Eric Owen Moss begins his lecture by declaring that architecture is simultaneously and dialectically poetry and content. He compares city planning to soccer as a system with an underlying order and method, but with an appearance of freedom from order. Moss reflects on the idea that buildings are about almost nothing or almost everything. He discusses his work in Culver City, referencing a Taoist shrine in Kyoto, the configuration of centripetal and centrifugal forces, a Hindu dancing Shiva, and a musical score by John Cage.
Videos | Yearly Archives2000 (8)
Herman Hertzberger lectures on projects spanning from the early 1970s through 2000. He described the main focus of his work as communal and social space. Hertzberger works to achieve these through multiplying of sight lines in order to see as many people as possible, through the creation of more stairs than necessary for circulation in order to create informal gathering spaces, and by never closing space off in corridors.
Following an introduction by Karl Chu, Jesse Reiser presents a recent paper in addition to three projects. Reiser first reads The New Fineness, a paper dealing with a methodology based on a fine scale of structures and organizations expanded to address larger scale interactions and requirements. He presents the East River Corridor project, the Graz Music Theater and the West Side Convergence project and discusses his working methodology as well as the movement of ideas between scales.
Peter Zellner introduces Japanese architect Waro Kishi and Singaporean architect Ang Gin Wah. Waro Kishi begins with a discussion of the cities of Singapore, Hong Kong, and Kyoto, stressing contemporary problems and issues. Later, Ang Gin Wah reflects on Singapore and the country’s transition. He shows his work and talks about his practice in the context of his interest in traditional building, Confucianism, and contemporary art and trends in Singapore.
Gregg Pasquarelli and Christopher Sharples of SHoP Architects, New York, describe the development of systems that can be configured as a thickened membrane that addresses and responds to variable environmental influences. They discuss how this kind of responsive methodology can absorb different kinds of influences but maintain integrity. They present their projects Mitchell Park in Greenport, New York; V-Mall for Queens; and The Museum of Sex.
Rub?n Ortiz-Torres begins by showing a video of a lowrider truck called Alien Toy that is immediately followed by a live video performance using puppets accompanied by a live DJ. He is then introduced by Gustavo LeClerc who mentions that Ortiz-Torres was born in Mexico in 1964 and attended both the Academy of San Carlos in Mexico City and Cal Arts, and was a Fulbright Scholar. Ortiz-Torres speaks about his work in terms of the dislocation and displacement of immigrants parallels the dislocation and displacement of artists in the art world. His work in photography, video, and various types of appropriated media seeks to capture moments of clashing and mixing cultures and appropriate them to art.
Mathias Klotz describes several projects in Chile from the past decade. The buildings are either rectangular boxes, or contain rectangular elements. The modernist houses are located on spectacular wilderness sites.
Clive Sall discusses projects produced with FAT (Fashion, Architecture, Taste), and collaborative activities to disrupt public spaces, including the People’s Princess bridge for London, the Outpost project at the Venice Biennale, his banned Satanic billboard, a bus shelter, projects employing photography, and an “African house within a house.”