mix media workshop presentation

Mix Media presentation workshop

Mon, April 11 2011

Arata Isozaki, Re-Ruined Hiroshima, Japan, 1968 •

Cedric Price, Thinkbelt, Staffordshire, UK, 1964-6 •

Peter Cook, Oslo East, Norway, 2005 •

Christine Hawley, Peckham House, •London, UK, 1982

CJ Lim/Studio 8, World of Cow, •London, 2000

“Architects

are, and always have been, conscious of the pArAllel stAte of fine Art: hence the uneasy quote of the ‘art drawing’.”

Nat Chard, Third- •Generation Architecture

Built Within the Body, 2002 & Indeterminate Apartment,

1999

Diller + Scofidio, The Desiring Eye, •Gallery MA, Tokyo, 1992

Diller + Scofidio, Tourisms, •suitCase studies, Walker Art Center,

Minneapolis, 1991

Diller + Scofidio, Tourisms, •suitCase studies, Walker Art Center,

Minneapolis, 1991

Diller + Scofidio, Tourisms, •suitCase studies, Walker Art Center,

Minneapolis, 1991

Constant Nieuwenhuys, New Babylon, 1963 •

Yuri Avvakumov & Yuri Kuzin, •Red Tower (Homage to Vladimir

Tatlin), 1986-9

Peter Cook, (with Christine Hawley and Gerry •Whale), Sponge City, 1975

“We can state something as an inventory, as an

arrangement of parts, as a layout, as a timetable. We can show the distinct and correct position of the arrangement. We can now very easily depict this arrangement from every conceivable viewpoint. Yet something is missing. What is it like? How might it feel to be there? Is it bland, fresh, lively, shiny, wispy, heavy, gloomy or spooky? In making an effort to answer such questions We hAve to communicAte.”

Peter Cook, Instant City, Airship Sequence of •Effect on an English Town, 1968

Michael Webb, Suitaloon, 1967 •

“in this way one experiences drAWing As A commentAry.

Perhaps it was always so: and in particular with technical inspiration.”

Marcos Cruz, In-Wall Creatures, •Plan 1:1 (Stage 2), Hyperdermis study,

1999-2001

Bernard Tschumi, The Manhattan Transcripts, •Part 4: The Block, 1979-80

Eric Owen Moss, Fun House, 1980 •

“All the time we must be ready to interrogate

the Architecture of the unlikely in order to push further the architecture of the predictable.Drawings and ‘near-drawings’ have a special role in all this.”

Coop Himmelb(l)au, Dosen-Wolke •1968

Coop Himmelb(l)au, Open House, 1983 & 1988-9 •

Coop Himmelb(l)au, ZAK- •Sukunftakademie, Haslau, Austria,

1999

Lebbeus Woods, System Wien, •Energy building #1 and #3, 2005

“it is even conceivable that there will be a period

of creativity around a kind of fAux reAlity... they’re fun anyhow. Consider a situation where nearly all architecture is a folly?”

Enric Miralles, Osthafen, 1992 •

Enric Miralles, Bremerhaven, 1993 •

Enric Miralles, Bremerhaven, 1993 •

Enric Miralles, Takaoka Train Station, 1991-3 •

“An assumption of how much the observer

wishes to be told, how much he or she already knows, how much else needs to be alluded to. creAtive lAziness comes into it as well. Why should a designer bother to draw or explain more of the idea than is strictly necessary?”

Imagine yourself as a superhero, what kind of room would you have? It can be an existing superhero, or your own made-up character. explain your choice of character and her/his peculiarities. explore them further.Treating your existing room as a given, what would you change & what would you keep? CoMMuniCate your iMagination using three or More of any kind of Media you deeM appropriate for your idea.

Give us your best effort! There are going to

be three winners, eaCh will be given rp5ook.This is indeed a CoMpetition!

sources:

Benjamin, Andrew, ed. Architecture - Space - Painting. Academy Group, 1992

Cook, Peter. Drawing: the motive force of architecture. John Wiley & Sons Ltd., 2008

Tagliabue, Benedetta, ed. Architectural Monograph No 40. Enric Miralles: Mixed Talks. Academy Group, 1995