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Hall Of Mirrors
Wednesday, Feb. 20, 2013 · 6:09 p.m. · 01h 02m 27s
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however from your are
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yeah yeah i that is this year there are you don't have that out
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you're not you are a very yeah and especially welcome here to care for tonight
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we're very pleased to have you here for the second time i
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must say yeah um for the second time because our goal was
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not many people in the audience i think matt for those who are being here of things more than eight years before
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my time okay so that students you're so for me its
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own primary impure fairly people you may have think if you
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uh invisible fifty that was shown here in two thousand fairy because if you
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only for in between fifty is basically the uh uh not no not very exciting
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a vector where a large part of for the world's
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population leaves a and if we should we we never talk
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you can see a an extract of the film on or you're never going to work sorry
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and which we should do and are now we're
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pressing thinking the exhibition space into who'll pay thirty nine
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and the the was produced by unit down there and uh one and found evaluation it is the first
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time it's the palm yeah crack is on the first time that we have a not a for sure
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and for basically she was the thing station
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are whereas are presented income fell in good teamwork
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her life your and you may be surprised to you here in existence be the duty to architecture
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but after a few minutes you will and quickly understand that where this work
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is important for uh for architects it is about space obviously and um but
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also more us more strictly it is about our perception of this brief
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and about uh uh the way we are a very the
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rooms we you know and it and um where where really
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we also very interested in your last paragraph process of making use
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their videos i have asked him to do more about food tonight
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unlike a for architecture he's working means the motto to existing
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when there and the model is not only use our to represent
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really cute but it is it to or to express a comfort but
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uh i will act and people are more about this in a few minutes
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and before that for i will give you few very graphic elements you have
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another ugly than works in a stockholm decided first architecture ease you at loons
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before starting out at a man who outgrew
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him where he received his mastering two thousand
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i am a long he's a very famous um contemporary
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artist in sweden uh exhibiting mean all over the world
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among others even i remember many for for for in front for
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about the addition to the italian pavilion um and if it is generated in it yeah
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a national recruit version of freedom and they're trying to fix the analysts how problem
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he was also at the uh you museum rocking farewell in two thousand seven the green salad viewing
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in two thousand eight and uh recently at the architect to
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c. n. n. clear malice or who is going to doesn't pam
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and uh in addition to feelings and a video installation is a fact is include
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very interesting public uh artworks commissions under photographing
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last year for example you as a working him junior are
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doing is the design for an upper production inventive macbeth number compare
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so uh yesterday when jeff and i were talking about for two nine
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removing uh he told me that her he would there be more pleasing
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talking about his work uh in the the shimmering like are are gonna revoke
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going from one worked with your your um very true that it may have been um
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nice for when we very very um but i wanted to to work with the possibility for us
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to see more for images and going in more in deep into his concept then processes
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so i think in a lot for being accepted the
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invitation and i know given before 'cause we're communists them back
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thank you uh uh can you hear me
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i will show the i'm not completely prepared for this so soon so that was also
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and i i wanted to go around in the works in the exhibition instead
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but i i have a put together a some images and we'll talk around this little bit
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i will show a initially it's really works it should uh are not in the exhibition which are
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uh
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the and other kind of my prejudice where are where i i do more uh
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what you say bigger public works and the but they will come
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from the same uh from the same background or i have always
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i work with the works in the same way and think about my works
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in the same way in these works but so it's more or less too
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give you an idea a little bit how i sing can wear right conceptually come from and uh how i approach
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a um a some sort of method of all the
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how i work the first piece is called and imagine city
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and and it came like in early two thousand
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twelve i was almost by by uh by uh
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some people if i was interested in doing the site specific work in in uh in
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stock on a quite close to to uh
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uh quite porsche square in the central stock on
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and and uh uh i accepted and and the
