Thanks for coming tonight.

One week before the end
of the studio courses.

Time is precious.

And I promise to speak very short.

I was challenged two minutes or less.

And I have no problem with that
because the work speaks so

eloquently and
we want to get straight to it.

Perry called Price an architect
an associate professor of architecture

at the University of Michigan.

Prior to his arrival at
the University of Michigan.

He was a member of the faculty at saw
ark for seventeen years as well as

a visiting positions at the University of
Pennsylvania and Arizona State University.

Subsequent to his studies at the
California Polytechnic State University

in Santa we bespoke and
Columbia University.

He worked in the offices
of Eisenman Robertson.

The office of Robert Stern and
dad of the ranch and Scott Brown be for

the Los Angeles its interests include
the writers of representation.

And methodology in
the production of architecture.

And broadening the conceptual range but

which architecture contributes
to our cultural imagination.

Perry called her.

Thanks.

So first there's want to thank George for
the invitation

was a great pleasure to meet with may have
and hang around with him a little bit.

Erica in an arbor.

Let me ask you to think a little
bit about imagination or

imagination or
spatial imagination or something.

So what I'm what I'm
going to try to do is.

Some words that go along with a bunch.

It images and
I'm going to try to build up.

This issue of the ways in which are some
of the ways in which I try to develop my

imagination.

And I'll use three primary
sources of imagery one is.

Objects in the world.

Secondly all use a number
of student images and

lastly I'll I'll make some points
through some of my own work.

One of them when I meet with students for

the first time in a studio I base
the first thing I say them is arms.

I'm paid to help you develop
your spatial imagination.

That's what I get paid to do my
job is no more no less than that.

So when George asked me to
think about the imagination.

It's probably not something
that I had ever done frontally.

But probably something that
I'm working on in a latent or

nascent way all of the time.

So the talk the talks
essentially structured.

Apologies for my voice.

We have a four and a half year old.

In preschool the talk is structured
through the primary points are in white.

The top called Creative prosthetics.

You know I'll make points
about constructing a world.

The imagination visions or
visionaries swap meets

unique objects visualisations means for
working analogic thinking.

What Ifs and then I'll finish with some
of my own work to read two things.

If I could.

They're very very brief
as a way to set out.

The problem of the imagine.

Nation.

Eventually.

One truly sees by allowing one's
attention to become absorbed in streaks

of dried spit or spittle or
the surface of an old stained

wall until the imagination is able
to distinguish an alternative world.

Francis poem in is new introduction
to the pebble in a minute cut part

of this out and get to the part that for
me is salient relative to the talked and.

The infinity of propositions contained
in the least worthy objects is so

manifest that I am as yet
unable to report on anything but

the simplest ones a stone a blade of
grass a block of wood a piece of meat.

I suggest that every person
open an interior trapdoor

negotiate a trip into the thickness
of things that he make an invasion

of their characteristics a revolution
a turning over process by the plough or

the spade when suddenly millions
of particles of dead plants

bits of roots and straws worms and
tiny crawling creatures.

All hitherto believed in the earth
are exposed to the light of day for

the first time.

Infinite resources of the thickness
of things restored to us

by the infinite resources in
the semantic thickness of words.

So for me.

Both of these framings of an imagination.

Have to do with.

Really occupying things that we take for
granted and

occupying them alternatively finding
unique perspectives within them and

much of what I do I think
is not unique at all.

It's really just trying to attain.

Into things in the world which structure
one's experience of the conception

of one's experience.

This is this is a series of some
things that have been influential for

me in my life.

There are probably twenty of
these that I should have made and

I decided just to make this one.

And you can.

This is normal normative many people have
been influenced by all kinds of things but

there's a little bit of range in here for
me in terms of the kinds

of things that have influenced me but
certainly not a limit in terms of how I

imagine spatial possibilities
in a cultural imagination.

The imagination.

Partial definition the actor power of
forming mental images of what is not

actually present.

The second one is my
favorite a foolish notion.

And thirdly resourcefulness in dealing
with new or unusual experiences.

Or it influences have probably been
key to me in terms of my development.

Probably more so
than architectural influences.

Although I'm heavily influenced
by architectural and

other cultural disciplines.

