Sou Fujimoto describes the shock of going to college in urban Tokyo, after growing up in rural Hokkaido as the start of his investigation of architecture mimicking the natural. He discusses his work, including the Serpentine Gallery Pavilion, NA House, the unbuilt Souk Mirage project, a transparent public toilet for Ichihara, the N House, the Musashino Art University Museum & Library, and a tower block for Montpellier.
Video Archive | Complexity (15)
Sou Fujimoto describes growing up in rural Hokkaido, then going to college in Tokyo. The jarring change of environments started his exploration of architecture as a place where the artificial mimics the natural. Fujimoto discusses his 2013 Serpentine Gallery Pavilion in terms of using simple and clear elements to create a complex and blurry form.
Josef Fr?hlich presents a variety of different definitions of complexity taken from different disciplines. He stresses the notion that the behavior of complex systems is not predictable. This has profound implications for every kind of planning activity. Instead of linear forecasting, Fr?hlich and his colleagues develop multiple, data-driven, narrative foresight scenarios. He discusses foresight techniques in his work on long-range planning for the Austrian energy system, and research coordination for the
Josef Fr?hlich discusses some of the tools useful for guiding complex systems. He stresses social media, describing spatial visualizations of EU Framework programs for research.
After a brief outline, Josef Fr?hlich discusses increasing complexity as a necessary and irreversible social trend, presenting evidence of how technological Research & Development is increasingly collaborative
and international. After presenting a variety of different definitions of complexity from different disciplines, Fr?hlich stresses the notion that the behavior of complex systems is not predictable. This has profound implications for every kind of planning activity, especially with regard to technological innovation. Instead of linear forecasting, Fr?hlich and his colleagues develop multiple, data-driven, narrative foresight scenarios. He discusses foresight techniques applied to long-range planning for the Austrian energy system, research coordination for the European Union, and the Austrian Science Center Network.
Wolf Prix introduces Josef Fr?hlich, of the Innovation Systems Department of the Austrian Institute of Technology (AIT) as a leading researcher into complex social systems. Prix argues that the invisible components of architecture, such as complex systems, constitute the aspects of architecture that most urgently need to be engaged by designers and theorists.
After a brief outline, Josef Fr?hlich discusses increasing complexity as a necessary and irreversible social trend. He discusses how earlier, linear models of technological innovation–Technology Push arising from basic research, and Market Pull generated by demand–have been replaced by Innovation systems models, which stress multiple feedback loops between different actors and elements. Fr?hlich presents evidence showing how Research & Development is increasingly collaborative and international.
Prix discusses his interest in architecture as society rather than surface and form. He reccomends resistance to tools and technologies that push too narrowly in one direction. He argues that virtual public spaces without a physical component are not truly public. Prix presents a series of quotes, thoughts and ideas on complexity, problem solving, and rule-breaking. Prix presents several projects, describing the importance of finding new solutions without being distracted by the notion of a perfect solution. He explains his back and forth, analog and digital methodology. He argues that imperfections and chance occurrences can generate emotional content. He discusses client relationships in terms of the balance of what they want and what he hopes to achieve. He stresses the importance of fighting for projects, arguing that radical architecture is not just in the idea itself but in the building. Prix concludes with several projects of drastically differing scales. He addresses the integration of monumentality and dynamism. In principle he defends working in autocratic political contexts today as analogous to working for the Catholic Church in the past, but personally refuses to work on projects that conform to autocratic ideals. Prix discusses materials and fabrication, showing examples of ship building technologies combined with forms made from hand bent reeds.