Hernan Diaz Alonso begins with a discussion of the word “void” and its importance in his work. For him, void relates to the autonomy of architecture. The architecture begins with internal logic, and site and contextual connections are secondary. He lists a set of principles that run through his work, including contamination, the grotesque, and affect/arousal. He discusses his P. S. 1 project and its relationship to cinema and narrative. Diaz Alonso discusses newer projects which build on P. S. 1 in exploring growth, change and the grotesque. He discusses the creation of species rather than typologies, which adapt and change in relationship to external contamination. He illustrates this with a continually downscaled project which started as a house, became a pavilion and ultimately finished as a chair, in which each stage illustrated the same formal logic. Diaz Alonso concludes with several of his most recent projects. He shows a project, featured in the 2010 Venice Architecture Biennale, which employed vegetation as an active component of the design. He confesses it turned out insufficiently contaminated, and not enough of a misfit. He shows a project which derives formal inspiration from mutilated cow carcasses, a reflection of Argentinian barbeque preparation.
Video Archive | Alexis Rochas (3)
Zago describes his current architectural interests to an audience of Making + Meaning participants. He talks about volumes, sectional objects, weak form and creating a sense of volume through relaxing symmetry. Zago discusses negative space especially and when it is achieved through incision and pressure. He shows his entry in the competition for the National Museum of Korean Contemporary History in Seoul, and other projects. Zago concludes by answering several questions about the work he showed and his architectural intentions. He feels SCI-Arc is not a mere willfulness, but rather a significant exploration into architectural limits.
Moss describes SCI-Arc’s role in promoting innovation and resisting codification of forms, techniques, styles, and methods. Moss stresses that SCI-Arc’s strength is its ability to pull from different practices as a means to inspire. He describes the importance of architecture engaging urban environments. He characterizes Los Angeles’s “lack of vision” as its secret for success, arguing that this creates the opportunity to reinvent the city’s image. Moss responds to questions, discussing the role of the architect in big infrastructural projects, negotiating public interest, and civic desires. He describes how SCI-Arc promotes such investigations.