Eric Owen Moss moderates a discussion with participants in the 2010 Venice Architecture Biennale. After introducing Herwig Baumgartner, Hernan Diaz Alonso, Hsinming Fung, Craig Hodgetts, Georgina Huljich, Elena Manferdini, Alexis Rochas, Marcelo Spina, and Scott Uriu, Moss begins discussion by questioning the role of events like the Venice Biennale in today’s globally-connected media-saturated world. Craig Hodgetts compares the atmosphere of the Architecture Biennale to the open, mixed culture of SCI-Arc. On the other hand, he criticizes the 2010 exhibition as a whole for lack of intellectual content, which he blames on the changing role of the Biennale. Some panelists argue that the Biennale provides an opportunity for a range of architects to communicate with the public, while other panelists doubt how open it really is. The panelists argue that the Biennale, as well as other international art fairs like it, are becoming stagnant, codifying a limited range of aesthetics and techniques. The panelists review the contents of the 2010 Biennale, contrasting the work in the Arsenale exhibition and the work in the national pavilions. They discuss criticism as a means of assessing contemporary practice.
Video Archive | Eric Owen Moss (62)
Eric Owen Moss announces an agreement between SCI-Arc and Legendary Investors Group to purchase the Santa Fe Freight Depot building. He stresses that the idea of SCI-Arc remains paramount, but this is an important development in the evolution of SCI-Arc’s pedagogy. He acknowledges the contributions of the previous Directors of SCI-Arc–Ray Kappe, Michael Rotondi, Neil Denari–and of Ian Robertson, Hsinming Fung, Hernan Diaz Alonso, Alexis Rochas, Jamie Bennett, Bill Kramer, and John Maddox.
Coy Howard answers questions from Eric Owen Moss about his installation in the SCI-Arc gallery. Moss questions the didactic nature of the work and suggests that it may be limiting by presenting only one point of view. Howard describes the work as being about experience and says it provides multi-sensory input that allows for processing in many different ways. When asked how the work qualifies as architecture, he explains that it represents many of his personal interests including an awareness of a tendency in contemporary architecture to use a single surface. Moss also asks Howard about his concept of visual braille and how it suggests a sensibility of experience that is often absent in architecture.
Eric Owen Moss discusses and critiques the projects of the 2010 best Thesis winners at the exhibition.
Best graduate thesis students honored this year are Leigh Turner Jester (M.Arch 1) for The Labyrinth and the Sectional Object, Naureen Meyer (M.Arch 1) for The Cosmetic Limit, Joshua Moratto (M.Arch 2) for D.O.A. or Drawing Unrestraint,
Jaitip Srisomburananont (M.Arch 2) for The Meat Locker, and Michael Young (M.Arch 2) for A Home within a Home.
Eric Owen Moss asks the graduates pressing questions on the fundamental questions great architects should ask themselves in any project: will it fall down, or stand up; does anybody care? Is it inhabited; does anybody care?
Yael Reisner discusses her book Architecture and Beauty: Conversations with Architects about a Troubled Relationship, and briefly introduces panelists Hernan Diaz Alonso, Frank O. Gehry, Greg Lynn, Thom Mayne, Eric Owen Moss, and Sir Peter Cook. They discuss the Patrik Schumacher lecture two days earlier, in which argued that parametric design was the “new unified, epochal style for the 21st century.” The panelists debate whether beauty is essential to architecture or not, highlighting their different attitudes toward visual culture and self-expression.
Patrik Schumacher argues that rigid forms, repetition, and collage are no longer relevant to architecture. He discusses nature, multiple correlation, and the intelligent differentiation of elements. He reviews the history of parametricism, showing examples of parametric techniques and applications. Schumacher responds to questions from the audience. Eric Owen Moss questions Schumacher’s categories, methodology, lack of affect, and optimistic view of progress. Charactering the results of parametricism as non-expressive, Wes Jones asks Schumacher where the human element fits in. Schumacher responds with a discussion of the simulation of complexity.
Hitoshi Abe talks with Eric Owen Moss about his SCI-Arc Gallery installation, characterizing it as a 1:7 scale model of a proposed roof covering the Isamu Noguchi plaza at the Japanese American Cultural & Community Center in Little Tokyo. It derives from atmospheric conditions above the plaza, and is “lens shaped” in the sense of lenticular clouds. Topics include the difference between a model and an installation, Metabolism, reflective surfaces, and modifying existing structures.
Eric Owen Moss engages David Erdman and Clover Lee of the firm davidclovers in a discussion of their SCI-Arc Gallery installation, “Immuring.” They characterize the six full-scale experiments in texture, openings, seams, and illumination as a re-examination of fresco in a contemporary context. They discuss how they use two innovative cladding materials, DuPont Corian(R) Exterior Cladding and Glass Fiber Reinforced Concrete (GFRC).