Art influences have been pivotal for

me in terms of what I believe possible
at the level of cultural imagination and

spatial possibility primarily for
to keep reasons

one is the cultural communication tends
to be much much much broader in our

practices than it does an architectural
practices or in other disciplines.

So the range of things that art can
do with from gender to bio politics

to every day notice to you name it or
practices are for me much broader.

And secondly it allowed me to
move from an understanding about

architecture to one of spatiality.

And I know that may seem
like it's splitting hairs or

why would why are those different for
me when i Map architecture on

to my mental set all of a sudden I'm
eighty percent of the way there in terms

of what's possible spatially
spatiality on the other hand.

Allows me to deal with a much greater
range of communicative textures.

Aspirations and
ambitions within a piece of work or

in teaching and
these two aspects have been dominant for

me in terms of the influence
that art has had in my world.

Welcome back to this when I get to my work
do show up as been a key protagonist for

me on this front.

I'll talk about the labor of
work when I get to my work but

for me to show up opened a whole
set of questions about what it was

to be an author that you could actually
buy your inal sign your name to it and

put it in the museum and
issue it as art was for

me a pivotal moment in my sort of
cultural background and education.

That coupled with both fuko and

Boris talking about authors in different
ways have been influential to me but

particularly show up in the range
of our practices that he enabled

this is desperate in by a large glass
that was basically on the floor for

a year that man ray photograph.

Just show you a bunch of several images
now different artist not not not so

many actually just a handful of or
it influences for me this Joseph boys

obviously I like American or
in America likes me on the left spending.

Handful of days in a gallery with a coyote
I was trying to think when I first saw

that piece what would your architectural
equivalent of that be trying to.

Populate that imaginative way.

Certainly Iran of us Bosh one of
the students in the studio right now

is working on this is a site.

For four three houses and one actually but
Bosch as a kind of an early surrealist.

Has been an enormous influence on me in
terms of the range of cultural attitudes

of value systems of logics which are in
this single painting where I WAY WAY

dropping a two thousand
year old Honda honesty VOZ

these kinds of influences of giving me
a sense of the ability to take risks or

to imagine going to places that I wouldn't
have otherwise met imagined relative in my

architectural training Richard Barnes
has been a recent interest.

The animals logic photographs of

particular interest to me shown in Robert
Park Harrison a photo photographer and

a painter essentially the architects
rather rather is a series that

has been influential a lot of Peter
Greenaway as work lots of filmmakers.

Elo a photographer.

Begin just various are practices in art
influences that have helped me think about

the possibilities for
a spatial imagination.

MATTHEW CARNEY Christmas or series.

Jewel Peter would care for
it's a photographer.

Rename agree.

The human condition all kinds of
surrealists have been important to me.

Richard Ms Rock a photographer.

Peter Shelton sculptor cetera et
cetera et cetera so art influences.

Terms of opening up a range
the cultural the ability to deal with

cultural systems cultural
logics move the communiqué.

Nations around.

Well it's been for me much more.

It's much more adept versatile
dextrous than architecture has been

at least recently that of
course visions visionaries.

Don't just very informal you
know the normal expected ones

Davinci parent easy way.

Royal Tower of Babel.

Archigram and so forth a whole series
of visionaries that have opened

up what architecture can
be brought in the Russian.

The Russians don't House
competition goatskin Newton.

My friend Nat sure when a peg is interest
in the architecture of the interior.

His Works been of interest to me a kind of
vision visionary friend more and calamity.

The Bartlett to an empty it
cetera et cetera et cetera so

the whole world of vision visionaries.

And I have been influential in terms
of opening up my capacities for

spatial cultural imagination.

Swap meets I'm interested in the show what
I don't think are particularly unique or

let's say interesting objects here but
I'm just interested in things that

are curious that are peculiar in the world
that have have communicative residence.

But stand outside of the norm.

David mock the Irish sculptor.

Things that you might find it
a swap meet unusual instruments.

Davis month an Air Force Base cloaking
cladding a racing five thousand airplanes.

The Japanese watchmaker its
interest cetera et cetera so.

When I first moved to Los Angeles.

