Jeffrey Kipnis and Eric Owen Moss discuss the importance of designers anticipating what will be technological feasible, stressing the element of wonder or surprise as a core value. To a question about whether new tools help or hinder this wonder, Moss argues it’s a question of seeing where the tools haven’t been. Kipnis suggests that new tools never quite solve the problem they were designed to address, but, rather, create a new mode of practice.
Video Archive | Technology (146)
Antón García-Abril begins by discussing “Beams,” i.e. projects that involve technology inserted in a site, including the Balancing Act installation at the 2010 Venice Biennale, the Hemeroscopium house in Madrid (2005). In the section “Stones,” he reviews projects that are engaged with their sites, including the Truffle House (2010), a music school in Vista Alegre (2002), the SGAE headquarters (2004), and the Telcel Theatre in Mexico City (2013). In “The Big Bang,” he discusses larger-scale projects including the 2013 Lab Towers proposal for Zhengzhou, and a 2013 proposal to exploit an existing abandoned railroad track to reorganize MIT campus.
Alex McDowell discusses his work on the film Fight Club and the process involved in creating the sets. He also shows images of and talks about his recent work on a robot opera, Death and the Powers, with MIT. A large challenge for the opera was to create an emotive experience for the audience using robotic gesture and interdisciplinary creativity.
Alex McDowell discusses his work on a number of upcoming and well known films including Fight Club, Minority Report, and Charlie and the Chocolate Factory. He also discusses changes in the filmmaking process and the overlap in tools between disciplines. McDowell also talks about his recent work on a robot opera in collaboration with MIT.
Alex McDowell describes his interest in transmedia space and the breakdown of traditional barriers between disciplines. He discusses his recent work on the film Upside Down, with director Jaun Solanas. McDowell talks about recent changes in the filmmaking process.
Florencia Pita introduces production designer Alex McDowell. Pita reads a text by McDowell detailing materials used in the film Charlie and the Chocolate Factory to create deceptively edible architectures.
Alex McDowell shows examples of his work, stressing pre-visualization techniques for Charlie and the Chocolate Factory, Minority Report, and Fight Club. He talks about the advantages of pre-vis and its use as a fundamental tool for prototyping. He also discusses his work on Steven Spielberg’s The Terminal and the recreation of an airplane terminal.
José Oubrerie shows the audience drawings given to him by Le Corbusier, and his own sketches–some produced as he addresses the audience–to explain the process behind the Church of St. Pierre in Firminy. He stresses the importance of maintaining the church’s original design, while solving problems using contemporary technology. He also discusses his own idependent work.