Video Archive | SCI-Arc Gallery (27)

Herwig Baumgartner & Scott Uriu Familiar And The...
Herwig Baumgartner and Scott Uriu discuss their interest in windows and openings in terms of the aperture frame, the aperture as...
Florencia Pita & Jackilin Bloom...
Florencia Pita describes her work with Jackilin Bloom in terms of a synthesis of color and form, in which the color is innate to...
Bryan Cantley FormuLA Gallery Talk-clip_9571
Bryan Cantley discusses with Eric Owen Moss his SCI-Arc Gallery installation Form:uLA: Dirty Geometries + Mechanical...
Bryan Cantley FormuLA Gallery Talk-clip_9572
Bryan Cantley and Eric Owen Moss discuss Cantley's SCI-Arc Gallery installation, touching on issues of the image of progress, and...
Bryan Cantley FormuLA Gallery Talk-clip_9573
Bryan Cantley discusses his SCI-Arc Gallery installation with Eric Owen Moss, in terms of open and closed systems.
Heather Flood Punkd Gallery Talk
To Eric Owen Moss's question about the name "Punk'd," Heather Flood cites a range of non-architectural inspirations,...
Heather Flood Punkd Gallery Talk-clip_9300
To Eric Owen Moss's question about the name "Punk'd," Heather Flood cites a range of non-architectural inspirations,...
Heather Flood Punkd Gallery Talk-clip_9301
Eric Owen Moss asks Heather Flood to clarify the operational mechanism she followed in Punk'd, asking if the outcome...

Herwig Baumgartner & Scott Uriu Familiar And The Uncanny-clip_9677

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Herwig Baumgartner and Scott Uriu discuss their interest in windows and openings in terms of the aperture frame, the aperture as autonomous object, and the responsive aperture. Within these categories they discuss their own work, including a Condo Tower in Lima (2012), the 2014 SCI-Arc Gallery installation, and a project for a museum of caricature.


Florencia Pita & Jackilin Bloom Colorforming-clip_9625

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Florencia Pita describes her work with Jackilin Bloom in terms of a synthesis of color and form, in which the color is innate to the project and process, not personal taste. Pita reviews projects, including the Pulse Tendril Formations (2006), Alice (2007), Cronopios (2010), and the Los Angeles Central Station (2010) and the UMMA table (2013).


Bryan Cantley FormuLA Gallery Talk-clip_9571

View the Full Video:
October 10, 2014 |

Subclip

Bryan Cantley discusses with Eric Owen Moss his SCI-Arc Gallery installation Form:uLA: Dirty Geometries + Mechanical Imperfections. Cantley divides it into three categories of work–analog hand drawings, theoretical projects and buildingseach of which explores the idea of imperfection of the hand, reproduction, or construction. Moss wonders what connection the work has to to modernism, and specifically to visionary modernist architecture.


Heather Flood Punkd Gallery Talk

July 18, 2014 | Video Lecturer:

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.

 

Clips

Heather Flood Punkd Gallery Talk-clip_9300
Heather Flood Punkd Gallery Talk-clip_9300
To Eric Owen Moss's question about the name "Punk'd," Heather Flood cites a range of non-architectural inspirations,...
Heather Flood Punkd Gallery Talk-clip_9301
Heather Flood Punkd Gallery Talk-clip_9301

Heather Flood Punkd Gallery Talk-clip_9300

View the Full Video: Heather Flood Punkd Gallery Talk
July 18, 2014 | Video Lecturer:

Subclip

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.”