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the their idea was that i would work with the
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building during during the time when the building was on
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the renovation so and they they thought that i would
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maybe i could project some films on there i could do something with this
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place so it happens something during the time when the rubber rebuilding the space
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uh normally when i work it's it's not so
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interesting to do a thing like that because it's it's
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don't learn anything from eighty fires project the film on on the on the wall on the on some for salt
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so i started i started to go to this place and think about what i could do
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and and uh and i went there a lot and i went back in for sound and
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i really really didn't happen anything it's like i i'm not so i'm i'm normally are not in
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that neighbourhood so much the building is not that interesting it's the corner building with a blue balconies
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and and uh and i i i was really fighting
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with this what what can i do with this project
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and after while in the studio when i was i was working on the on
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these all process design at the same time and i was a little bit frustrated and
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one person i worked with on the opera set told me that that uh
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they have this new uh text messages sir vision service in sweden that you can text the question
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uh any kind of question and they will answer whatever whatever you ask
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and you have the latest talk to the service so you have one question for free
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so i thought that i would use my question to to last year or two to actually uh
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i will austin to soul my my my or my problem what should i do with the space
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so i i i i told them in the text that or text message that
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the that the back and forth from work everyday i walk walk by this building
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and it was a terrible building and i wanted to to disappear
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and the answer came like two two minute softer than service base hopes disappear
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which is even better maybe one see it will come again here
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yeah so was you're telling us that you walk this every day to and from work so we think
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that you know the the way very well so you just close your eyes when you walk by it
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which is brilliant it's like poetic it's beautiful and and for
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me it was like really yeah that's that's what i should do
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i should somehow i come up with an idea where i let the people that walk by their clothes the rice
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so and this is how that looks like so i i covered the building with a with a seal it looks
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yeah you see a little bit here of the building actually but i cover the building with with a black nets
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so during the and it was a up during the wintertime in
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sweden which means that the the the building during nighttime or one from
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three four o'clock in the afternoon the building is this appears it becomes like a black hole
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and some sort of a a a idea about my idea with that was boast that that it's
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twisted the the the question from from the persons that
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have lost me to to sort of get to give life
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thing gave the sort of make this visible and that that
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it's always by showing something that you will tell tell something
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so the idea was that to do the reverse to to sort
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of black it out then is that it becomes things that you imagine
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and it's also bought that that the building was formally a post office
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an hour or rebuild to to become like a a lecture
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apartments with the loft on top and and normally when when
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a a building is changing form from from senate public place to a private place
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and they don't really changed of us all so much it's it's never the base
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newspapers so it's it's really not any discussion going on about the people don't notice it
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but if it tara building down it normally comes a lot of of of the
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so what's and then discussions about it in the news because you change history you change something that
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that people are are are become frustrated or afraid of and they stop to think about what's happening
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with our city and so on so the idea with also black a black to building out was that
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to sort of give the idea that from a from a couple hundred meters or even
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close to do that they couldn't see the building it was that it it was gong
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so you start to think about uh basically what's what's uh what's happened there
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then in sequences softer while i put in the slides
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so i put in some sort of abstract uh
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uh windows uh a very theatrical windows that shines down
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uh a light like a a light beans on the on the on
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the street or on the what is the payment and the and the
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where where where you walk in if you walk into the light beams you also hear sounds
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and the sounds you hear from from this is is descriptions of of space is uh
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and the rooms and see this and like people have a remembered and told me
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and and so i have i started at the same time as this work i started with the process
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of collecting memories from people i also sent out
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the i can pass to that i sent out the
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a male where i lost the ball to to send me their memories from spaces from films
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and all i didn't want them to describe the the
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storyline know the characters or anything i wanted them to describe architecture
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so i want to them to sort of walk through a sit in their head and imagine the like
