytical Language of John Wilkins.”
Elizabeth Diller responds to questions and comments from the audience on her process, architectural affiliations, and time as an element of the design. She also responds to comments on the difference between the early works which critically engage with the tools of representation with the more recent work, and also the austere coolness of the old work with the more engaging warmth of the new.
Andrew Zago presents a series of two-dimensional works. First, a series of studies in which commercial cardboard boxes have been unfolded and tiled. He relates this work to a recent graphic installation in a stairwell in Kyoto. Then he shows without comment a series of drawings and sketches, mostly black on white.
Andrew Zago begins by discussing other architects, personal friends, strangers, long-time influences, intermittently influential presences, and people he productively misunderstands, from Jeff Kipnis, Neil Denari, to Ledoux and Sylvia Lavin. Zago discusses two recent chair designs: Boing! and Zag-Zig. He presents a series of two-dimensional works, including a series of drawings and sketches, mostly black on white. Zago discusses his entry in the 2010 competition for a Museum of Modern Korean History in Seoul, emphasizing how his longstanding formal interests engaged with the site to generate a design that created a Korean public space without historic imagery. Zago discusses his team’s project for the Museum of Modern Art’s 2011-2 Foreclosed: Rehousing the American Dream exhibition. Invited to propose an alternative future for a large suburban development in Rialto, California, that was stalled by the 2007 financial crisis, Zago led a team of developers, engineers, environmentalists, and planners to explore alternatives to suburban monoculture. Zago surveys architectural perspective from Leonardo to Ed Ruscha as an introduction to his and Laura Bouwman’s 2008 XYT: Detroit Streets video loop, and the main animation for the MOMA presentation of the Rialto project.
John Enright proposes that Andrew Atwood’s work is less concerned with the mechanics of robots, and more about the notion of indeterminacy. Atwood argues that the object is at the center of architecture and that drawing is the primary medium of architecture. He maintains machines are a part of this history. Atwood shows images of his work and asserts that he is not interested in emotive or atmospheric affects but rather objects revealing their own logic. The presentation concludes with questions from Todd Gannon and members of the audience.