Chief Disney Imagineer Christopher Carradine discusses the role of architecture as a vehicle for communication, storytelling, and spectacle. Christopher Carradine tells some of the financial and artistic motivations behind the development of the first Disneyland theme park in Anaheim. The park was approached like a movie, employing animators who worked on elaborate storyboards. Carradine characterizes the Euro Disney project as a decoding of European culture in a Disneyesque way. He notes that in designing for Europe, the Imagineers pay extra attention to detail, because Europeans are already surrounded by whimsical architecture. Carradine describes how their designs synthesize a lot of historical imagery and influences, such as world fairs, movies, boardwalks, and industrial archaeology. He discusses historical architecture references as a way of encapsulating history, and merging object, space and experience. He discusses the relationship between space, place and live special effects.
Videos | Yearly Archives1991 (15)
Ireland explains his methodology of gathering materials that become the tools to implement ideas. He illustrates this with his Victorian house at 550 Capp Street, in San Francisco, the renovation of which generated the creation of several sculptures and installations. Ireland discusses architectural works, building renovations, art pieces designed for museums, gallery exhibitions and private commissions. Ireland concludes the lecture by showing his latest works.
With photographs, quotations and his own words Allan Sekula meditates on the intersection of technology, representation and people in two distinctive kinds of places: military and maritime spaces. He discusses the 1971 Los Angeles County Museum of Art exhibit “Art and Technology.” Sekula presents photographs from his 1991-6 series “War Without Bodies,” a reference to the ideology of a supposedly clean, remote-control, disembodied warfare promoted during the first Gulf War of 1991. Sekula tells the story of the U.S.S. Iowa, which mysteriously exploded during practice firing in 1988, killing the entire crew. Sekula compares military space with maritime space.
Elizabeth Plater-Zyberk speaks of her efforts to produce good urban designs that reduce sprawl and dependency on cars. One of her firm’s most renowned urban plans, Seaside is the embodiment of the neighborhood layout she proposes, where the town has a central focus and the housing is located within a reasonable walking distance from that locus. By addressing parking and integrating mixed use buildings, this scheme proves that it is a viable alternative to suburban subdivision plans that have been built almost exclusively in North America since World War Two. Plater-Zyberk proposes rewriting zoning codes to at least allow for alternatives like Seaside to occur, if not to prevent typical suburban tracts from being built.
Christopher Macdonald discusses the concept of custodianship of the land, referencing the way a Mennonite community in Bolivia organizes itself. Macdonald explains what he terms as the “enduring nature” of materials, while documenting the use of materials in his work. Macdonald explains the influence of entropy, natural forces, and non-Cartesian forms on his work. Macdonald presents a series of projects completed in collaboration with Peter Salter. The first is an extension to a museum, which responds to light and the slope of the territory. He presents a project for a convention center and housing units in Berlin. He discusses a folly for the International Garden and Greenery Exposition in Osaka in terms of man and nature in the 21st century, and presents many construction details.
Lebbeus Woods discusses a selection of conceptual projects developed in the last five years. The projects are a series of experimental underground and floating structures that are developed for the cities of Berlin, Paris and Zagreb. In a time of change and conflict in some of these cities, the projects intend to deal with the specific cultural and political implications of each location as well as creating a sense of ambiguity about function and form. Woods challenges architecture to engage with what is occurring in the world and not only restrain itself to questions of aesthetics, form and function.
Moderator Mark Winogrand introduce the panelists: Doug Gardner, Jon Jerde, Cliff Ratkovich, William Fain, and John Kaliski. Gardner outlines the Playa Vista community project; Jerde discusses the Makuhari Town Center, Fashion Island, Del Mar Plaza, Universal City Walk and Namba, Osaka; Ratkovich surveys the design and planning of The Pike at Rainbow Harbor in Long Beach; Fain discusses Kapolei City on Oahu, Indian Wells, and Los Angeles Center; Kaliski discusses the design review process. After the presentations, Winogrand engages the panelists with questions submitted by the audience on design standards, reassuring versus challenging the public, authentic versus inauthentic environments, and consumerism.
Ray Kappe gives a comprehensive account of his career, covering his buildings, urbanism, and SCI-Arc. He describes the modernist architects of Southern California who influenced him, and presents his own projects from the 1950s and 1960s, defining his personal style as wood post and beam construction, emphasizing a strong connection between interior and exterior, achieved by large expanses of glazing, most influenced by Harwell Hamilton Harris, and Richard Neutra. He describes his interests in urban planning, and education with the founding of SCI-Arc. Since the energy crisis in the 1970s he has tried to include energy efficiency in all his buildings, noting that this isn’t antagonistic to good design.