Eric Owen Moss moderates a discussion with participants in the 2010 Venice Architecture Biennale. After introducing Herwig Baumgartner, Hernan Diaz Alonso, Hsinming Fung, Craig Hodgetts, Georgina Huljich, Elena Manferdini, Alexis Rochas, Marcelo Spina, and Scott Uriu, Moss begins discussion by questioning the role of events like the Venice Biennale in today’s globally-connected media-saturated world. Craig Hodgetts compares the atmosphere of the Architecture Biennale to the open, mixed culture of SCI-Arc. On the other hand, he criticizes the 2010 exhibition as a whole for lack of intellectual content, which he blames on the changing role of the Biennale. Some panelists argue that the Biennale provides an opportunity for a range of architects to communicate with the public, while other panelists doubt how open it really is. The panelists argue that the Biennale, as well as other international art fairs like it, are becoming stagnant, codifying a limited range of aesthetics and techniques. The panelists review the contents of the 2010 Biennale, contrasting the work in the Arsenale exhibition and the work in the national pavilions. They discuss criticism as a means of assessing contemporary practice.
Video Archive | Dialogue (3)
Keatinge-Clay begins his lecture after a brief introduction by Eric Owen Moss. He stresses the importance of building, and using observations of his built work as a feedback mechanism to develop ideas. He presents his extension of the San Francisco Art Institute as a series of dialogues with the city; with people; with the original building. Keatinge-Clay claims the rooftop as the crucial element of his architecture and explains how he studied the human misuse of his building elements as a method of deciding what to include in his next projects.
Keatinge-Clay advocates a dialogue between civilizations and epochs through architecture and urbanism. He sees all architecture as part of an unending dialogue with history. He goes on to discuss the San Francisco State Student Union project and the political controversy surrounding Moshe Safdie’s original design and removal from the project. Keatinge-Clay then responds to questions about materials and color, expressing his interest in the inherent color of material and the ability of it to change over time.