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uh if you uh if you imagine yourself now like you how you and the receipt to buy an airport
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or how you take a cab into the c. d. or the train and you you arrive somewhere you walk
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to the seat you walk around in the restaurant and so on and then i want to them to contemplate
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round all the spaces and just think in to see
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what kind of spaces that came ah and the first time
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when a space from the movie came out i i lost them just describe it it doesn't matter if it's like a
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what is supposed to be a good movie or a bad movie
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it just whatever kind of movie and describe the space and send
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it to me don't think to march don't be to to sort
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of nervous to be right or wrong more to to to uh
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that that i think you would be stupid because you're watching really bad movies and and so on
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and so i got this i got all these memories and i i put them into
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an archive which i then put in to
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to this uh to this uh i i or
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i i uh made people read read them in and then i did the
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voice over i had the directional sound from from the windows which goes down
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into the into the light beans so outside a lot lighter beans it's totally silent then we when
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you walk into one of these light source is you really hear like a voice in your head
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each memory starts with i remember so it's like
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yeah and then each of these window have their own
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what you say like their whole on a it's like an own chapter so each of them are are
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one of them could be all the memories that i got in which is about someone walking in the city
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another another shop there could be a a memories about countryside another
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could be about more connected to sound to silence and emptiness
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another one could be uh which i call cool how haunted house
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which is like inside some sort of building where you never get down
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so at the same time that you walk into the beam you also become like park you if
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you become part of a quite cinematic scene from
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the outside some people see someone standing there and listen
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on on the voices and it looks quite we're because i don't hear anything and it's just like some people
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standing very still and listening and and and at the same time so you need to take the
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what you say you need to take the decision to be part of the cinematic scene to also get
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the the the information because you need to stand there in the life to look up on this is window
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uh this piece which is also presented in the show uh
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in a completely dark doubt space directly when you enter the space
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so it means that when you and there are just some you will go
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into blacked out space an inside the space is five directional directional sound speakers
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and so one need to sort of search through the space to find the points where you will hear
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the sound you will hear any will walk into people and so on because it's quite dark in there
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and and the and the inside when you will you will hear like
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mumbling sound when you when you come in so you you it's not
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that is completely style or completely silent but you know like mumbling sound
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and then when you walk into the sound be you will hear the stories
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so you need to try to work around that are a little bit and
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and the and don't use your cell phones too much to light up the space
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during the day the building looked like this so then it becomes almost
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like a a like a pastiche of contemporary architecture if you talk about
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like the contemporary architecture today is very much like a skin that they they they uh
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bill the functions inside and everything the what's inside
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a surface or skin is sees what's what's all of
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us will the necessary things that architecture needs to do
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and then you put the skin outside to make it look contemporary or really
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good or whatever they want with it so it's a little bit of of uh
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critique on that's maybe a little bit too also like uh that
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this normally in in stock on in the central stock and you can't really built so much things
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is very strict rules for what you can build but if you use a if you use a uh
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scaffolding system when they're renovating a building you can do whatever you want with that scaffolding
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so just to do with the little bit precise and and and you start to build
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architecture with it even if it's i my idea from the beginning was that it would be
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even shark rarely even better but it was quite three get to the to work with a construction site and
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make an art piece with with people which are not so maybe they they are more keen on making their building
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but uh in there and it worked out quite well i think i also can say
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uh that that that please interrupt me and
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asked questions of any kind it's it's i i
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don't have a prepared sort up to walk so it's very easy for me to stop
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and and talk about things and discuss things and was off the version because at exhibition space
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and of course i'm still also collecting memories so if you if
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you if you are i want to do some sort of the
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for up if the the experiment with yourself and the daydream a little bit it's a
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do it and see what comes up it's quite interesting to actually see what kind of spaces
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that that one have been in in both unconscious and
