Eric Owen Moss begins the discussion by proposing a summary of Joe Day’s intentions, and wondering how else he might have realized them. They discuss the title “Blow X Blow” in terms of linguistics and narrative. Day states his interest in reprogramming the space by combining form and new new media art. Day defends the right of people to project their meanings upon the installation, and his freedom to develop a formal logic without any function. This leads to a discussion of the built form of the installation, contrasted with the projected imagery. Moss questions Day on his choice of material, and the two discuss the role of color in the space. Day relates the controlling of a point of view in a cinema to that of a museum and prison, as illustrated by the diagrammatic work displayed on the walls, “Collections and Corrections.” This leads to a discussion of Jean-Paul Sartre’s argument that only prisoners enjoy the ultimate freedom from all responsibilities. They conclude by addressing the idea of scripting, both as a cinematographic tactic and a design tool utilized in the organization of “Blow X Blow.”
Video Archive | Building types (4)
Rudolph begins his lecture by discussing the importance of urbanism and site in his thinking about architecture, focusing on the assembly of parts rather than on issues of style. He describes the transition in architecture away from the traditional hierarchies in building types and toward architecture of multiple usages including the flows and geometries of automotive transportation. He sites examples such as the use of air-space for structures above the expressway along the East River in New York and looks back to classical examples of flexible column spacing to accommodate chariot dimensions.
Silvetti discusses perspective and space as they relate to art and architecture. He stresses the importance of understanding systems of representation of space in their historical context. He quotes Gotthold Ephraim Lessing on the uses of different media, as well as Rosalind Krauss on sculpture in the expanded field. He discusses in detail his project for uniting the public squares of Leonforte, Sicily, pointing out its engagement with perspective.
Analyzing the town of Leonforte, Silvetti found three distinct piazzas. He discusses the building typologies and the original Baroque plan of the town. He found the strong correlation with the surrounding landscape, and determined the main road through the city was misplaced. The scale and proportions of Leonforte informed the design, which used the piazzas as connectors throughout the city. The new forms of the design coincide iconographically with the existing town and especially with the monumental fountain found at the old entrance to the town.