Joe Lewis moderates a panel addressing the percent for the arts ordinance, its use and effects in Culver City. The panelists are Eric Owen Moss – architect, Mark Allen – artist, Barbara Goldstein – Director of Public Art in Seattle, and Joseph Giovannini – architect and former critic of the Los Angele Herald Examiner. Joe Lewis – artist and teacher at CalArts. Giovannini suggests “an interdisciplinary-ness going on in both directions … and it should be encouraged,” between architects and artists, and states, “no longer should art be an add-on,” to architecture. Allen in his opening comments, humorously says he called Jesse Helms to find out the answer to the question of What is art? Moss explains he is not interested in collectives or lobbies for architecture or artists. Goldstein states the question of art and architecture must consider public policy. The discussion covers the value of the ordinance for artists, the potential of developers side-stepping the ordinance, and the suggestion by Moss to look at other ways, such as a tax, to depoliticize the ordinance.
Video Archive | Eric Owen Moss (62)
Moss presents a poetic assault, arguing architecture lacks an inspiring paradigm, and introduces his idea of “provisional paradigm.” This idea roots itself in being able to assemble, dissemble, and re-assemble anticipating an eventual end. He describes his work in respect to conscious manipulations of site, form, and typology investigating provisional concepts, such as, inversion, anticipation, and confusion. Moss moves through a series of past and current projects revealing personal criticisms of his own work.
A compilation of early material related to SCI-Arc, including photographs and video accompanied by Beethoven and other music. The school’s 1800 Berkeley Street location appears, as does Ray Kappe, Adhe Lahti, Ena Dubnoff, Glen Small, student models and drawings, the Urban Odyssey, and the pyramid project in Washington D.C. There are additional photographs of Cal Poly Pomona, Arnie Stalk, Thom Mayne, Charles Gwathmey, and Shelly Kappe. Students perform a spoof of Eric Owen Moss giving a desk critic in which the student’s model is destroyed.
This video concludes”Eric Owen Moss Armageddon Or Polynesian Contextualism Versus I Like Hardware Stores,” continuing Moss’ discussion of the Pin Ball House. He also invites the audience to a second presentation of “The Last Supper” performance at The Architecture Gallery. The video ends with five minutes of silent images of models of space ships in motion, and fields of moving stars.
In a lecture titled Armageddon Or Polynesian Contextualism Versus I Like Hardware Stores, Eric Owen Moss discusses his design theories then reviews their application through a selection of recently completed work. Moss shows models, drawings, and photos to reinforce his architectural methodologies regarding site, context, and building systems. Though the video ends abruptly, Moss articulates his view of signs, metaphors, and associative relationships with his work and the current discourse of dualities and signifiers.
Glen Small hosts a panel discussion of architects who work outside of “mainstream architecture.” Rick Davidson reviews his career trajectory, from Marion Manley’s office in Miami to full-time antiwar activist in Los Angeles. David Greenberg presents a rapid slideshow of images of Los Angeles, from his company, International Environmental Communications, Inc., which sells still and moving image documentation of the Los Angeles urban environment. John Pastier, the first architecture critic for the Los Angeles Times, discusses his path from engineering, to architecture, to participating on the Los Angeles city plan, to six years of journalism. Elsa Leviseur (identified here as “Elsa Fleischmann”) discusses her evolution from architect in South Africa to land preservationist and landscape architect in Southern California. Glen Small briefly discusses his transition from architect to visionary. There is a lively question and answer exchange with the audience, which includes Eric Owen Moss and Bill Simonian.