Russell Thomsen and Eric Kahn of Idea Office discuss their background. They describe their first office, Central Office of Architecture, with Ron Golan as co-principal, as both an introspective conversation and an exploration of the late-millennial L.A. landscape. They see their new office, Idea Office, as a shift from the hermitic and reflective to the engaged and projective. Thomsen and Kahn discuss their Spring 2005 Stentorian installation in the SCI-Arc Gallery, citing a range of influences from tensegrity, flamenco, and the Stravsinky/Nijinski ballet Rite of Spring.
The video ends abruptly during images of the Stentorian installation.
Eric Kahn introduces Richard Warner as part of a faculty lecture series. Kahn notes Warner’s teaching at SCI-Arc and USC, and the influence of Italy from Palladio to Superstudio on his work.
Marianne Burkhalter begins with a discussion of temporary, non-permanent structures. She discusses the influence of Superstudio, her time living in the U.S., and working with Robert Mangurian. She presents a number of projects completed in her studio in Zurich, including a train station, and several small-scale wood construction projects. She concludes the lecture with a project for a sculpture exhibition.
Marianne Burkhalter begins with a discussion of temporary, non-permanent structures. She recalls her discovery of the work of Superstudio, and reflects on their philosophy of maintaining a model attitude in anticipation of production and consumption. She remembers coming to live in the U.S. and her first collaborations with Robert Mangurian.
Charles Jencks describes developments in Italian architecture by citing several examples of items and projects that developed through the 1960s and 1970s. He uses Carlo Maciachini’s Milan Cemetery to show how a collection of styles in one place can form a type of architectural utopia. Jencks frames the enduring metaphors and signifiers of 1930s Fascism as the context for subsequent explorations of irony and obscenity, especially in projects by Superstudio, and rationalists like Aldo Rossi.
Charles Jencks talks about the Japanese machine aesthetic of the 1970s. He also discusses the idea of design syntax, and its use in a culture’s products. He describesan amalgamation of architectural languages that can rarely be found outside Japan’s industrialized cities. Jencks defines the style as tradition and contemporary issues colliding in harmony.