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conscious what what is kept there and it's it's really uh
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i thought from the bit when i when i started this archive i
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thought that it would be a lot of memories from from uh from uh
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films from directors which are really really good been working with architecture the things we're
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like films where where they actually use architecture really march to to tell the story
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but in the end it's a lot about there's spaces that that and stop there where where
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you connect to space in a completely different way and you
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think you connected to it and it's it's quite we're the
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space is a little detail sometimes that just that just start
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can you use they stay there for a really long time
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so here is but that's probably not readable here is a little bit
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of the list of the of the of the different so this is
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a little bit of an archive over i listed the different rooms and and uh or an index and you
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see under like for example bedroom to the right there you see a list of all the films where where
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where i got him bedrooms from and so i'm fortune it's not in
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alphabetical order so it's a little bit tricky to to find the yeah
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still the screen so this is this is another another project
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which is also a a a not this yeah like um
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a film project from me this was this is a competition proposal which i unfortunately lost
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but uh of course they did wrong like well the last think
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when we lose but but the the proposal is was
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it's for the it 'cause option chamber in the the un building in new york
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when they were renovating the the uh the the un building
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they they each of the space is also a changed a
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lot of the rock pieces and they made a competition and
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and also this is a national competition because we don't believe it's
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yeah 'cause top chamber from the beginning it was mike alias and the swedish architect that that the they could stop chamber
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and and the so when they were renovating then it's was sweden
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that renovated so sweden made made a competition and invited three artist
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my proposal for for for the it was top chamber was
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to produce a nine into find me too big silver screen
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still the screen which is the name of the all the
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like the the cinema screen which you projects projects films all
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the silver screen in this case was was uh was reacting on
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on on the or silver reacts on on the on the air
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and gets dark when it's when it's it gets contact with our after a
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while so i made a proposal where i'll see if i have it here
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where i've made a bit mad map on an image uh uh actually image on the outside
00:22:03
so what you can see if if my image was not there the image
00:22:06
unfortunately needs to be there otherwise you have a killer view of of of
00:22:10
the of the east river and um brooklyn but they need they need they
00:22:14
always need to have that window cover which is a little bit uh set
00:22:20
and and so the idea i came up with was to produce a a screen where
00:22:25
where it's from the beginning it's just a glittering silver surface part of the f. twenty years
00:22:31
this image comes so it's doing this process of twenty
00:22:36
years the image comes like a really slow polaroid image
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uh by the silvers we actually read a or uh how the silver react to to
00:22:46
to our so it's becomes a little bit top of the hour it is about to discuss
00:22:55
bottom work and you well where where it's uh where where it's all fun quite slow
00:23:00
and and and maybe sometimes it's even to slow
00:23:04
so when they actually can when when they actually can
00:23:08
get through with things it's already too late which many
00:23:11
decisions in these kind of in the or situations are
00:23:15
so it's a little bit of of of maybe critique korea's maybe not critique
00:23:21
maybe as the dialogue about that that when when you actually can see this image
00:23:26
then the the outside have already changed because the it's a
00:23:31
this is one of the neighbour owes whether bill tamara almost in in new
00:23:35
york now on the on on the east with the coastline on on brooklyn side
00:23:40
when you finally can see out it's not the same anymore and it's a little bit like the light from
00:23:46
the star that that that you when you see the light the the store is already gone doesn't exist anymore
00:23:54
and also about time of course and and the that that
00:23:57
yeah that you need you need the distance to actually understand something
00:24:02
i did this i did it like technically like just making a bit map of of of an image so
00:24:09
so and then you when even the silver in the in the so you use like real and fake silver
00:24:15
so the images already there and the idea that the that the space or that it's
00:24:22
that the you get in the spaces maybe that ally this is
00:24:25
sort of pressing in and and the and finally it's like a a
00:24:30
a like yeah what you say i don't know the english word for
00:24:33
that but finally it's the image just like gets in in there somehow
00:24:39
it becomes like a photographic process a little bit but in
00:24:42
the end it's not it's just our that reacts with silver
00:24:48
here is the they make sure the the what will be on the screen then and
00:24:54
they picked instead they picked a a a a
00:24:58
drapery with triangle shapes on that was the winner
00:25:03
i'm not bitter at all
00:25:07
mm
00:25:09
mark deaf this is what i did they say well just flip through quite fast
00:25:14
basis but but it has a connection to too many other works i show here also
00:25:19
i was asked by german directed to do a not a
00:25:22
set the sign for opera here engine at by or in here
00:25:26
what engine about if uh and and for macbeth by that they
00:25:33
and i propose to them to to do uh to do uh
00:25:38
a space and everything in black and white
00:25:43
so the costumes and and and life and the masks and the
00:25:48
space is all black and white so the images here or colour images
00:25:54
and uh i i proposed for them to do the whole play
00:25:59
in one room so they didn't follow the the sort of uh
00:26:02
they didn't follow the narration of the of the play in that sense
00:26:06
that they change scenery is when they're outside on the big field or
00:26:11
instead it was like a psychological psychological space where where everything was
00:26:17
like watching in to macbeth had done they get more and more crazy
00:26:22
then i i i i a a sort of
00:26:25
abstract that the the space with with the the shadows
00:26:30
so it becomes more than or more and more it that was one of the things
00:26:34
i i lost a little bit in the in the in the dialogue with all these people
00:26:38
but during the play its goes back and forth from being quite
00:26:41
abstracted by these uh by these shadows of nature that comes in
00:26:47
