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Full-Text Articles in Architecture
Addiction, Larry Bell
Addiction, Larry Bell
Oz
I have always considered that my work was my teacher. I follow the work. My priority has always been to keep working no matter what. No one needs this kind of study except for the person doing the study. It is not a product, it is the evidence of a series of investigations. I am addicted to working in this manner.
Authentic Space, Elizabeth Turk
Authentic Space, Elizabeth Turk
Oz
There is space between well-worded explanations and fully comprehen - sible meaning. It is in this space that I find “authenticity.” It is here that content is “felt” before intellectualized. My need to speak in a language addressing the layers, the paradox in living, leads me to art. This is authentic. Carving calms me. The focus gives order to thought and emotion. The artifact, the sculpture that remains, is a structure so extreme it seems to defy the constraints inherent to its own material.
Footsteps, Tom Leader
Footsteps, Tom Leader
Oz
It’s fascinating to learn the stories of how people ended up in the work they do and why....and then how their work changed over their lives. More often than not relationships to mothers and fathers have a lot to do with it. Trying to please them, rebel against them, outdo them, live up to them, remember them. As a teenager, I wanted to write fiction and model myself after Hemingway. I thought I might be good at it and I knew my mother would be gratified, partly because of her own ambitions that weren’t realized.
An Interview With Fuensanta Nieto, Fuensanta Nieto
An Interview With Fuensanta Nieto, Fuensanta Nieto
Oz
The vision of our architecture resides in the strength of the ideas, the close relationship with a place, the search for natural light, the creation of a complex space as a combinatory of a limited number of simple elements. Te mission of our work, on the other hand, refects not only my personal interpretation, but also afects the users as well as the city or the landscape.
Li Hui: From A Nightclub To Eternity, Phil Zheng Cai
Li Hui: From A Nightclub To Eternity, Phil Zheng Cai
Oz
The connection between authenticity and Hui’s work can be traced to his understanding of fine art creation in relation to religions. he believes the ability to create is exclusively anthropic. He argues that artists are playing more of a role to replace God in what they create, they invent, and influence. This is the pinnacle of authenticity.
Authenticity And Values, Fran Silvestre
Authenticity And Values, Fran Silvestre
Oz
In our case, it is not a matter of pri - oritizing our vision or of seeking authenticity in each of the projects. For us, dialogue is very important, which is always present, since the work becomes part of the identity of those who inhabit it. It is an unmistakable expression of your personality or your corporate culture. Likewise, in each project we look for continuity. Continuity with both the environ - ment that we must respect, as well as understood from a spatial and temporal point of view, valuing the architecture that is capable of go - ing through …
Sculpting Public Space, Janet Echelman
Sculpting Public Space, Janet Echelman
Oz
It’s different all the time. Many commissions have a pre-established site and a preestablished budget and timeline, and they are searching for an artist. So, in those situations, I come in almost as a lay-person’s anthropologist—a kind of amateur anthropologist—where I explore, and interview, and sketch, and photograph as a means of trying to understand local identity or aspirations for local identity and local materials.
The Material Inquiry Of Construction, Lawrence Scarpa
The Material Inquiry Of Construction, Lawrence Scarpa
Oz
The event of a job coming into the office and its completion occurred with such rapid succession that the energy of the design was naturally sustained through the end of construction, buoyed by the adrenaline that comes from producing at a blistering pace in combination of the direct physical contact with the actual materials of that construction. Our current state of practice is quite different. The size of firm, number of projects, their complexity, and associated duration has all increased. Rather than completing buildings in months, projects now frequently span four, five, or six years from inception to completion. The …
Table Of Contents And Prologue, Christian Berger, Jason Jirele, Jeremy Migneco
Table Of Contents And Prologue, Christian Berger, Jason Jirele, Jeremy Migneco
Oz
Editorial board, table of contents, and a prologue from the editors
The Photos You Don’T Take, Stay With You Forever, Driely S.
The Photos You Don’T Take, Stay With You Forever, Driely S.
Oz
The photos I didn’t take, wouldn’t let me get out of bed today. They do this to me often. Every time I think I have developed a coping mechanism, they sneak up on me. The photos I did not take are so real in my vision, that they become an actual force-presence in my daily existence. I see them every damn day. And sooner or later, I feel them too. Their insistence hurts me so. And as much as I try and use them to my advantage, the photos I did not take haunt me forever.
Real Fake, Robert Mangurian, Mary-Ann Ray
Real Fake, Robert Mangurian, Mary-Ann Ray
Oz
For this issue of Oz, dedicated to authenticity, a thought came to mind that we might explore one of its antonyms—fake. The moral overtones of faking or duplicating, especially regarding the production of creative practice, are most definitely in place in western culture.
