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Articles 1 - 30 of 161

Full-Text Articles in Architecture

Table Of Contents And Prologue, Christian Berger, Jason Jirele, Jeremy Migneco Jan 2018

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. Jan 2018

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.


Footsteps, Tom Leader Jan 2018

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.


Addiction, Larry Bell Jan 2018

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.


Authenticity And Values, Fran Silvestre Jan 2018

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 time without becoming ...


Sculpting Public Space, Janet Echelman Jan 2018

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.


Activating Architecture, Ben Van Berkel Jan 2018

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.


Authentic Space, Elizabeth Turk Jan 2018

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.


An Interview With Fuensanta Nieto, Fuensanta Nieto Jan 2018

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.


The Joys And Challenges Of Stickworking, Patrick Dougherty Jan 2018

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.


The Material Inquiry Of Construction, Lawrence Scarpa Jan 2018

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 ...


Li Hui: From A Nightclub To Eternity, Phil Zheng Cai Jan 2018

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.


Real Fake, Robert Mangurian, Mary-Ann Ray Jan 2018

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 Jan 2018

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 Jan 2018

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 drives ...


Context From Place, Peter Alexander Jan 2018

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."


Six Sites, Stanley Saitowitz Jan 2018

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.


A Tribute Of 4 X 10 Meters, Vanessa Beecroft Jan 2018

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.


Communicating With The Other 99%, Bella Janssens, Bella Janssens Jan 2018

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


Do Ho Suh, Sarah Newman Jan 2018

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.


Spatial Inquiry, Annie Han, Daniel Mihalyo Jan 2018

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.


Contributors, Christian Berger, Jason Jirele, Jeremy Migneco Jan 2018

Contributors, Christian Berger, Jason Jirele, Jeremy Migneco

Oz

Biographical information on contributors to volume 40, and a list of benefactors and donors


Table Of Contents And Prologue, Aaron Bolli, Eric Janes Jan 2017

Table Of Contents And Prologue, Aaron Bolli, Eric Janes

Oz

Editorial board, table of contents, and a prologue from the editors


Material Operations And Craft, Pete Wenger Jan 2017

Material Operations And Craft, Pete Wenger

Oz

Patkau Architects, over the past few years, has initiated and pursued a series of experimental projects. The results are broadly varied in appearance, but are nonetheless unified by an effort to discover formal and structural identities through playful work with materials. That work was recently collected and published under the title Material Operations,identifying the procedural continuity.


Landscapes Of The Long Now, Scott Geiger Jan 2017

Landscapes Of The Long Now, Scott Geiger

Oz

For a dozen years Reed Hilderbrand has worked to create a public park on the Hudson River at Beacon, New York. This park includes a new kayak pavilion, which was designed, built, and occupied in eighteen months. The pavilion opened in 2012. It is briskly used in the summer seasons and there is a waiting list to rent a berth on its racks. Meanwhile, the landscape continues to mature. With the final site remediation project complete, the last part of the park’s design will kick off construction this spring. After two decades of effort, Long Dock Park will fulfill ...


Neo-Industrialism: A New Age Of Architectural Craft, Ramona Albert Jan 2017

Neo-Industrialism: A New Age Of Architectural Craft, Ramona Albert

Oz

We live in a world where speed precedes everything we do. From our forms of socializing, to communication, to building buildings, we are constantly surrounded by the need for faster processes. The human brain has its limits, but machines enable us to think faster, do faster, and to create concepts that were impossible before. In architecture, we use digital technologies to facilitate imagination, to create new forms, and we then need the same technologies to build them.


Strange Tangents, Matt Hutchison Jan 2017

Strange Tangents, Matt Hutchison

Oz

At a moment in time when designers, architects and makers have an unprecedented selection of high-precision machines, computational tools, and networks of information at their disposal, the term “craft” seems anachronistic and yet still somehow overused. Once synonymous with dexterous coordination between the hand and mind of the maker and grounded in the physical world, the term has been appropriated and misused for any number of pursuits. A reconsideration of “craft” is in order, as it is situated within contemporary design (and making) practices.


Craft In The Digital Era: Louis Sullivan, Digital Technology, And Designbuild Education, Keith Van De Riet Jan 2017

Craft In The Digital Era: Louis Sullivan, Digital Technology, And Designbuild Education, Keith Van De Riet

Oz

Perhaps digital craft in architecture can be effectively calibrated through emulation of the masters. This is not to suggest we retrogress to periods of architectural style, but rather leverage relevant benchmarks within pedagogical models to establish standards of craft in digital design and fabrication. By adopting this preservation-oriented and Beaux- Arts style of learning, computational technologies can be vetted through the modeling and construction of architecture embedded with some of the most recognized achievements of human hand and mind.


Craft Surrogates, Jonathan Nesci Jan 2017

Craft Surrogates, Jonathan Nesci

Oz

What “craft” means proves itself to be elusive and, at the same time, ubiquitous regarding the act of making. Through this written exercise I look inward and study where craft is found in my own work as well as observe how it applies to the work of my contemporaries. Although most think of a craftsperson as the individual who makes objects, my interests in fabrication span multiple materials and connection methods. Early in my journey I grew frustrated with limitations of my making skill sets. It took a few years to realize that making wasn’t my strength. Instead, I ...


Contributors, Aaron Bolli, Eric Janes Jan 2017

Contributors, Aaron Bolli, Eric Janes

Oz

Biographical information on contributors to volume 39, and a list of benefactors and donors