Often, architectural space is defined by requirements which are totally arbitrary and alien to the discipline of architecture itself. This lecture will focus on architecture and its medium, the three-dimensional space, not in a closed, clearly defined way, but instead in an experimental way that opens up various approaches for defining and thinking about space. Working titles such as atomized space, incidental space, ornamental space, and fluid space, among others, are used to describe architecture in the most distant and abstract way: only with words, deliberately without any images or references, and purely by the effort of thinking to trigger projects - working on the essence of architectural space itself. Christian Kerez was born in 1962 in Maracaibo, Venezuela and obtained his degree in architecture at the Swiss Federal Institute of Technology in Zurich. After extensive published work in the field of architectural photography, he opened his own architectural office in Zurich, Switzerland, in 1993. He has been appointed as a visiting professor in design and architecture at the Swiss Federal Institute of Technology Zurich since 2001, as Assistant Professor since 2003 and as a full professor for design and architecture since 2009. In 2012-13 he led the Kenzo Tange Chair at Harvard University, Cambridge. He participated in the Swiss Pavilion at the Venice Biennale 2016 with the project "Incidental Space." This lecture is sponsored by The Ornamental Metal Institute of New York with support from The Irwin S. Chanin School of Architecture of The Cooper Union. 1.5 AIA and New York State CEUs. The event is free and open to the public. General public should reserve a space. Please note first come, first seated; an RSVP does not guarantee admission as we generally overbook to ensure a full house. All registered seats are released 15 minutes before start time, so we recommend that you arrive early.
Posts tagged with "Christian Kerez":
Switzerland’s own Christian Kerez, in collaboration with curator Sandra Oehy, brings an enigmatic architectural experience to this year’s Biennale’s Swiss Pavilion exhibition, titled Incidental Space. With today’s prolific use of computation in architectural fabrication, Kerez’s design process and complex structure offers a refreshing, mysterious design that cannot be easily decoded. He returns us to the primitive, imaginative, inhabitable space that defies conventional research. Not at all like some emerging-technology users who are sometimes guilty of finding the “functional” aspect of a thing “post-creation,” ascribing something biomimetic "behavior," of losing any relationship to humanistic experience, Kerez used point cloud scanning of dynamic particles—such as sand or sugar—to generate form. This results in a completely organic, random geometry whose physical incarnation creates a unique experience for visitors. Evocative of a grotto-like experience from the inside, this self-supporting fiberglass reinforced concrete shelled structure features walls that thicken where necessary from .4 to 1.5 inches. The exterior’s ornamental crevices resemble a cloud’s backlit tonalities as it reaches the pavilion’s pinnacle skylight. When you enter, Kerez returns you experience to the primitive womb, with a complete change of scale, inviting you to explore barefoot, carefully float, and reconnect to you inner child’s naïve fantasy. The work is anything but a product of architectural construction, but almost becomes total product of our imagination. Commissioned by Swiss Arts Council Pro Helvetica head of Visual Arts, Marianne Burki, Rachele Giudici Legittimo, Coordinator, and Sandi Paucic, Project Manager for Swiss participation at the Biennale, this project was enriched by over 30 international collaborators and students, including ETH and DARCH, and sponsored by industry leaders, Holcim, Marty Design Haus, National Center of Competence in Research Digital Fabrication, and Adunic.