howard
i'm sitting next to howard i don't know howard obviously and he 's going i hope you're not next
i'm interested
i kind of do the same thing but i don't move my body and instead of using human figures
to develop ideas of time and space i work in the mineral world
i work with more or less inert matter and i organize it and well it's also a bit different because an architect versus let 's say a dance company
finally is a negotiation between one 's private world one 's conceptual world the world of ideas the world of
if there's anything that's been consistent it's been that you can't do it no matter what i've done what i've tried to do everybody says it can't be done and it's continuous across the complete spectrum of the various kind of realities that you confront with your ideas
and the outside world and then make it understood i can start any number of places because this process is also
i think very different from some of the morning sessions which you had such a kind of very clear such a lineal idea like the last one say with howard
i think the creative process in architecture the design
it's calvino 's idea of the quickest way between two points is the circuitous line not the straight line and definitely my life has been part of that
to start with some simple kind of notions of how we organize things but basically what we do is we try to give coherence to the world we make physical things
and those things are the reflection of the processes and the time that they are made
and what i'm doing is attempting to synthesize
the way one sees the world and the territories which are useful as generative material because really all i'm interested in always as an architect is the way things are produced because that's what i do
right and it's not based on an a priori notion i have no interest at all in conceiving something in my brain and saying this is what it looks like in fact somebody mentioned ewan maybe it was you in your
what architects did somebody say it's what business people come to it's what the corporate world comes to when they want to make it look like something at the end of the line
it doesn't work that way for me at all i have no interest in that whatsoeverarchitecture is the beginning of something because it's if you're not involved in first principles if you're not involved in the absolute
and so in the formation of things in giving it form in giving it in concretizing these things it starts with some notion of how one organizes and i've had for thirty years an interest in a
series of complexities where a series of forces are brought to bear and to understand the nature of the final result of that representing the building itself
there's been a continualrelationship between inventions which are private and reality which has been important to me a project which is part of an exhibition in copenhagen
ten years ago which was the modeling of a hippocampus the territory of the brain that records short term memory and the documentation of that the imaginative and documentation of that
through a series of drawings which literally attempt to organize that experience and it had to do with the notion of walking a kilometer
built on randomness and i'd been extremely interested in this notion of randomness as it produces architectural work and as it definitely connects to the notion of the city
an accretional notion of the city and that led to various ideas of organization and then this led to broader ideas of buildings that come together through the multiplicity of systems
and it's not any single system that makes the work it's the relationship it's the dynamics between the systems which have the power to transform and invent and produce an architecture that is that would otherwise not exist
and those systems could be identified and they could be grouped together and of course today with the technology of the computer and with the rapid prototyping et cetera we have the mechanisms to understand
and to respond to these systems and to allow them to adjust to the various accommodations of functionalities because that's all we do
producing spaces that accommodate human activity and what i'm interested in is not the styling of that but the relationship of that as it enhances that activity
and that directly connects to ideas of city making this is a project that we just finished in penang for a very very large city project that came directly out of this process which is a result of the multiplicity of forces that
and the project again enormous enormous competition on the hudson river and in new york that we were asked to do three years ago which uses these processes and what you're looking at
that uses notions of these multiple forces that deals with the enormity of the problem the complexity of the problem
when we're designing cities at larger and larger aggregates because one of the issues today is that the economic aggregate is driving the development aggregate and as the aggregates get larger we require more and more complex
what was it nine months ago again a direct reflection from using these processes to develop extremelycomplicated very large scale organisms
and then also was working with broad strategies in this case we only used fifteen of the sixty acres of land and the forty five acres was a park and would become the legacy
of the olympic village and it would become the second largest park in the
start having direct influences on architecture on the elements that make up the broader scheme the buildings themselves and start guiding us
this discussion in any number of places and i've chosen three or four to talk about and it has also to do with an interest in the
vast kind of territory that architecture touches it literally is connected to anything
in terms of knowledge base there's just no place that it doesn't somehow have a connective tissue to this is jim dine and it's the absence of presence
it's the clothing the skin without the presence of the character it became kind of an idea for the notion of the surface of a work and
it was used in a project where we could unravel that surface and it was a figurative idea that was going to be folded and made into
a very kind of complex space and the idea was the relationship of the space which was made up of the fold of the image
and the dialectic or the conflict between the figuration and the kind of clarity of the image and the complexity of the space which were in
and it made us rethink the whole notion of how we work and kind of how we make things and it led us to ideas that were closer to fashion design as we
flattened out surfaces and then brought them back together as they could make spatial combinations and this was the first prototype in korea as
we're dealing with a dynamic envelope and then the same characteristic of the fabric it has a material identity and it's translucent and it's
