Stephanie Smith presents a collection of her work from the last two years while focusing on the topics of resource sharing, communal living, and her inspiration from indigenous building practices. She documents two projects in detail. The first is the “Yurt,” a portable, bent wood framed dwelling structure constructed in the Philippines and later marketed to high-end hotels. The next project is the “Ecovillage,” in which Smith explores the relationship between architecture and money while developing a strategy for communal living in existing suburban structures.
Videos | Yearly Archives2008 (25)
Jennifer Siegal is a SCI-Arc graduate, and the founder and principal of the Office of Mobile Design (OMD). Siegal is interested in the “environmental consequences of auto-mobility,” and in “using design to affect social mobility.” Her ideas of mobile architecture are not confined to portability but also take on the implications of time and place. Through the presentation of her work she discusses the principles that drive OMB such as sustainability, research, and mass-customization.
SCI Arc’s Future Initiatives program hosts a symposium with Kevin Ratner, David Bergman, Dan Wood, Peter Zellner, and Rene Peralta. The panelists discuss the recession spurred by the financial crisis of 2008. While investigating the architectural implications of the slowed economy, the group discusses in general the role of the architect in urban policy making, the future of the crisis, and the possibility that smaller firms will emerge in a better position than established ones.
Christopher Michlig presents his recent work as a Los Angeles based installation artist. The projects documented were completed between 2007 and 2008, and encompass collage, typography and video art. Michlig presents his influences and interest in biographical work. Finally, Michlig
discusses the political and social issues inherent in his work.
Annie Han and Daniel Mihalyo’s Lead Pencil Studio is an interdisciplinary practice with a focus on art installations, and architecture projects. While their interdisciplinary cross-pollination has earned them awards, and recognition, Han declares that their work in architecture and art are separate. Han draws a clear distinction between the two, their art is essentially “architecture without any of its function.” The spatial experience, as Mihalyo explains, is paramount, as opposed to seeing space as an object.
Greg Walsh reviews his extensive experience in exhibition design, focusing on how he takes inspiration from the work and the space to create organization, hierarchy
and circulation. He outlines practices in exhibit curation, as well as, ideas about context, light, material, and communicating history.
Tom Wiscombe describes his practice as extracting architectural implications from natural, biological, and adaptive systems. He is interested in the relationship between structural, mechanical, and tectonic systems, and their integration as a way to develop form and space. Wiscombe presents several multi-optimized or multi-purpose systems that can be seen in nature as a lead-in to his own work. Wiscombe stresses that he is not seeking to develop the most efficient structural or mechanical systems, but rather an architectural vocabulary that favors speciation (variations and hybrids), with elements that can be understood as ornament but are still functional.
Peter Zellner discusses the current focus of his office, and their work in designing gallery spaces. He describes his design process, the relationship between art and architecture, and the relationship between designer and artist. Zellner ends with a question and answer session, in which he describes how geometries play out in his work.