To Eric Owen Moss’s question about the name “Punk’d,” Heather Flood cites a range of non-architectural inspirations, from the styles of London punk in the 1970s to the MTV practical joke series, and how these informed her investigation of integrating architecture and graphic design. She describes how tartain fabric suggested a method of going from two to three dimensions, creating a “structural interpretation of graphic strokes.” Moss asks Flood to clarify the operational mechanism she followed in Punk’d, asking if the outcome could have been different. Flood stresses how different the experience inside the structure is from the experience of the outside.
Eric Owen Moss asks Heather Flood to clarify the operational mechanism she followed in Punk’d, asking if the outcome could have been different. Flood stresses how different the experience inside the structure is from the experience of the outside.
Odile Decq discusses her exhibition “Anisotropy/Anisotropie,” in the SCI-Arc Gallery with Eric Owen Moss. Their conversation includes discussions of scale, fabrication, the design process, and the human aspect.
April Greiman presents her work following a series of categories: symbolism, color and energy, the four elements, light, transparency, language and unfolding of technology into design process. She goes on to present the graphic design produced for SCI-Arc and graphic work for exhibitions.
Ray Kappe presents his formal processes for developing a number of single-family homes and speculates on the future of architecture’s relationship with technology in the post-Archigram era.
Paul Kennon discusses design progress and product by looking at the differences between participation and commitment. Kennon reflects on the importance of intellectual, emotional and physical curiosity to produce innovation. He goes on to emphasize architecture’s need to be responsive to the psychological needs of people, the relationships between humans and humans, humans and objects, comfort, security, privacy among other factors.