Gow discusses the blurring of pure form and geometry through the integration of vegetation and biological interventions. She presents reconfigurable parasitic elements which animates the interaction with the site.
Video Archive Subclip | Yearly Archives2010 (101)
Gow presents projects at a larger architectural scale. They employ varying degrees of balance and imbalance in both vegetation and landscape as a way of forming an architectural identity. Gow touches on the sustainability aspect of green roofs, and also the possibility of creating an immersive experience of living material.
Hernan Diaz Alonso introduces Marcelyn Gow, whose work he characterizes as radicalizing architecture through the integration of art and interactivity. Gow presents a series of projects, characterizing her methods as shifting away from traditional architectural approaches. She studies systems, circuitry, hardware and the feedback between the digital and physical.
Coy Howard answers questions from Eric Owen Moss about his installation in the SCI-Arc gallery. Moss asks about the problem of dealing with banality in a project that has so many subtleties. Howard explains that it’s necessary to spend time with this project in order to let it sink in. Moss refers to Howard’s concept of visual braille and asks what the work is supposed to show us that we cannot normally sense. Howard responds that he cannot answer the question directly, but he tells a story about people’s reactions to the installation that illustrates how the work get at a sensibility in architecture of a sensory experience that is often absent.
Coy Howard answers questions from Eric Owen Moss about his installation in the SCI-Arc gallery. Moss asks if and how the work qualifies as architecture and how functionality fits into the discussion. Claiming that those subjects do exist in his work, Howard argues that it is the wrong way to frame the discussion because the work simply represents an exploration of his personal interests. For example, although the work is not intended as a critique of another way of working, the project was created with the awareness of a tendency on contemporary architecture to use single surfaces. Howard also explains the importance of the text and how it amplifies the experience of the installation.
Coy Howard answers questions from Eric Owen Moss about his installation in the SCI-Arc gallery. Moss begins referencing the riddle of the sphinx and the Gordian knot, suggesting that Howard’s work may be too didactic in that it represents only one person’s views. Howard explains that his work is about experience and that the graphics, writing, and objects in the work provide a multi-sensory input that allows for processing in many different ways. Admitting that it does represent his point of view that mystery is the ground of experience. He claims that the role of his work is to arouse a sense of curiosity and mystery.
Griffin concludes with a discussion of several institutional projects. A proposal for a SCI-Arc Cafe employs a mobile element external to the existing building which would traverse the length of the campus on railroad tracks. She characterizes it as a recognition of the multiple centers of the school, and an indicator for campus activities throughout the day. A project for a church sanctuary integrated the existing space with new ducting and lighting. Griffin finishes with a school renovation, the limited budget of which required each architectural move to accomplish many goals at once.
Griffin continues her lecture with a presentation of
several residential projects. She describes her goal as invigorating the residential context. She discusses site constraints and strategies to expand the impression of volume within a small plot and minimal footprint. She discusses exploiting the interface between view and programmatic organization to intensify movement through the architecture. She illustrates this with projects that frame different views, draw visitors through the space, and connect the interior and exterior.