Jeffrey Kipnis starts the sixth of the Fecundity of a Mossy Climate conversations by differentiating Devyn Weiser and Peter Testa’s research-based practice from the culturally-based practice of the previous Mossy Climate participants. He contrasts the ethos of engineering–the greatest good for the most–with the ethos of art–the greatest diversity compatible with coherence.
Video Archive | SCI-Arc (174)
Thesis proposal presentations by Garet Ammerman, Alex Blugerman, Leonora Bustamente, Eileen Won and Marilyn Hu, Mei Zhi Neoh, and Shawn Rassekh are followed by discussion by Alejandro Zaera-Polo and Jeffrey Kipnis. Zaera-Polo surveys innovative building materials and technologies since World War II, noting a disconnect between sophisticated materials and pedestrian designs. Kipnis discusses different modes of the political as they relate to architecture. He argues that science and technology, far from being in opposition to the aesthetic, can actually work together to reinforce art’s original political project. Elena Manferdini joins Kipnis and Zaera-Polo to discuss practice, facades and envelopes, the engineering model and the art model, typologies, audiences and critics.
In the first of two introductions, Tom Gilmore describes observing Eric Owen Moss closely for the last fifteen years, evolving from instigator, to teacher, to leader, and now back to instigator.
Wolf Prix and Eric Owen Moss discuss Prix’s Open House project and Moss’s work in Culver City as explorations of openness that don’t reference forms of the past.
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
Elena Manferdini describes some of the upcoming events in the Spring 2015 Thesis Research seminar following Andrew Zago’s lecture.
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 discusses how a project’s architectural plausibility can be made visceral through the visual presentation strategy, citing work by Mies van der Rohe, Isozaki, Koolhaas and two of his thesis students, Paul Stoelting and Lung Chi Chang.