Russell Thomsen describes the proposal for the site of Auschwitz, developed with Eric Kahn, as an attempt to temporarily “blank” the site, rendering it inaccessible and invisible. Eric Owen Moss raises the question of appropriate or inappropriate uses of the memorial, citing Peter Eisenman’s Holocaust memorial in Berlin.
Video Archive | Voids (12)
Russell Thomsen and Eric Owen Moss discuss the historical, ethical and political issues behind Thomsen’s proposal, with Eric Kahn, for Auschwitz. Thomsen characterizes it as temporarily “blanking” the site, making it inaccessible
and invisible. Moss raises the question of appropriate or inappropriate uses, citing Peter Eisenman’s Holocaust memorial in Berlin.
Stefano Passeri with Ben Farnsworth was a Design of Theory Fellow at SCI-Arc for the program’s inaugural year 2013-4. Passeri discusses their re-launch of SCI-Arc’s journal Offramp, and analyzes his 2013 thesis project, stressing strategies employed to create an inwardly-focused, enclosed and finite object.
Andrew Zago discusses precedents, diagrams, and negative space–especially and when achieved through incision and pressure. He shows his entry in the competition for the National Museum of Korean Contemporary History in Seoul, and other projects. He responds to several questions from the Making + Meaning audience.
Eric Owen Moss introduces Brendan MacFarlane. MacFarlane describes his student career at SCI-Arc. While describing his design intentions, he stresses the desire to make buildings that move. This is suggested in their Orange Cube in Lyon.
Brendan MacFarlane describes several of his works as a way of reflecting on his own design techniques. Some of these techniques include employing contextual research to extent a contemporary idea, as well as, material and surface explorations. MacFarlane also goes
into describing the detailing fabrication methods of his Orange Cube and Plug-Over buildings. He discusses the Docks de Paris project, tranforming an historic warehouse on the Seine with a massive “Plug-Over.” He describes the fabrication techniques and the environmental implications. MacFarlane discusses more projects, including the Frac Centre in Orleans, the Taipei Performing Arts Center, and the ?cole Sup?rieure des Arts et de la Communication (ESAC) in Pau. These projects propose using existing elements to inform performative surface manipulations, that suggest ebbs and flows of circulation and program. MacFarlane ends by discussing the relationship between the physical elements of his architecture and the psychological associations it creates to the users.
Portzamparc describes in detail his design for the Luxembourg Philharmonic, a proposed concert hall for Nara, Japan, and the Cit? de la Musique complex in Paris. He then delves into his early career to demonstrate how he has dealt with the issue of placemaking. He then discusses his views on urbanism, building massing, sightlines, and how they relate to modernism’s and classicism’s conception of the city. Portzamparc then presents several examples of his views put in action including the Quartier Massena. He finishes with a couple of buildings that are quite distinctive examples of public space, including the extension of the Paris Convention Center and the Espace des Sciences in Rennes.
Portzamparc describes some early urban design projects, a huge hotel for Disney, and
an earlier water tower redesign for Marne-la-Vall?e which was built and provided a central focus for the city. He discusses the nature of urban design at the end of the modernism, when the traffic engineers were left in charge. Portzamparc’s strategy is to design buildings, like the Les Hautes Formes social housing project, which shape not only the built space, but the void surrounding the buildings.