To Eric Owen Moss’s question about the name “Punk’d,” Heather Flood cites a range of non-architectural inspirations, from the styles of London punk in the 1970s to the MTV practical joke series, and how these informed her investigation of integrating architecture and graphic design. She describes how tartain fabric suggested a method of going from two to three dimensions, creating a “structural interpretation of graphic strokes.” Moss asks Flood to clarify the operational mechanism she followed in Punk’d, asking if the outcome could have been different. Flood stresses how different the experience inside the structure is from the experience of the outside.
Herwig Baumgartner, Scott Uriu discuss with Eric Owen Moss the imagery, analogies and interpretation of their Apertures installation. They debate the interactive audio component of the project, touching on the meaning of interactivity in architecture, and the role of sound in defining a space. Baumgartner and Uriu discuss the evolution of their design for Apertures, stressing the thin sheets of thermoplastic polymer resin laminated to CNC-milled polyurethane foam used to make the shells. Moss proposes Félix Candela as an analogy. Baumgartner argues that their project was less about maximizing structural efficiency than minimizing poché.
Mark Z. Danielewski characterizes the text he will read as an unpublished precursor to The Familiar, whose first of twenty-seven volumes will be published soon. A tiger in a cage observed by zoo visitors describes his situation, prompting considerations of selfhood, the body, imprisonment, amputation, voyeurism, nature, violence, pain and other issues.
After Elena Manferdini explains the history and format of the symposium, six students present their thesis proposals: Taryn Bone, Scotty Zane Carroll, Mustafa Kustur, Hannah Pavlovich, Julian Ma, and Yu Li. To begin the panel discussion, Manferdini reviews some of the key ideas that have shaped thesis at SCI-Arc over the last eight years. Marcelyn Gow, Hernan Diaz Alonso, and Andrew Zago debate what is needed now to keep thesis at SCI-Arc relevant, the crucial transition from thesis research to design, and plausibility. They discuss contexts, including the organization of thesis at the ETH, the work of the Futurists as presented at the Guggenheim. They also discuss authenticity, tools and nostalgia. Diaz Alonso stresses the unique ability of SCI-Arc students to discover new coherences. Zago defends the usefulness of engaging with abject or outré ideas. Gow distinguishes sobriety—as represented by greyscale work—from seriousness.
Florencia Pita, Joseph Rosa and Eric Owen Moss discuss the Table’s original installation at the University of Michigan Museum of Art (UMMA), and the function of color in the work. Moss lists the architectural conventions that he sees Florencia Pita’s Table as rejecting, including tragedy, technology, spatiality, structure, material …; prompting mixed agreement and dissent. The panelists respond to audience comments on the art/architecture distinction, visual art analogies, and part-to-whole issues.
Mark Lee of JohnstonMarkLee’s discusses projects that fall under the category of Single objects, including houses in Argentina, Chile, Oxnard, and Spain. In the Poggio Golo Winery, Tuscany, (2010) and the house in Brentwood (2013), the geometry begins to reflect the topography. Sharon Johnston discusses projects that are Doubled in different ways, including the house project for Ortos (2009); the Pavilion of Six Views, Shanghai (2013); and the En Sully housing development (2010). Lee and Johnston discuss projects that expand from the Double into the Multiple, such as the Grand Traiano Art Complex, Grottaferrata (2008); the houses under one roof in Kauai (2011); UCLA Graduate Art Studios, Culver City (2011); and the Menil Drawing Institute, Houston (2014).
Klaus Bollinger contrasts closed, rule-based systems with open systems that communicate with their environment, and change and grow. He goes on to contrast structures based on pressure with structures based on tension. He discusses several projects he has worked on as structural engineer, including his collaborations with Coop Himmelb(l)au on BMW Welt (2007), the Musée des Confluences (2014), Dalian International Conference Center (2012), and the Busan Cinema Center (2012). To illustrate his concept of non-orderly order, Klaus Bollinger, contrasts the diverse and imaginative bridge designs of the early industrial era with the rigidly systematic solutions popularized in the 1850s by Carl Culmann. He describes his evolutionary process in working on Dominique Perrault’s Piazza Garibaldi in Naples (2015), Mario Bellini’s Deutsche Bank tower in Frankfürt (2011), Coop Himmelb(l)au’s European Central Bank (2014), and a music pavilion for the 2011 Salzburg Music Festival with Soma Architecture.
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).