ah there one can see right here once a little
00:26:51
bit of maybe colour interfaces it was a little bit uh
00:26:55
the trick is it was quite easy to do the light and the
00:26:58
space in black and white but the mask was really a really difficult
00:27:03
so so uh uh in some some of the
00:27:07
people were really difficult to make black and white basically
00:27:11
and it's also and if you do it too much you look it looks like it's family out downs or something like that it's
00:27:18
not so successful and it was a big normally they also just work with maybe five or
00:27:24
six the main the singers they really work much with the masks on and also than it i have
00:27:29
a hundred people that they needed to to prepare are
00:27:33
really well so that was an enormous effort for them
00:27:43
user part so this it's the first piece here which is in this way in the show also and here
00:27:49
i will talk a little bit both of the concept of how i approach
00:27:53
a project and also about how i make it with with my architectural models
00:27:59
yeah i was tossed in this i always almost work
00:28:03
in it quite site specific way that i i i i
00:28:06
get the question to come to place or to space and
00:28:09
or to re eh i always react somehow with with architecture
00:28:14
and and uh here i was also by by a collector to produce a pea soaked
00:28:21
to produce a new film he's in new york any space was wrong grammars to park
00:28:28
where where are which is still only a private a private park on manhattan so it's a little
00:28:34
bit like a gated community and around this park
00:28:37
it's a lot of private clubs and and the
00:28:41
very nice but like sure is building and you have almost no access to any of these buildings
00:28:48
uh the building where he had this place in the in the ground
00:28:52
floor of this space it's it's a a space call the national arts club
00:28:58
which uh it's maybe not the most contemporary place you can think about and
00:29:03
and they had a for example they have the gallery asked for pastel paintings
00:29:08
there which is which is probably the only girl in the
00:29:12
world which are are are just for that i guess it's nice
00:29:18
uh i came there and um i i i met i met
00:29:23
at uh the boss solve all the president of the national arts
00:29:27
club and i asked him if i could feel him inside the
00:29:29
club and feel numbed and photographs and he he said that that was
00:29:35
uh that was fine as long we meeting with him the first day and the day after i i i uh
00:29:41
came back there with all my equipment and i
00:29:44
walked over the line where it said like members only
00:29:48
and i had the guy running off to me and screaming that it's like a normal scandal it's like what are you
00:29:54
doing why are you walking over the line and i turned around and it's the same guy that i had the meeting with
00:30:01
and i try to uh explain for him like but we had to me you
00:30:04
know we sat down here like yesterday we we we had the meeting for an hour
00:30:09
so everything is okay i i told you and and he was just screaming
00:30:13
it's and like hysterically to me that that i i that's like
00:30:17
i can't just walk in there and it's like a big big scandal
00:30:21
the same time it's the the spaces like for the uh it has
00:30:23
like four five people sitting them reading the newspaper and they don't even look
00:30:27
up so so they just sit there and i feel extremely uncomfortable in
00:30:32
the whole situation first i don't really belong to this natural marked or club
00:30:37
then it's in new york which i i uh never have produced in
00:30:41
before so it's like a lot of of things which which makes me
00:30:46
kind of one day a shot of uh of of an
00:30:49
well not being in in my my right element and and
00:30:55
the after a while a a security guard comes up there
00:31:00
and it takes me aside any say it's is crazy twin brother
00:31:05
so so or the guy has a twin brother which is completely a completely uh
00:31:11
at basically crazy so it was his twin brother that that were shouting at me
00:31:17
and and and it was a really weird situation because
00:31:21
he needed also to to to sort of keep on
00:31:25
shouting at me for a while so you got his anger out and i needed
00:31:28
to stand there for a while to take this and then i could keep on working
00:31:32
but this also gave me the basis for my my project what i was going to do later
00:31:38
they're not and when i see them now they're not soul similar but also stressed
00:31:42
in the situation so it's like it was really a it was a quite weird
00:31:49
here here is a painting on the president and the next i
00:31:52
think it's roosevelt's early in here in in this space is also
00:31:58
i decided what i wanted to do for with with this material was that i thought that i should do
00:32:05
i should deal with this the private part i i somehow wanted to
00:32:09
get access to to these places which i didn't have act access to
00:32:14
and i also wanted to to soar across the park which is
00:32:17
impossible to do well if you don't have the key to the park
00:32:22
and so i i i thought about it for a while and then i decided to make i should do like
00:32:28
ca all the parts i just cut cut out the piece of the park and i reconstructed in in in stock all
00:32:35
where i feel better with myself and where this would be possible
00:32:41
so i i i i started to to uh think about what i can do
00:32:46
and i what i normally are then doing which also we'll see in all my work
00:32:51
in the exhibition is that i i take starting points real from from films from from
00:32:57
sort out that will say this the memory project then also in in this case i i
00:33:02
i started to think about the the final scene in in
00:33:05
by often you want in in the movie called the passenger
00:33:10
and and in the final scene in the movie it's uh it's
00:33:13
a one shot which is seven metre long o. seven minutes long
00:33:17
and it's in one take and in this state they go
00:33:20
from the inside obvious room jack nicholson in the main role he
00:33:24
lies down on the bed the camera pans a little bit in the uh in the in the room in the hotel room
00:33:31
and that it goes closer and closer to this window which have these metal bars on
00:33:36
it and then it magically us cat go through the camera just go through the bars
00:33:42
turn around on that side and showing showing
00:33:46
the showing the the the big square outside
00:33:50
looking back and then it looks back on the on the room again and then you have
00:33:55
to make his own is shot and all the main characters from the film is is back there
00:34:01
uh so it's like the final scene of this and it's
00:34:04
like a beautiful beautiful magical short where where they sort of
00:34:09
somehow a summarise the whole film in this in one page
00:34:15
and i thought that that i wanted to do something similar to
00:34:19
that in in in the way that i wanted to be in the
00:34:22
side i i wanted to build up to apartments want apartment on
00:34:26
on each side of the park which should be nearer like the twins
00:34:31
and that i wanted to go from one department to
00:34:33
search search through one apartment on the on one side
00:34:38
and then go through the window and across the park and fly and inside the apartment on
00:34:44
the next side of the park and you do the similar search there and then back again
00:34:50
and then just loop this case so it's like being inside someone's gaze in
00:34:56
this in uh and and just stay there inside these sort of very closest
00:35:03
uh both closed in terms of gated community but also that it's
00:35:08
the houses national or top felt like everything that came in there
00:35:14
for ever stayed there it was like nothing nothing
00:35:18
ever left it was like full of dust and and
00:35:22
and different kind of all the acts and it was really we it was also maybe why i
00:35:26
wanted to do it in sweden instead i i was afraid don't never getting out there from that
00:35:32
so i started to sketch on on this uh on this how i could build top this
00:35:38
in different uh like normally i i work bows with with the
00:35:43
with some sort of as a a simple three d. programs and with models at the same time
00:35:50
and drawing so i started to to make drawings on where the trees were a high high they were
00:35:55
around and where park benches were placed and so on and at the same time we started to build up
00:36:01
built up in my studio the the trees and to start to build the structure
00:36:08
so here we are starting to experiment by uh with how to build
00:36:11
the tree in the scale which is possible to filament to actually go through
00:36:15
through the sorrel park where you where you go in between three send and so on