I would normally two to three
week in this each month.

I would go to swap meets him essentially
just look at things which interested me.

Interesting women's hats from the thirty's
guns instruments saddles whatever.

It would try to I would try to imagine
how those might become architectural or

what the architectural ramifications
of those would be mostly I was trying

to increase my formal though Cabul or
because I felt quite limited in

terms of what I had accomplished
both in school and in practice.

George mentioned I was and.

Denise Scott Brown John Rock and
Bob in turn his office for five years.

And when I left there.

Philadelphia I moved to Los Angeles and.

I was a stints oblique
thrown into my first

teaching gigs was teaching when
Marion Ray In the olden Aryan around

told me in a dark Masaka rotunda and
Khoya Howard Robin Korean.

And I couldn't quite
figure out how to kind of

co-exist there happily out of felt like
I was in the shadow of someone always.

And I won't show them tonight.

But I produced three house projects at
that time in one nine hundred ninety one

and one in West Germany one in
the southern California desert and

one in want to see you know California and
they were essentially the same house

formally materially conceptually and

it occurred to me at that time that
I had no way really to work on sixty

years of a life time because I was
realigned essentially on my facility.

And want to begin to do as I began to
open up a series of questions through.

The architectural drawing.

For both myself and with the work that
I was doing with students in there

are a handful of key things that come out
of that work in terms of opening up what I

thought was possible both imaginatively in
terms of conceptions of space and cultural

structure but also in terms of the work
that the architectural drawing might do.

Is that I begin to
understand that I could move

between the language of architecture
in the language of representation.

That was a big moment for

me because I was always in the world
of the language of architecture.

Secondly I realise that there were
multiple levels of communication

that could happen simultaneously in the
architectural drawing or visualisation.

That also.

Wasn't part of my background.

I was too old in perspective sections
plans X. on a metrics and so forth.

Those all of those representations
are useful but they all require

the Lions to jump to the same platform
level essentially at the same time.

So I was interested because I
couldn't figure out based on

what I was trying to think about
what some students were trying to

think about how to get the lions
to the same platform always.

I had to figure out ways to
stagger the ideational rate.

So we developed a whole series of
techniques and I'll show you a handful of

those techniques here to try to liberate
the palate so that a broader range of

constituencies could enter into spatial
production in the constitution of space.

So the multiple levels essentially
composite representations that

is multiple families of representation
happening simultaneously was something

that I began to evolve in the middle
in the late ninety's and then.

For myself I'm an architect.

But in teaching in particular for me.

The materials conceptual.

Gravity is sometimes gone
missing in duration is Mel uble.

Now those seem heretical probably

relative to the conventions
of architectural training for

myself and I'm not trying to represent
alternative or other points of view.

The education of the architect is
not the education the professional

Those are different things.

There are moments of tangency in
moments of dispersion So for me

material being conceptual gravity missing
occasionally in duration million will

became an important component of trying to
imagine alternative spatial possibilities.

I gave you a couple of examples now in
terms of how I think visualisations might

open up the field.

Of what we actually do.

Sure you some representations from
a studio that I did in one nine hundred

ninety six.

These are called strategic plots in
essentially what I was trying to do

is figure out with the students
how to plot things

spatial scenarios over and through time.

So this is pretty digital This isn't
stuff you know that lawyer running around

the studio like wildfire.

And what we essentially did is I had
the students look at existing conditions.

This fellow was looking at a very
small area in a basement old guitar

saying sort of rusted out piping
broken bricks in newspapers.

Well they asked him to do is try to
visualize what made that scene possible.

What structure that scene.

A simple example if I had a pencil here.

This is the one that then innocent
maybe Treffry in this in the audience

have experience I know Dennis probably has
what I would do is something like this I

would hold up a pencil a wooden pencil
what I called a rogue a number two and.

I would say what makes this
possible in the world.

Generally the students would sort of
looked quizzically at me and be silent and

I would say deforestation and

mass production objects that
are race themselves and

censor things in the world the history
of writing etc etc etc etc So

those things structure the pencils
on in my hand you know.

So what we tried to do in this work.

That's a more expansive conversation
which we don't need to get into it's not

what I asked him to do is
really look at the saying.

