Michael Graves begins by contrasting classical and modern approaches to architecture, citing Etruscan wall paintings, a Biedermeier painting by Georg Friedrich Kersting, the Crystal Palace, Le Corbusier, and Mies van der Rohe. Graves comprehensively reviews his recent projects, including the Disney headquarters in Burbank, his controversal design for an addition to the Whitney Museum, and the Portland Building. As the target for much negative criticism, Graves advocates criticism that cultivates dialogue, not criticism that silences. He also warns students against thoughtlessly imitiating classical forms.
Videos | Yearly Archives1987 (22)
Steven Holl presents an abbreviated text and accompanying project sited in Milan, Italy. This text focuses on his experiments in urbanism, dealing with densities, the relationships between perspective and plan in understanding a city, programming in parallel to designing, and the tactile impression of a city. Holl reads from this text while displaying accompanying images and diagrams to illustrate his intentions. He finally presents his project for a large site on the outskirts of Milan which incorporates many programmatic concepts and organizational methods of gradiated density.
Marianne Burkhalter begins with a discussion of temporary, non-permanent structures. She discusses the influence of Superstudio, her time living in the U.S., and working with Robert Mangurian. She presents a number of projects completed in her studio in Zurich, including a train station, and several small-scale wood construction projects. She concludes the lecture with a project for a sculpture exhibition.
Tod Williams and Billie Tsien present a series of residential projects. They present work on a smaller scale, and in a more conceptual mode. They conclude with a series of urban scale projects.
Hans Hollein holds an open discussion where students ask numerous questions and Hollein discusses a variety of topics. He stresses the great opportunities offered by little projects. He speaks about Austria, Vienna, their cultural traditions, and the pros and cons of that heritage. He discusses several important trips, especially in the U.S. He describes his own approach as a mix of theory and intuition. He discusses the problem of designing spaces for contemporary art.
Hal Foster begins by reciting the text of a recent newspaper ad in which AT&T argues for “Telecommunity … a vast global network of networks, the merging of communications and computers ….” Foster wonders if there is a kind of architecture that can resist “Telecommunity.” He reviews and dismisses a range of options. Foster proposes a “neofuturism” to critically engage contemporary technology in a world in which science no longer has any existence apart from economic life, creating an erosion of boundaries between bodies, machines, nature and artifice. Foster wonders what “a valid technopolitics for the First World” might be. He discusses some possible positions, stressing the dominance of the “permanent war economy.”
Wolf Prix identifies the moment of conception
and the pursuit of “open architecture” as the two main issues faced by his practice. He discusses a number of projects that engage these issues, ranging in scale from a single-family house to urban master plans. Prix discusses the struggle to maintain a unified method of production across these widely varying scales.
Herman Hertzberger comments on the difficulty of presenting new work every time he speaks at SCI-Arc because of the fact that his work progresses very slowly. Discussing the interior of his music center in Utrecht he stresses the importance of not filling the entire hall with seats, in order to leave space for people to dance during concerts and to stand. He discusses his own strategies for high density housing, arguing that Le Corbusier’s work is misunderstood. His most recently completed project is for an addition to an existing museum in Berlin, for which he proposes a landscape of long, linear all?es.