again it's a very very simple notion if you look at most buildings what you look at is the building the facade and it is the building and all of a sudden we're kind of moving away and we're separating the skin
and differentiates from the body and then again the building itself middle of los angeles right across from city hall and as it moves it takes pieces of the earth with it it
up it's part of kind of a sign system which was part of the kind of legacy of los angeles the two dimension three dimension signing et cetera
and then it allows one to penetrate the work itself it's transparent and it allows you to understand i think what is always the most interesting thing in any building which is the actual
the contemporary urban environments that you would find in shibuya or you'd find in mexico city or sao paulo et cetera that have to do with activating the city
over a longer span of time and that was very much part of the notion of the urban objective of this project in
and again all of it promoting transparency and an image which may be closest talks about the
use of light as a medium that light becomes literally a building material
well that immediately turned to something much broader and as a scope and again we're looking at kind of an early sketch
i'm understanding now that the skin can be a transition between the ground and the tower this is a building in san francisco which is under construction
and now it turned into something much much broader as a problem and it has to do with performance this will be the first building in the united states that took
interface with broader problems that they expand the kind of capabilities in terms of their performance
made very much a shift out of the kind of internal focus of architecture looking at architecture within its own territory and we were much more affected by film by what was going on in the
course michael heizer and when i saw this first an image and then visited it completely changed the way i thought after that point and i understood that building really could be
the augmentation of the earth 's surface and it completely shifted the notion of building ground in the most basic sense and then well he was probably looking at this this is nazca this is seven hundred years ago the most amazing four kilometer
land sculptures they're just totallyincredible and that led us to then completely rethinking how we draw how we work this is the first sketch of a high school in pomona
that make a high school work in the surface of that earth there it is modeled as it was kind of developing into a piece of work and
there it is again as it's starting to get resolved tectonically and then there's the school and of course what we're interested we're interested in participating with education
and there's an overt at least there's an attempt to make a very overt notion of a building that connects to the land in a very different way because i was interested in a very didactic kind of approach to the problem
as one would understand that and the second project that was just finished in los angeles that uses some of the same ideas it uses landscape
as a major idea then again we're doing the headquarters for noaa national oceanographic and atmospheric agency
this is the primitive hut that's been around for so long and what we wanted to do is really kind of build this because they see themselves as the caretakers of the world
the ears right and then right below that the processing and the mission lift and the mission control room and all the other spaces are underground
and what you look at is an aircraft carrier that's performancedriven by the cone vision of these satellite dishes and that the building itself is occupied in the lower portion
broken up by a series of courts and it's five acres of uninterrupted horizontal space for their administrative offices and then that in turn
the social cultural and the landscape and recreational fabric of the city and the building is no longer seen as an autonomous thing but something that's only inextricably connected to this city and this place at this time
a project that was realized in austria the hooper bank which again used this idea of connecting typology the traditional buildings and
and other parts are much more energetic and intense and can talk about that intensity in terms of the kind of collisions of the kind of
that have to do with putting a series of systems together and then where part of it is in the ground part of it is oppositional lifts one enters the building as it lifts off the ground
and then it breaks in places that allow you to peer into the interior and those interiors again are promoting transparency for the workplace which has been a continual kind of interest of ours
and then again in a more kind of traditionalsetting this is a graduate student housing in toronto and it's very much about the relationship of a building as it makes a connective tissue to the city the main idea was the gateway
i visited the site many times and everybody kind of you can see this from two kilometers away as an exact center of the street and the whole notion is to engage the public to engage buildings as part of the public tissue of the city
and finally one of the most interesting projects it's a courthouse and what i want to talk about this is the supreme court of course and well
dealing with michael hogan the chief justice of oregon you could not proceed without making this negotiation
between one 's own values and the relationship of the character you're working with and how he understands the court because i'm showing him of course
in the phenomenon that's taking place in here and really what we're talking about is constructing reality
and i'm a character that's extremely interested in understanding the nature of that constructed reality because there's no such thing as nature any more nature is gone nature in the nineteenth century sense all right nature is only a cultural
today right we construct it and we construct those ideas and then of course this one our governor at the moment and
we spent some time with conan believe it or not and then that led us to kind of the very differences of our worlds from a legal and an artisticarchitectural and it forced us to talk about
the traditionalcourthouse you'll find a stair that's the same length as the supreme court here 's a piano nobile which is a device used in the renaissance the courts were made of that the skin is this series of layers that reflect even rusticated
stonework but which were embedded with fragments of the constitution which were part of the kind of little process all set on a plinth that defined it from the community thank you so much
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