And try to unpack it figure out what
structured it and then figure out what

graphic means they could deploy to
figure out what structured something.

And then what we did we did a bunch of
preparatory work in the studio at this

time but what we essentially did is
took this thinking and said Right.

If we can read a condition
back to ourselves

as architects working in our medium
then couldn't we design that way.

So one of them did is we developed
this business of strategic plottings

this is a this is a later development of
strategic plot this is one of Dennis's

mates up at Michigan working on
a kind of strategic plot but

these are strategic plots
that were done in ninety six

where this is the analytical
side here essentially

looking at what structures the site
what kinds of things structure the site.

This is a strategic plot towards
an architectural landscape proposal for

a kind of landscape survival game.

Piece of Work.

So what I was trying to do
is open up representation.

So that the students could work on things
that they didn't know how to formulate yet

as an architectural or material landscape
consequence but they could support in the.

In Taishan zz.

When I was tooled in
school I made a model or

a floor plan or
a perspective sort of out the door.

Maybe a diagram.

It occurred to me that given the range.

I'm been very very fortunate to work
with some incredibly interesting and

bright students at tombs
that right here they

honor their abilities to
intellectually produce a construct for

the work normally the same is true for
me knew only exceed their abilities to

express that formally a material and
so what we were trying to do is

a vote of techniques by which they could
support a wage of kinds of interests.

I mean families of interest
way all over the map.

Without knowing what those were
going to be awkward touch really or

material or formal way.

So these strategic plots were developed at
that time to devote let their imaginations

visually parallel their intellectual and
conceptual imaginations.

So I'm only showing you the first
phase of the work when we

developed what we call
bridging techniques and

that meant that we were trying to move
from these strategic plots towards spatial

material make up without dropping
things off it shouldn't be dropped off.

As a result of this work a lot of
what happened in all talk about

this relative to my own work.

The late content of drawings
became important not the explicit

content not the explicit ambitions of
the author but those things which begin to

aggregate in pool and relationally
surface as the work was happening.

These are enormously labor intensive.

This is probably one hundred twenty five
hour drawing a drawing one at the time of

Joe remember this one pitch the studio's
a tell the students want to pitch them.

If you can spin it.

At least fifty hours a week in the studio.

Don't bother.

JOD transferee sitting right there.

I'm going to guess he's been sixty to
seventy hours a week working in the studio

and I want to show just one of his images
but it requires that kind of commitment to

to actually let the imagination
come alive at multiple levels.

So now I'm in a spin
a little less time and

give you a little bit of a scattering of
other kinds of representations which have

been worked on this is this is not a good
way to show student work this is this is.

This is disrespectful of
the student work the student works

incredibly interesting very very
thoughtful superdense And all I'm doing is

showing you snippets out of context here
so please see it in that in that in that

light to show you just a series of images
now that are worth between notational and

indexical work towards It's
a double house project

in the end of the fees this is a thesis
that was done at Michigan a few years ago.

Dennis's year Foster.

Brian Foster knows you're
out of sequence with him and

he wait this is student was interested.

He basically came to me he said I've
been influenced heavily by three people.

Matthew Bonney Liz Diller and
Gil Richter the German painter.

I'd like to find of faeces that
would allow me to basically

ingest those influences and
put them back out into the world.

So what Brian did is to do a whole
series he basically called

from all of those contributors and

produced a kind of fourth author issuing
a handful of images from the work.

And eventually produced a double house.

This is the ground floor plan.

And this is the roof plan of that house
the roof the roof sits commensurate or

coincident with the ground playing
again working notationally

index likely some diagrammatic
work this is physical.

This is this is physical stuff.

And so there's a literal description
of what what it might be

this is John one of John trying to freeze.

Some images from the studio.

Atmos atmospheric spatial sequences
are some Imma get this totally wrong but

Joe was sort of interested and I think
bring in mathematics text and atmospheric

conditions something like that together
and I know I've got it totally wrong.

John so apologies but
he tried to evolve a method which I think

he called a last written description if
I'm not mistaken any of the all the set

of representational techniques to let him
work on a set of problems in the studio

which was eventually an office
of Weights and Measures.