Building Between Tides, Julie Brook
Building Between Tides, Julie Brook
Oz
In my early thirties I wished to understand my own artistic language better. I chose to live on an uninhabited coastline on the west coast of Jura, North West Scotland, a five-hour walk across moorland. I wanted live in and study the landscape in depth, to discover how I would respond to this environment and how it would influence me over time. To be in solitude. The idea had come fully formed to me when walking and camping the previous year. Taking shelter from a storm I found a cliff arch of cathedral-like proportions and slept the night there, pitching …
The Case For An Authentic Growth, Yen Ong
The Case For An Authentic Growth, Yen Ong
Oz
I have sold out since I graduated a little more than two decades ago. My idealistic, younger self would have patently condemned the choices my present self has made since then. Idealism would be the righteous position for a student of architecture to take, one who has been fed stories of famed architects realizing their architectural vision in no other way but theirs, proclaiming an absolute authenticity to their creation, or opt - ing to be financially bankrupt rather than to compromise their talents in service of uninspiring commissions. That was then, and this is now: the authentic identity that …
Context From Place, Peter Alexander
Context From Place, Peter Alexander
Oz
Peter Alexander casts pieces out of resin, a interest that bloomed unintentionally but something he always felt positive was for him. "Instinctively I would do something, and that would make me want to do something else...[or] something continual to keep going," and for that reason he has continued using the same medium for nearly 50 years. To him, it feels "so natural that it was the only thing I got really excited about, and that was its own authenticity."
Activating Architecture, Ben Van Berkel
Activating Architecture, Ben Van Berkel
Oz
An interview with Ben van Berkel reveals his "[firm belief] is that architecture should primarily be driven by relevance. Design that is truly relevant enables engagement, empowerment and inspiration through urban and architectural conditions. Architects can achieve this by creating choice, chance and a variety of different experiences for the user.
Do Ho Suh, Sarah Newman
Do Ho Suh, Sarah Newman
Oz
Do Ho Suh’s use of fabric has a number of different origins. Most directly, he was looking to create a “suitcase home,” that he could pack up and take with him and erect anywhere in an attempt to live in the presence of the places he had left behind. Fabric is light and packable, and it has an ethereal, translucent quality that hints at the structure’s transience; it is a representation of a memory that still feels like memory.
A Tribute Of 4 X 10 Meters, Vanessa Beecroft
A Tribute Of 4 X 10 Meters, Vanessa Beecroft
Oz
The first attempt to make an artwork, one I considered being able to belong to contemporary art, was my food diary. During a period of 10 years I recorded everything I ate daily. While drawings didn’t seem qualifying for what I identify as an avant-garde tool, the diary and its immediate reference did.
Contributors, Christian Berger, Jason Jirele, Jeremy Migneco
Contributors, Christian Berger, Jason Jirele, Jeremy Migneco
Oz
Biographical information on contributors to volume 40, and a list of benefactors and donors
Communicating With The Other 99%, Bella Janssens, Bella Janssens
Communicating With The Other 99%, Bella Janssens, Bella Janssens
Oz
Our understanding or interest in the design process is not that the architects are a purely service industry, but that the best ideas come out of collaboration, so inevitably desires from both sides of the table are going to not only be satisfied, but something completely new will be made from that combination
Spatial Inquiry, Annie Han, Daniel Mihalyo
Spatial Inquiry, Annie Han, Daniel Mihalyo
Oz
We have always found it difficult to practice architecture in the way it was handed down to us by the professional guild and still experience and create architecture the way we found it to be meaningful. It seems to us that space and structure created for no further reason than to be perceived and experienced is a wonderful pursuit which has little commercial use in this cultural economy.
The Joys And Challenges Of Stickworking, Patrick Dougherty
The Joys And Challenges Of Stickworking, Patrick Dougherty
Oz
After thirty years of springing large-scale sapling sculptures into unlikely places, it has become easier for me to distill some of the constants that characterize my work. In that regard, the work is temporary, uses entangle - ment as a simple fastener, employs a drawing style akin to works on paper, always needs a sponsor, capitalizes on volunteer help, and is open to the public during the building phase. Further, the work has always sought to find reciprocity with the sculpture site and, most importantly, to enliven the imagination of the viewers.
Six Sites, Stanley Saitowitz
Six Sites, Stanley Saitowitz
Oz
Each city is a manifestation of a specific geography and particular culture, an expression of its singular spot on the globe. This uniqueness, this particular suchness, is its being.