Dan Graham describes his various pavilion installations, and explains that he is only interested in pavilions as exhibition space rather than creating a sculpture for a museum. He talks about the influence of Mies van der Rohe’s Barcelona Pavilion and the effect of how “nature could exist in a cubist play of reflections.” Graham talks about his work as “somewhere between architecture and sculpture,” and his interest in their intersection while avoiding “utopian self-contained objects.” In describing his “favorite unbuilt project,” Graham states the “cinematic” is a component of all architecture. Graham describes his preference for a limited palette of materials and avoiding color.
Videos | Yearly Archives1986 (18)
Thomas McEvilley discusses the human figure and its representation throughout human and art history from ancient civilizations until modern times. McEvilley investigates certain types of content, which are always present but seldom acknowledged or critically used. He reflects on the way that human beings have represented themselves though history by focusing on two themes, representation and self.
Silvetti discusses perspective and space as they relate to art and architecture. He stresses the importance of understanding systems of representation of space in their historical context. He quotes Gotthold Ephraim Lessing on the uses of different media, as well as Rosalind Krauss on sculpture in the expanded field. He discusses in detail his project for uniting the public squares of Leonforte, Sicily, pointing out its engagement with perspective.
Holt shows slides of her work around the country for the last 18 years. She describers her work as site-specific public art. Holt begins by explaining her tunnel works. She shows a series of pipe, water and electricity pieces. At the end, Holt discusses her landscape and large-scale park designs.
After a brief introduction by Reyner Banham, G?ran Schildt discusses Alvar Aalto as a mediator between the classical and the modernist traditions. Schildt presents texts written by Aalto, and demonstrates Aalto’s interest in architectural research with examples from Aalto’s work.
Artist Mary Miss is introduced by Robert Mangurian, who stresses the importance of collaboration between architects and artists. Miss shows her work and talks about her evolution as an artist. Miss discusses her interest in the viewer’s physical involvement with her art, her interest in film and set design, and her desire to initiate an emotional response from viewers. Miss also discusses her collaboration with Susana Torre, and her personal process of design.
Itsuko Hasegawa presents several of her projects until the date. These include a winning competition entry for a three-program theater, children and sports centre hall, as well as some of her early low cost residential projects and an award winning memorial hall for a high school. Hasegawa addresses issues of Western versus Eastern design and how she aims to merge both in her work without setting apart Japanese traditional architecture and culture.
William Pederson, of Kohn Pederson Fox, describes their work, which is mostly skyscrapers. Pederson discusses his architectural intentions and personal priorities. He describes the unique urban conditions of the individual projects, and argues that the towers try to positively effect the surrounding community. Pederson ends with a question and answer session.