These are indexical drawings for

a studio which had to do with surrealist
tactics and the student made sixteen

plates the sensually therefore
plates that have to do with.

Programatic and
surrealist agendas within the desert.

And again these are out of context.

I'm not showing you everything I was
going to try to give you a sense of what

representations are visualisations
might be able to do this

quite interesting piece of work.

We're working on border
crossing problems and

Gavin came to me one day
a little bit distraught.

It worked.
Streamline our worker.

And his printer had no function and
they said Goza really all this stuff.

Sort of schmutz.

What we tried to do is shift
the emphasis from a kind of debilitation

to an opportunistic one we said
let's imagine what this could be.

Eventually this turned out this
work allowed him to produce seven

thousand sensors that set
in the landscape and.

Sense everything that moved across
it at this border crossing.

Designed to build you know
a building that belongs to this.

And so forth but
we're trying to all we try to do.

There is populate this imaginatively and
see if we could.

Turn it into a virtue.

Is a representation as for

a thesis student last year
at Michigan was interested.

Almost a kind of spiritual redemption of.

Parts of Detroit is an image looking sort
of back from the heavens down to Detroit.

Kind of visualize architectural components
and relational conditions within the city.

So thesis just totally
out of context images but

a thesis which had to do
with the mesas project for

the Los Angeles is to try to let
the visualizations allow alternative

worlds imaginative possibilities to
emerge by working in particular was.

So visualizations for me in the form of
representation the architectural drawing

have been useful I think for some studios
and students but also in my work which

I'll get to and full of things of my own
to draw that out a little bit further.

The next really that's really been useful
for me in terms of imagination is how we

work as a student.

Basically I inherited the means
of working with the to

do a faculty member put forward
as an agenda and that was fine.

That's a totally legitimate way to work.

As I begin teaching is sort of got
a little bit of legs under me.

Terms of confidence but

things that I thought were important
questions with respect to education.

It occurred to me that no one was
really thinking about how we work.

So again John was a kind of guinea
pig studio Studio John ninety

nine ninety nine two thousand and
two and so we want that.

So what we tried to introduce I

think there were eight methods at the time
that were introduced in the studio and

the idea was that if we could
get a hold of the other.

The Elo characters are different ways to
work in I'm not developed any of them

just identified them essentially.

Content to form might be me but

when we tried to do is we tried to
identify multiple ways in which you could

produce work that had various
value systems attached to them and

really different formal material
predilections attached to them

begin the talks not about is not about
going into the methods but these

if you deploy these in
combination you invent them

methods can be enormously helpful with
respect to allowing you to produce

alternative kinds of work and I'll argue
that to make a new city in Shanghai.

You might need to work differently
even if you're working on a thesis

which has to do with biological tropes and
metaphorical

relationships to mythology that you really
need to work in very very different ways

to optimize the performance of your
engagement with that material so

to be just be relatively brief about this
and then I think there's an interesting

piece of work a book or
something to do with this method stuff.

And I've been encouraged to do that but
I'm not yet.

I think it's important for
a handful of reasons one.

It increases the architect's dexterity and

versatility with respect to what he she or
they can do no question about that.

Secondly it implicates the author in very
very different ways different kinds of

energy different reflective capacities
different generative conditions.

So it really you know it really allows you
the reflection on on methods really a lot

you to understand that you might author
from very very different perspectives.

You might need to be a translator one
moment third person another moment first

person another what backed out of
the equation altogether the next.

The aesthetic wage is enormous
within this range of methods.

It's enormous.

In.

Maginot the level of gestural
interpretation that on gesticulating

wildly in space now eight
video cameras on me.

And I've been pyramid for size or
geometric size those movements and

produce for in that way.

That's very very different than
I'll show you a couple of pieces of

my work which are imminent from a kind of
content to form problem where they be.

I basically start with the content of the
work that it's about suppressive scopic

regimes It's about not
terminal indulgences.

It's about curatorial problems.

It's about many many things.

Well it often starts with eight ten
twelve fifteen things like that

with no formal new
material predilection and

all you can think you can produce form
in both of those ways formations.

