The Southern California Institute of Architecture (SCI-Arc) has released a list of its featured public programs for the Spring 2017 semester that includes, among its events, a debate between controversial Slovenian philosopher Slajov Žižek and SCI-Arc Distinguished Professor of Philosophy Graham Harman. SCI-Arc’s lecture series will be complemented by two exhibitions that will occur throughout the semester. The Duck and the Document, curated by Sylvia Lavin, will showcase a collection of architectural ephemera that includes handrails and facade panels salvaged from canonical buildings from the 20th century. Drawing Conclusions, curated by Jeffrey Kipnis and designed by Andrew Zago, will explore the year of 1990 as a potential “apex” for hand drawing as a representational, technical, and conceptual tool for architects. The university's public program for the semester will include the following events: Didier Fiuza Faustino Lecture, 01/25/2017 Mat Olson Lecture, 02/01/2017 José Oubrerie: Chapel of the Mosquitos Library Gallery Exhibition Opening, 02/03/2017 José Oubrerie + Todd Gannon Duel + Duet, 02/06/2017 Graham Harman + Slajov Žižek Duel + Duet, 03/01/2017 Peter Cook Lecture, 03/08/2017 Neil M. Denari Lecture, 03/15/2017 Jeffrey Schnapp Lecture, 03/20/2017 Drawing Conclusions Symposium + Exhibition Closing Reception, 03/24/2017 Sylvia Lavin Lecture, 03/29/2017 Jake Matatyaou + Amalia Ulman Lecture, 04/03/2017 Giancarlo Mazzanti Lecture, 04/05/2017 The Duck and the Document SCI-Arc Gallery Exhibition Opening Reception, 04/14/2017 Spring Show Exhibition Opening Reception, 04/29/2017 Maxi Spina: Thick SCI-Arc Gallery Exhibition Opening Reception, 06/16/2017 For more information on SCI-Arc’s events, see the SCI-Arc website.
Posts tagged with "Sir Peter Cook":
Earlier this month AN West Coast Editor Sam Lubell joined Sir Peter Cook and Woodbury University students and faculty at WUHO Gallery in Hollywood for Drawing Room: An Audience with Sir Peter Cook, an exhibition of thesis and degree projects and an informal discussion. Cook, outspoken as always, lauded Woodbury's experimental, outsider nature, the ability of drawing to "elevate the conversation through the unknown," and "nutters" everywhere. His inspiration was omnipresent, with exceptionally-drawn (or drawn and combined with computer rendering), technologically-driven projects—rethinking housing, science facilities, humanitarian architecture, and so on— that paid homage to his quirky aesthetic. The exhibition was curated by Woodbury professors Peter Culley and Berenika Boberska.
Is drawing dead? That was the burning question (and title) of last weekend’s symposium at the Yale School of Architecture, which assessed the contemporary state of drawing through three days of lectures and panels, with pen-and-paper proponents from across the architectural spectrum. This convergence of many great drawers past and present coincided with the recently opened exhibition Massimo Scolari: The Representation of Architecture, a largely drawing-based show on view through May 4 in the School of Architecture Gallery. To the central question, the answer came quickly, and it is "no." Many other fascinating and important questions were raised along the way: What is drawing's role in an increasingly computerized design culture, with the rise of BIM technology, computational design, and digital modeling? What is the relationship between the quick, loose sketch and the rigorous, precise computer model? How can drawing, in any medium, inform the process and ultimately, the final building? How do we mediate between real and imagined, and how has that changed? The Friday night keynote came from Sir Peter Cook of Archigram fame, who identified, through countless examples, the moment when drawings are at their most interesting and their most creative. Somewhere between rough sketch and final rendering, a drawing will show the right amount of information, while remaining visceral and tactile. Contemporary computer renderings, Cook joked seriously, often have suspiciously well-mowed grass and suspiciously happy children. He is interested in the slightly less polished version, where the building remains fictional in an honest way. Saturday morning, Julie Dorsey of Yale's Department of Computer Science showed off her new drawing software, The Mental Canvas, which allows users to create 3-D hand sketches on a computer, using an assemblage of floating, transparent "canvases" which can be rotated, moved, and scaled. Next, Andrew Witt of Gehry Technologies worked back from new drawing technology in “A Reverse History of Mechanized Drawing 2012–1900.” It was one of the more lively talks and displayed the history of drawing technologies from early digitally triangulated meshes, kinetic models, and stereoscopic drawings to the 18th-century Italian drawing machines and the projective geometries necessary for the beautiful curves of Neo-Classical staircases. There were some fantastic retro-digital environments form the ‘70s, which oddly seem more "real" now than they probably ever did. Marion Weiss of Weiss/Manfredi illustrated how the uncertainty of hand sketching and charcoal drawing informed the final forms and textures of the firm's Barnard College Diana Center. She also described their Brooklyn Botanical Garden Visitor Center as a series of sections dissolving into the earth, thus mitigating the transition from urban condition to nature. On the other hand, Greg Lynn of Greg Lynn FORM office took the stage and claimed territory for those who sketch on the computer. He exalted that "The rest of you proudly hold up your pens and pencils, but I would hold up my mouse." All in all, the weekend offered a lively and provocative series of talks, filled with rich examples that served to inspire and inform. Despite the fact that a few of the presentations struggled to make a clear point about the role of drawing today, ultimately, the symposium showed that drawing is far from dead. In typically ironic Yale fashion, the best evidence of representation's continuing importance may be the struggle to talk coherently about it. Now excuse me while I go find my pencils.