00:36:21
and do it in a way with because when when you speak with a set designer and and you ask them how okay how
00:36:27
to do it three they say it's not one of the most complicated things to do take like two months to build one three
00:36:34
and we have like thirty threes and and we didn't have that much time or money
00:36:39
so we needed to come up with methods to
00:36:41
do it much faster where we use the electrical cables
00:36:46
for example we use a different kind of blew that we've put on that
00:36:51
he did up a heated up the uh so it becomes like three structures
00:36:57
we spray painted everything and in this we also did it from the beginning
00:37:03
or what's the link to the market best piece that i also wanted to do
00:37:07
the spell this model in black and white i wanted to do a colour film on the black and white world
00:37:14
so which it's a lot you you uh uh what can i say i i wanna spend a lot
00:37:20
of time on something which no one will notice in the air because it just looks black and white
00:37:26
but it's quite nice that these are all this
00:37:28
information that that is there somewhere hidden behind that that
00:37:33
that this is actually a colour film and the
00:37:36
well this completely froze and and and all done and
00:37:42
and so on we built up the some of the furniture this is one of the guys
00:37:46
that helped me to deal which are very probabilities tables we send a nice images on them if
00:37:53
we started to make test with the grey scale and how to how to what how
00:37:59
how the camera reacted on different grey scales and how to to play with grey scale and and how
00:38:04
much white you need to be able to to get some sort of conscience the image and so on
00:38:10
and we started to build up the the uh the model in
00:38:15
in the big space which i borrowed which is the old or to
00:38:18
cut the meeting in stock on their their uh which was also quite
00:38:21
nice because that is also it's net not used anymore for for uh
00:38:27
uh having students there it's used for more like in u. c. m. and it's very
00:38:32
very all the that the old kings academy was is maybe not famous for being the most
00:38:39
contemporary one even if it have changed a lot the latest years so it was we're to be in that
00:38:44
context which was almost the same context as the national arts club
00:38:50
so here we start or we we built up the model it's uh quite big model is
00:38:55
so it's like ten meters long or something like that the the three
00:38:58
meters high peachtree or maybe like one to one and a half meter
00:39:09
why use also why use models here is when we have set up with light and so on
00:39:15
why use models normally is because it's it in my films is because it creates some sort of
00:39:23
i i don't use models normally as an architect use models an architect user model to to to
00:39:30
to show up to show something which or that it's representing something else all the
00:39:36
time it's representing a a larger thing in
00:39:40
this case my models or the real thing
00:39:43
in in the height build them in a way so that my traces when i build them are
00:39:48
visible you can see the traces of model making in them so it becomes some sort of yeah between
00:39:55
reality and fiction which is really really uh like which becomes the
00:40:00
quality and the films if it was a two three d. animation
00:40:03
for example many on my works will be an extremely flat then
00:40:09
quite that bad but the model scrape the sort of the the
00:40:14
what you say like uh the problem domes the the the the the wells which you can go in the in or
00:40:20
where where are you your legs get the get a like
00:40:24
you you loose the contact with the ground a little bit
00:40:29
no normally also it's likely from it from
00:40:35
i i of course need to to to do the same thing
00:40:38
as an architect to with the model where you need to focus on
00:40:41
what is important you need to that's why the model is maybe good for for you because you need to abstract done you need to
00:40:48
to sort of be precise in what is what do i really
00:40:51
want to describe with this model and how could i do this good
00:40:56
in the if one is work with three d. program
00:41:00
oh it's okay it's working if one is working with the three d. program southerly you you are able
00:41:06
to describe everything so that you can get really close
00:41:10
to reality which is sometimes really good but it's also
00:41:14
very very tricky to do on in a certain stage of the process that one goes so deep into
00:41:19
details and the three d. programs are not so good
00:41:22
in producing the images where are you were quite abstract
00:41:27
the difference is also course that the the model always have some sort of quality of uh who would
00:41:33
object you can you can sort of walk around it you can't you have a control up the model
00:41:40
and this is also a for that reasons i'm also working with models in that sense that
00:41:45
i like the control i like to have my little world where i can feel for for
00:41:52
two months instead of filming for for two days if i were which
00:41:57
my body that would be good for a five shot in the real situation
00:42:05
so use a crane here with the camera inside and the to them and then we
00:42:10
we push the the crane just between these two and we lift off the trees
00:42:15
so it's like a continuous movement where you don't see a cat so we we sort of
00:42:20
when you can't when i come to a window when i go through the window this is also a little
00:42:24
bit we're big the presentation from me because normally i
00:42:28
would hear show the films and talk about the films
00:42:31
but i don't do that now so so instead you you you need to imagine some sort of um
00:42:37
brilliant film and and and the and then not go to the
00:42:41
exhibition because i will be very disappointed but but uh but uh
00:42:48
i i use the camera so i i i come to the weather window is that i take off the force all
00:42:54
i backed the camera i go inside i do it caught them put back the facade on
00:42:59
and then i i fix that in editing so these movement becomes called constant
00:43:03
so you don't see how i go through the magic magically go through the windows
00:43:12
okay uh uh something else on this maybe not
00:43:19
i so uh a couple of smaller project also
00:43:22
uh where where i work which these are also in the show and this i work
00:43:29
also with models is called untitled vertical sliding
00:43:34
and it's a topic i can say it's a topic models it's a circle the model where
00:43:39
the camera turns around in the centre of the of the centre of the of the model
00:43:46
i film it when i i'm in the i feel with the model line down
00:43:52
and that's to see it's not so high tech i do decide normal lamps i have a normal
00:43:56
cheap camera it's extremely low bought that and and
00:44:00
and it's super easy to do and it's it's
00:44:06
what this what i made with this is that it's when the camera is going in a in a
00:44:12
circle in the middle of everything is bound to see that what you see is the corridor worse off
00:44:16
of repetitions of different kind of corridor was from the shining and and
00:44:22
and and it looks like an elevator that goes down to down in hell because
00:44:26
years travelling down down down all the time and it's just like come continuously going downwards
00:44:33
uh the door the door doors to the two in the
00:44:39
hotel corridor horses you see they get bigger and bigger and bigger
00:44:42
and also our band in circles which means when the camera travels in
00:44:46
a circle you always have the same distance to the to the the
00:44:52
oh i lost the mathematical description of that but to the straight point on the on that so it's it's
00:44:58
so the camera travels in a circle and everything else is
00:45:00
also circular which make makes it look straight basically in the camera
00:45:04
i use a lands which is a wide angle lens so it's the white ankle bands back to sort of the
00:45:10
the circular shapes a little bit and everything also becomes bigger and bigger in terms of the corridor work
00:45:16
for the same reason so they becomes a little bit more what you say downs done and um the
00:45:22
and closed that you normally have them if if they wouldn't have been looking like this
00:45:28
uh
00:45:32
another another one of the same sort of concept i did two
00:45:36
of these one is called horizontal sliding and one is called vertical sliding
00:45:40
or on tight and workable sliding it they have the titles from from uh when i did my first show
00:45:48
uh i didn't have a title this is the these
00:45:52
these here is my my final degree show from dark academy
00:45:56
and i did my first showed it was in a deli and i didn't want i didn't want
