Mark Foster Gage discusses the aesthetics of computation by explaining the role of process and how architects can rethink the computer’s role in the end result. Gage describes moving beyond the view of the computer as a simple set of techniques, and advocates taping into the aesthetic qualities produced by computers. Gage considers the role of the “processor” by explaining how architects take technique and material aspects and allow innovation to come from within the practice.
Videos | Yearly Archives2007 (14)
Suha Ozkan presents an overview of his experience as an organizer of a competition for the master plan of Istanbul as well as another competition for the redevelopment of the Kartal district. Three offices competed for each project, each with a different strategy for re-imagining Istanbul’s position within it’s complex geo-political and historical setting. The winner of the competition, Zaha Hadid, faces unique challenges in realizing the project, which Ozkan is charged with navigating.
Director of the MIT Media Lab Smart Cities research group William Mitchell presents two of the group’s recent projects: the CityCar and the RoboScooter. Mitchell discusses the potential impact of these “mobility devices” on cities including New York and Taipei. The concepts of mesh networks, intelligent energy use and modularity are all considered in the description of his current work.
Meejin Yoon and Eric H?weler are award winning practitioners of a “multidisciplinary practice, operating in the space between architecture, art, and landscape.” For this lecture Public Works: Projects In Play they discuss the three notions of play that factor into their designs; play as a “cultural activity, as materials coming together, and putting something in play.” These three notions are made clear through their presentation of several projects including White Noise White Light created for the 2004 Olympics in Athens, and Loop an unbuilt design for PS1 MOMA.
Craig Hodgetts and Ming Fung discusses their installation kē ärō‘ skŏŏr’ō with Eric Owen Moss. The installation consists of roughly 180 wall-mounted ellipses that were back-lit with LED lighting. The pattern is taken from a photograph of Nina Simone, which is faintly recognizable. Moss likens their project to the Zip-a-Tone
screentone product once common with cartoonists. Hodgetts and Fung describe some the the serendipitous aspects of the project. Hodgetts referrs to the installation as a way of “painting with light,” and “place-making device” similar to a Zen rock garden.
Inside the “Dragonfly” installation, Eric Owen Moss moderates a discussion with the designer, Tom Wiscombe and Kevin Regalado of the firm Emergent, and Steve Boak and Matthew Melnyk of the engineering firm Buro Happold. The panelists discuss “Dragonfly” as an experiment in the fluid feedback of design sensibility, engineering innovation, and the digital fabrication.
SCI-Arc faculty member Andy Ku introduces CJ Lim. Lim reflects on the connotations of Being English and how British culture, humor, inventiveness and multiculturalism are an inspiration to his own practice. He emphasizes his interest in narrative and the telling of stories through projects and the poetics of architectural drawings and models. Lim presents some of his practice’s Studio 8 work, with a special emphasis on the project for the Venice Architecture Biennale in 2004.
Steve Roden describes himself as a “painter who also works with sound.” From his childhood drawings to his full-scale installations, Roden discusses the ideas behind his diverse body of art work. Roden describes how he conveys his sense of the feelings evoked by space through manipulated audio recordings. He also describes the coding behind his generative art, which translates an input, yet cannot be traced back to it.