Hernan Diaz Alonso talks with Barbara Bestor about her “Silent Disco” installation at the SCI-Arc gallery. He begins by asking Bestor about the installation’s relationship to the work that produced by her office. Diaz Alonso asks about the relationship of “weak form,” to the installation, leading to a general discussion her interest in both style and academics. Bestor and Diaz Alonso discuss the fabrication process, and the signficance of the materials. Bestor fields questions from the audience. Asked about the graphic agenda of the installation, Bestor cites Bridget Riley. Finally, she addresses in more detail her interest in plywood and plexiglass.
Video Archive | Deconstructivism (21)
Hernan Diaz Alonso talks with Barbara Bestor about her “Silent Disco” installation at the SCI-Arc gallery. He begins by asking Bestor about the installation’s relationship to the work that produced by her office. Diaz Alonso asks about the relationship of “weak form,” to the installation, leading to a general discussion her interest in both style and academics. Bestor and Diaz Alonso discuss the fabrication process, and the signficance of the materials. They also explore the topic of disco and its aesthetic politics.
Eric Owen Moss introduces George Yu’s work in terms of durability and fragility. He references constructivism, i.e. the Shukhov Tower, and deconstructivism in discussing Yu’s practice of architecture.
Eric Owen Moss and Peter Noever introduce Gunther Domenig. Noever argues that Domenig has made significant contributions to architecture, including one of the most significant late 20th century buildings in Vienna, the Zentralsparkasse bank. He also refers to the Steinhaus, which has been Domenig’s life work and has established his formal language. Domenig is very hostile to tradition, which is a rare trait in Austria.
Domenig gives a detailed description of his documentation center in the Nazi Congress Hall in Nuremberg. While leaving most of the structure of the building untouched, Domenig altered the circulation dramatically by inserting a spear through the building. He also added a gallery on the roof, which gives visitors a perspective on the building different from what was intended by the Nazis.
Domenig desribes his house, Steinhaus, in Steindorf, Austria. Inspired by the mountains and stones in the region, Domenig maintains that the house is the truest expression of his personal style. While the use of concrete and steel usually imply a very grounded structure, Domenig makes shapes seem to float and appear weightless. While he claims it is inspired by vernacular architecture, he admits it is unlike a typical Austrian house.
Gunther Domenig talks about two projects he has worked on: repurposing the Nazi Congress Hall in Nuremberg into a documentation center, and the ongoing design of his house in Steindorf Austria. In the documentation center in Nuremberg, Domenig penetrated the fragmented existing structure with a spear that serves as a main circulation shaft. Domenig’s “Steinhaus” is a house that emulates the mountains and stone of its landscape. He considers the house his life’s work and uses concrete, steel and glass to produce an explosion of shapes and spaces.
Woods presents two projects that challenge preconceived notions of what architecture should look like, what it should do, and how it interacts with other architecture. The first project deals with the concept of civilization and the role architecture plays in supporting or defining the existence and progress of man. This idea is manifested through a display for a museum exhibit in Berlin in 1999. The second project looks at the circus and other areas where extreme performance is on display. Woods presents a speculative project for Vienna that tests the limits of what is structurally possible.