SCI-Arc’s Future Initiatives program hosts a symposium on the possibilities and pitfalls of innovative and contemporary approaches to city making. David Bergman and Peter Zellner moderate; David Fletcher, Mia Lehrer, and Andrew Zago present their work; Orhan Ayy?ce and Sylvia Lavin respond. The panelists discuss their recent L.A. River competition entries which map local conditions to generate design elements, trying to predict the future.
Yung Ho Chang explains there are two types of projects; THE projects which are iconic buildings and The Other projects which are small and local. He shows examples of both types including THE projects such as a house made of laminated wood and rammed earth, and a software building designed as a “living environment.” For Other projects, Chang talks about a transparent structural unit with bamboo veneer for the Venice Biennale, and an art project for the Victoria & Albert Museum in London using plastic paving blocks. Chang considers plastic forms as a “major, major building material” for the future. He talks about a folding privacy screen traditionally made with a wood frame and rice paper which he has redesigned with Formica to replace both wood and rice paper. Chang shows his design for the upcoming Shanghai Corporate Pavilion for the Shanghai World Expo. He cites the Centre Pompidou as the source of inspiration for the design. He describes the functions of the building for the World Expo as “performing architecture.”
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Eric Owen Moss begins his introduction of Yung Ho Chang by quoting a passage from Italo Calvino's Invisible Cities,...
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Yung Ho Chang explains that there are two types of projects; THE project and The Other project. The former is concerned with big,...
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Yung Ho Chang talks about his firm’s Other projects. He characterizes them as “miscellaneous.” He shows a pair of exterior...
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Yung Ho Chang discusses how he wanted to update the traditional Chinese folding privacy screen, typically made with a wood frame...
Greg Walsh reviews his extensive experience in exhibition design, focusing on how he takes inspiration from the work and the space to create organization, hierarchy
and circulation. He outlines practices in exhibit curation, as well as, ideas about context, light, material, and communicating history.
Greg Walsh reviews his background, personal ideology and passion for curating exhibitions. He characterizes himself as being geared toward merchandising and product shows. Walsh describes light and flexibility as the two primary considerations when designing an exhibition.
Greg Walsh talks about his experience designing gallery installations with Frank O. Gehry. He discusses their tendency use the subject or the work to inspire the conceptual framework for the exhibition. Walsh reviews several exhibitions designed with Gehry and on his own.
Greg Walsh continues discussing how the content can suggest appropriate exhibition plans. Walsh discusses gallery scales and gallery adjacencies as means of moving the viewer through the space.
Stanley Tigerman talks about several of his public projects, including several schools and museums. He describes his design concepts and how he deals with the specific programmatic needs of children, families and the disabled. While talking about the design for a Holocaust exhibition, he discusses how the programs influence the space.
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.