00:46:00
any titles i didn't want it to be on site that i just wanted to be a space
00:46:05
but functions very bad in the thought well they the the title and they the the name and
00:46:09
they need to print the catalogue and needs to say something there so they wrote down tight the
00:46:15
and then i i when i saw it on the on the sign outside the blues i
00:46:19
i needed to do something because i hate words which are called on title if they're not really
00:46:25
have a good idea with on title because it becomes a
00:46:28
really lame title so i wrote in parenting cases horizontal sliding
00:46:33
because that's what they're doing and i thought i was changes
00:46:36
later and then someone wrote about it and suddenly it's a title
00:46:41
so that's also why have on title vertical sliding on that because i needed to keep on with that kind of tightening
00:46:47
this come this comes from no idea comes here from i wanted to do a space
00:46:53
and this is the the maybe the end to point decided before vertical sliding which i showed
00:46:58
so the idea is that i wanted to do a space that contain every outer space
00:47:04
so i wanted to do sort of produce uh in some very
00:47:07
simple way produce a a a space which where you travel through it
00:47:14
you you will have and it feels like it's it's just and
00:47:18
less and it's it feels like every room exist like it border shots
00:47:23
like some sort of a labour in d. c. uh idea uh
00:47:28
and and and and then by coincidence my first point that that used to of
00:47:33
course the circle comes to you when you do that then you started to draw these
00:47:38
so all the cake cake shapes structures to to be able to to to
00:47:44
built up spaces and that also percent what what happens with it when when i started to
00:47:49
look at it when i i did my drawing is that it becomes souls an idea about
00:47:54
well pulp become the idea about the ale where where you have like yeah sales
00:48:00
in this or like you have like a centrally positioned you have like a a a watch tower
00:48:06
and around the watch tower you have you have the ale say
00:48:10
the senate's to them allies it works like a surveillance camera basically
00:48:14
it means that you can the the prisoner is could will always be seen
00:48:19
but they never know if anyone looking because it was just one percent in in the middle
00:48:24
of the in this watch tower and of course you can't see everything at the same time
00:48:30
but it's uh yeah so that was so that sort of lucky coincidence
00:48:35
from my point that it also put that level of surveillance and level
00:48:39
of of these uh or philosophical level of the bantam spot not to come
00:48:44
and it put the level of all and and i got a lot of sort
00:48:48
of layering on the works from that which was quite nice to to go into
00:48:54
here is when i built it in my studio and these also this is like a
00:49:01
it's like a zero bought the at the pro decked which i still show a lot this is when i feel
00:49:09
and and uh yeah it's not so much to say about that i think that is the no i have one more
00:49:18
uh this is also in the show that with the
00:49:22
space beside it i did together actually with i did i
00:49:27
worked with two works parallel baby suppose it is that still a talked about a little bit in the in the beginning
00:49:34
which was which was basically a movie where i fly through
00:49:37
a city like i'm weightless and you don't see anyone there
00:49:42
and and i i don't i wanted to to make the movie because i had
00:49:46
an idea that i should percent two films at the same time and one of them
00:49:50
the sort of that you were should should not have any connection to their body
00:49:56
and to be flying like if if you wait this or in invisible cities you you
00:50:00
you get a little bit like corsica after a while because the camera is like floating around
00:50:06
anyway the space i wanted to do a movie where the room was without
00:50:12
wait lists or weightlessness or was in the weight less situation
00:50:18
so i constructed a at a a gyroscope i started
00:50:23
like aim to some people and i i said that
00:50:26
i want to do this and i i brought with me one of these little uh what you say uh
00:50:31
that you you can shake in its nose a little christmas thing and
00:50:35
i said i want to do something like this but in bigger scale and
00:50:40
and if we connect the camera to it's so when you shake it
00:50:43
then you don't see that it shaky so it looks just like it's snowing
00:50:48
so so when it means that i i built up a space which i put inside an aquarium
00:50:53
and the aquarium was fixed inside a gyroscope we feel the the aquarium with lisa role
00:51:01
and um the only thing which is loose inside this aquarium is a little flower pots
00:51:08
and when we rotates here you see the camera set that everything is
00:51:12
fixed to the current so when we rotate their code this yarrow scope
00:51:17
the only thing which is moving in floating around is this little flower pot
00:51:22
and it was an enormous here's what when we're filming
00:51:26
it was quite intense work to make this flower pot
00:51:29
the you just floating around which would have taken like
00:51:32
ten minutes in a three d. program and and and uh
00:51:37
i tried for for a long time when we when we
00:51:41
were when we started to fill me putting all these air bubbles
00:51:45
and this was nothing i had planned on that normally it is like that with most of my work
00:51:49
that the the mistakes that happens in in the process or the things which is the quality of the work
00:51:55
the things that i didn't think of and for always i i try to to sort of get rid of these
00:52:01
things for a while and then i'm quite slow so then after a while i realise that this is maybe pretty good
00:52:08
so i spent like two weeks i think of getting away these air bubbles and when i got them away i i just
00:52:14
look at it and it looks terrible it looks like it's nothing
00:52:17
there so that we spend another week and getting them back again
00:52:21
and and the and what you will see an exhibition space it this with our bottles which become some
00:52:27
sort of planet system the like which circles around this
00:52:30
little flower pot which are turning around in the space
00:52:37
i think that's it if you want i can show more images from other products but that's
00:52:42
a little bit or if if you want to ask questions now i didn't talk either so
00:52:47
maybe so much about
00:52:50
conceptual about model making and and and the what while pencil
00:52:56
i think it was a very huge here uh introduction the
00:53:00
and uh if they don't some questions we can take some time
00:53:06
yeah
00:53:12
uh_huh
00:53:15
and that process yes this and its base
00:53:21
where where you've a new and you may gradually it's it's crafted fortunately intel's
00:53:30
and and that the out it's and
00:53:38
i think once at all these birds and the
00:53:43
bees between these processes of nate and the way we
00:53:51
space itself or you know this yet
00:53:55
and spaces also created an process space and what would
00:53:59
be those process isn't making these socially or individually hum
00:54:06
yeah of course it becomes like some sort of parallel of of of of
00:54:11
how long can approach when work is
00:54:15
is finished where one should and uh where
00:54:20
uh
00:54:22
like if i talk about architecture for example them and and and and one think that
00:54:27
the architects are making making the that building and everything is quite control that everything is
00:54:34
is in a way uh is in a way finished but but
00:54:40
in many ways the architects can ever control the process of the building
00:54:44
the process and even in the tools nowadays it's quite tricky with the process
00:54:48
of all of picking up these and of course it's possibilities to to use
00:54:52
use another kind of process which is i guess is the process of the people which
00:54:56
are inhabit a a or inhabiting the the either the sixties and the buildings and the
00:55:03
and and and my guess it's that the mistakes and that what they
00:55:08
are doing is also those things which are creating they're creating good architecture
00:55:15
the beautiful the i i i didn't hear a couple of times now when
00:55:19
when the the learning centre is and the i i'm always completely amazed about the
00:55:25
the sort of informal meeting places that comes up and how
00:55:28
how the people are creating that make that space work which
00:55:32
it's not clear to well that it should i think what is it looks from you from from coming from the outside i'm
00:55:38
i'm quite sort of impressed by by that even if it's maybe not to sort all
00:55:43
