Eric Owen Moss moderates a symposium consisting of distinquished faculty members Jeffrey Kipnis, Michael Rotondi, and Hernan Diaz-Alonzo. They discuss representation, imagery, functionality, materials, and contemporary culture. Coy Howard, Elena Manferdini, and Chris Genik pose questions for the panelists. They reflect on the recent death of Raimund Abraham.
Video Archive | Materials (147)
Monica Ponce de Leon recalls her time teaching at SCI-Arc in 2002, and revisits one of her firms earlier projects, a 1996 commission by MOMA, New York for an installation utilizing laser-cut steel panels. She documents a series of projects inspired by her research at Georgia Tech, including a prototype for a gas station in Los Angeles for British Petroleum.
Ming Fung introduces Monica Ponce de Leon, and her work with Nader Tehrani at Office dA. For Fung, their work is characterized by the rigorous assembly of materials, and evolving figurative geometries. She concludes the introduction with an overview of professional design awards received by the firm.
Eric Owen Moss introduces Mack Scogin who presents several projects including the House Chmar, House Above the Bug Line, Pittsburgh Children’s Museum, and the Bank for International Settlements.
Scogin presents several projects including the High Museum of Art at Georgia-Pacific Center, One Midtown Plaza, the Gates Center for Computer Science, and the Hillman Center for Future Generation Technologies at Carnegie Mellon University.
Mack Scogin is Kajima Adjunct Professor of Architecture at Harvard University Graduate School of Design and principal of Mack Scogin Merrill Elam Architects in Atlanta. Scogin is known for unconventional use of materials, and for subtle, unexpected narrative associations to place and program.
Scogin presents the Yale University Health Services Building, and the Lulu Chow Wang Campus Center and Davis Garage at Wellesley College.
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.”