Jeffrey Kipnis begins the eighth and final Fecundity of a Mossy Climate conversation by arguing that even though architecture has traditionally been focused on sobriety and rectitude, it can reflect other aspects of human experience. He discusses some projects by Hernan Diaz Alonso, stressing the use of animation as a design tool. Diaz Alonso and Kipnis discuss horror, ephemerality and impermanence as positive values, working within given problems, and digital versus filmic sensibilities. Diaz Alonso and Kipnis respond to comments from the audience, touching on temporality, nostaligia and working. They respond to Eric Owen Moss’s question about buildings that are virtual and buildings that exist in reality.
Video Archive | Jeffrey Kipnis (18)
Jeffrey Kipnis begins the seventh of the Fecundity of a Mossy Climate conversations by reviewing Elena Manferdini’s work, arguing that even when the work seems graphic or pictorial, Manferdini is always thinking architecturally. Manferdini joins Kipnis to discuss her use of imagery from nature, and the kind of political role that architecture can play. They respond to questions from the audience about politics, audiences, and the problem of scaling-up.
Jeffrey Kipnis starts the sixth of the Fecundity of a Mossy Climate conversations by differentiating Devyn Weiser and Peter Testa’s research-based practice from the culturally-based practices of the previous Mossy Climate participants. In a survey of Testa and Weiser’s work, Kipnis stresses how of their research on carbon fiber and robots informs their design sensibility. Greg Lynn praises Testa and Weiser’s work for not being focused on optimizing the properties of new materials, but on architecture. Kipnis, Lynn, Weiser and Testa discuss the dialog between material research and design, different ways of being influenced by materials, and the interaction of materials and design.
Jeffrey Kipnis starts the fifth of the Fecundity of a Mossy Climate conversations by discussing the challenge of encountering work by younger architects like Dwayne Oyler and Jenny Wu. He shows clips from three movies to illustrate the theme of architectural effects, and surveys the last eight years of Oyler Wu Collaborative’s work. Dwayne Oyler and Jenny Wu respond to Kipnis’s interpretation of their work, and discuss careers, trajectories, competitions, intuition, and the influence of SCI-Arc.
Jeffrey Kipnis begins the fourth of the Fecundity of a Mossy Climate conversations with a survey of Marcelo Spina’s work, from the 2002 Busan Tower to the 2014 entry by P-A-T-T-E-R-N-S in the competition for two new museums in Budapest. Spina and Tom Wiscombe and Wolf Prix join Kipnis, and discuss Spina’s work, the concept of elegance, the exploitation of architects via competitions, the significance of tools, strategies, and career trajectories.
Jeffrey Kipnis begins the third public discussion component of the seminar Look, You Got It All Wrong, with a discussion of intuitions of space in art and architecture. In questioning Kipnis’s attempt to theorize intuition, Eric Owen Moss proposes working without guarantees. He notes how architects need to cultivate both the ability to imagine, and the ability to imagine a method of implementation. Kipnis and Moss discuss the role of intuition in architecture.
Jeffrey Kipnis begins the third of the Fecundity of a MossyClimate conversations by commenting on a statement by Tom Wiscombe on his work. Kipnis review’s Wiscombe’s work from projects for Coop Himmelb(l)au to the current Old Bank District Museum. Todd Gannon and John Enright join Kipnis and Wiscombe to discuss his work, in terms of terminiology, surface and mass, collaborative versus solitary design process, and expertise.
Jeffrey Kipnis begins the second session of the seminar with Eric Owen Moss with images of the significance of construction details. Kipnis then introduces this session’s topic, as finding a personal ethos in relation to one’s own architectural practice. Eric Owen Moss presents the horse from the movie The Wind as an image of abstract forces embodied in a concrete form. He argues the value of getting away from what’s known in favor of exploring possibilities. Kipnis and Moss discuss the role of tradition, and personal and public motives in architecture, and pursuing practice critically.