completely openness to that people uh are are are adding this the the
00:55:48
last layer in the process of of actually leaving them i can't ever have
00:55:54
in a certain way you you have all my works are are working as a sort of mirrors
00:56:00
to what what my works it's about when you go in there and and you see that works
00:56:05
it's not really an inauguration it's not really a story
00:56:08
going on it's will not tell you anything about anything basically
00:56:12
so so the only thing it will tell you about this
00:56:15
is about yourself it will show show you your own c.
00:56:19
and if you stay there long enough if you stay there for
00:56:22
a while you will walk into the into to yourself which means that
00:56:27
in the process of of of of uh making it
00:56:31
work i control an ad these mistakes because i call i'm
00:56:36
not so interested or i'm i'm too much of a control freak to let you do that but in the end you
00:56:42
our feeling that you are are really the ones that are making
00:56:46
the work because it it's really not saying anything else done done
00:56:51
then what's takes you inside sign some sort of in their yard it's it's really
00:56:56
about in their spaces quite maybe i don't know what's that the answer not really
00:57:07
it's like giving thing you're but it also what is yeah let's
00:57:13
see in d. c. t. i. know what into places that i
00:57:19
uh_huh gloomy or c. i. b.'s and c. d. c. t. c. yeah all him
00:57:29
he if he control in a long since it when it was nice to d. c. t. also
00:57:35
yeah i think one could control or controller could
00:57:38
propose an architect could propose so much more about
00:57:43
my first uh not density the the the the the work in the
00:57:47
city with the blackout powerhouses a little bit about that too that it's like
00:57:52
when i think about architecture or what was a little bit interesting with these or archive of
00:57:57
architecture also when i went well when i say think about the cities i have lived in
00:58:02
it's quite hard to to remember places i remember a
00:58:05
lot of places from my childhood buddy really a sort of
00:58:09
found the or or experience that the uh city for the
00:58:13
first time and you find your your ways in the city
00:58:17
and and as a as a uh not all it's i have i have more problems with it and i also
00:58:23
think that as an adult you need other kind of triggers
00:58:27
an architect's i always think it's a little bit interesting that
00:58:31
if you talk about are the literature or fail more or um
00:58:35
and the other art form existing there who always dealing with the whole
00:58:43
with everything which is in life they're dealing with that
00:58:46
bad things and the good things and they're proposing proposing um
00:58:52
and they're helping you to to to to to uh discuss
00:58:56
these things somehow or to process these things but architecture doesn't
00:59:01
which is i think it's quite weird because it's it is the ultimate form to do it
00:59:08
in that sense it's like when you talk with architect when i went to architecture school it's always or
00:59:13
the discussion was very often or most of the time
00:59:16
it's about harmony is about sort of it's good values
00:59:20
and in the same way as they like if and a book which are saying
00:59:26
if a book makes me cry it doesn't it doesn't mean that it's it will make me sad for the rest of my life
00:59:32
if a book makes me scared it doesn't mean that it's just it's doesn't mean that it's a dangerous place
00:59:39
architecture when you talk with an architect is quite often if if i talk
00:59:43
with an architect and say but why are you not doing more dangerous places
00:59:48
but then it gets its becomes dangerous but that's not what
00:59:52
i need you can still propose these things in the city
00:59:55
which are more narrative in that that sense that you you
00:59:59
you work with uh we you work with people which are walking
01:00:03
our our inhabiting your wealth and i always think
01:00:07
it's quite we're that it's it's not use more these
01:00:10
kind of sequences or thinking in these kind of short term square where you are playing more with with
01:00:17
or happy buildings when when the the the building make the
01:00:20
loft last time or or or you know it's it's possible i
01:00:24
really think it's not of course it would be like terrible to walk around in in the city which was like that everywhere
01:00:31
but one building i can't come up with an the building which are are giving me any of these
01:00:37
so i'll either darker really brighter moments of life when when they're really focusing
01:00:43
on that that's a concept from the beginning that creates the sort of the
01:00:49
uh that that guides you in in the process of all the all the
01:00:53
sega style to the the process of of making them that it's like
01:00:58
instead of being guided by something else where it where where it's about others that values in a city
01:01:05
not it's a answer that either maybe but then uh i think one of the very long conversation
01:01:16
no but uh as you said uh in your new took uh it's uh
01:01:21
maybe we have to see the fumes uh and i i must say
01:01:24
two feet was so and i think we we start to be impatient too
01:01:29
to to to see the vision and so maybe uh before
01:01:35
and inviting you to the easy decision i want just to
01:01:39
uh c. thank you to the team who will be i mean uh
01:01:43
these projects and there is the redneck to with the well the technical
01:01:48
installation uh the graphic design integer patient uh accusing teams a journal that whole
01:01:55
best value to prepare she people so the activity for you later
01:01:59
and um well the students who work out to to
01:02:04
with this us everything when great yeah thank you so much i have to say that to it looks great i think
01:02:11
okay we have a product it and think you eunice for this picture
Conference Program
Vernissage de l'exposition Las Vegas Studio
Sept. 21, 2011 · 6:09 p.m.
Quand l'architecture et le cinéma transforment les territoires délaissés
Sept. 22, 2011 · 6:36 p.m.
PechaKucha 'Lumière
Sept. 24, 2011 · 8:22 p.m.
Las Vegas, Film, and the Mobilized Gaze
Oct. 19, 2011 · 6:33 p.m.
Metaphors We Live In
Oct. 26, 2011 · 6:33 p.m.
Craftsmanship
Nov. 8, 2011 · 6:34 p.m.
L'épaisseur des lignes
Nov. 9, 2011 · 6:32 p.m.
La controverse Learning from Las Vegas
Nov. 16, 2011 · 6:46 p.m.
Dans le paysage urbain
Nov. 22, 2011 · 6:38 p.m.
An Aggregate Body
Nov. 23, 2011 · 6:46 p.m.
Curating Postmodernism
Nov. 30, 2011 · 6:41 p.m.
Pièces à conviction – Une périphérie prend forme
Feb. 22, 2012 · 6:05 p.m.
Pechakucha 20x20
Feb. 23, 2012 · 7:03 p.m.
Espace, Lumière, Structure. 7 Concepts
Feb. 28, 2012 · 6:32 p.m.
Suburbia does not exist. Strategies for dense city growth
March 14, 2012 · 6:38 p.m.
CONSTRUCTIVE REACTIONS. The Architecture of Kurtogpi
March 27, 2012 · 6:32 p.m.
Les coulisses de Malley
March 28, 2012 · 6:38 p.m.
Débat critique - Projets de première année
April 3, 2012 · 5:15 p.m.
Ensamble studio
April 16, 2012 · 6:36 p.m.
Le travail d'ingénieur et le projet de modernité
April 18, 2012 · 6:35 p.m.
RUR: PROJECTS
April 24, 2012 · 6:20 p.m.
Conférence du cycle 'Pièces à conviction
May 8, 2012 · 6:34 p.m.
255 views
Paysages intérieurs
May 15, 2012 · 6:35 p.m.
Yona Friedman, Genesis of a vision
Sept. 19, 2012 · 6:13 p.m.
Working in Mumbai
Oct. 4, 2012 · 6:40 p.m.
Yona Friedman and the Gost of Utopia
Oct. 10, 2012 · 6:13 p.m.
Global Holcim Awards 2012 Gold
Oct. 12, 2012 · 6:06 p.m.
Just what is it that makes Friedman so appealing ? hier et aujourd'hui
Oct. 17, 2012 · 6:07 p.m.
Pour une histoire culturelle de la construction
Nov. 12, 2012 · 6:35 p.m.
Partage d'expérience
Nov. 21, 2012 · 2:17 p.m.
Hall Of Mirrors
Feb. 20, 2013 · 6:09 p.m.
Happy Street
March 13, 2013 · 6:29 p.m.
Pier Luigi Nervi : l'architecture comme défi
April 17, 2013 · 6:09 p.m.
Pier-Luigi Nervi, entre ingénierie et architecture, chantier et images: Part 1
April 24, 2013 · 6:34 p.m.
109 views
Pier-Luigi Nervi, entre ingénierie et architecture, chantier et images : Part 2
April 24, 2013 · 7:22 p.m.
Présentation de Riccardo Morandi
May 1, 2013 · 6:30 p.m.
Présentation des conférenciers, MM. Aurelio Muttoni & Mario Alberto Chiorino
May 8, 2013 · 6:31 p.m.
Présentation de Robert Maillart
May 8, 2013 · 6:33 p.m.
128 views
A dispute of the ephemeral and permanent in architecture
May 21, 2013 · 12:04 p.m.
Peter Cook
May 27, 2013 · 6:12 p.m.
Radical Pedagogy: a collaborative projec
Oct. 29, 2013 · 6:32 p.m.
L'exploration du possible
Nov. 26, 2013 · 6:39 p.m.
Power of Place
Dec. 6, 2013 · 6:06 p.m.
Recommended talks
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Emanuele Gennai, ESRI Suisse
Oct. 31, 2017 · 10:34 a.m.
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