I don't mean formalised I mean formations
will attempt to both of those sets of

interest in a radically radically
different in turn in turn in terms of

their the way they're developed their
cultural proclivities the way they attach

themselves and the history of
ideas in the context of the world.

Analogic thinking Anil
analogic making was one of

the means by which I will
take you to produce work.

It's really interesting for
me in terms of architecture architects

never know what things are but
they often know what things are like.

I say the students now that you can
increase your formally material vocabulary

one hundred fold by just understanding
how to work in a logically so

I can make a living room that's like
a section through a trauma bone.

I could make an organizational logic
that's like flocking birds crossed

with the ways Sidewinder
rattlesnakes mate.

They can be like I can.

The only limit there was my
imagination in terms of what

I might draw from in terms of analog.

Logic thinking you know there's
no free for all it can be but

the way in terms of the way that I use in
a logic thinking there normally a whole

set of ideas in play in the analogic
thinking helps me bridge to places

that I could not otherwise formulate
with abit of form of production.

I'm going to show you
some analogic models.

Talk in Boulder.

Four hundred fifty years
ago analogic thinking.

And there were students over the years
have used analogic think you know models

to help the cogs trucks visualizations
to help them think through a series of

problems for an optics field
station snail logic construct.

This is a thesis thesis piece of work
that was looking at sort of symbiotic

relationship with natural and
artificial conditions.

This is in the surrealist studio and
this is a student working on

a theater as part of her work but

this was an initial construct to try
to visualize aspects that theatre.

Here's a plain view of this theatre
which drags itself across the landscape

about six hundred feet long drags a self
across a landscape where the studio of

the John Trafford was in where we dealt
with when we deal with biblical events and

information logics this is an analogic
house and garden in the studio.

This is another analogic house and

garden things are like things analogues
require translation because you're

only the problem of likeness you not
in the problems of this is that.

This is a new institute for architecture
it's an analogue to construct for

essentially it's kind of a new school.

Think Tank research facility.

It's a scanner.

It's rebuilt.

It's main logic construct.

Israel logic constructs for
a frozen motel zoo.

In the surreal a studio or
frozen motel zoo.

These are analogic constructs for
the architecture Institute.

So you know logic construct
an architecture that makes the races and

remakes parts of itself.

Talking to the conceptual
triggers in a short while.

So illogical instruct for a museum for
things red or a D N R E A D.

This is a construct on the left for
a kind of border crossing preparatory work

room installation space and then this
is a this is a sort of proto plan for

the border crossing on the right side
in a logic construct for the museum for

things red or E A D or a day.

The studios are fairly complex in their
make up and I'm just isolating key.

Thrusts or conditions within
the studio to try to make a point.

So I tried if I tried to move for
a moment touched on the surrealists

is an important influence for
the opening of an imagination.

The key thing about the surrealists
is they use the context itself

as a way to open up and reframe our
conditions or perceptions of it.

So from what greets and Dolly to wait.

Duchamp to model etc Those the surrealists
have been enormously important for

me in terms of what I imagine is possible
spatially representational And but

most importantly culturally.

Occupying the implausible.

I'm interested in trying to.

Figure out how we might occupy things
which are let's say impossible so

the flower and I think about
an architectural where I can so

I can be in the architecture
scanning the flowers edge.

That's not difficult for
me to imagine that.

I'll show you a slide at the end it
all ask you to imagine spatial or

architectural possibilities to sort of
turn the flip the coin flip the switch

to get you invested in letting your
imagination occupy alternative worlds.

And then things like conceptual triggers.

What do I mean by that.

Here's a motel for twenty four paranoias.

The surrealist studio so conception
by conceptually framing the program.

All of a sudden you can ratchet
yourself out imaginal an alternative

way to be in the world.

The frozen motel zero again a refuge for
the refusal of Graeme's.

Circus of migratory wind.

For me.
These are not imaginative stretches now

at all these are sadly I
work on the margins at times

because I don't think of these
as stretches at all any longer.

This is an architecture
of multiple psychologies

the architecture of
schizophrenia delusional.

And leg Rufo because I think
is this is the third one.

Conceptual flip of the switch.

What if architecture was the white space
of the page rather than the black marks.

Architecture that makes the races
in remakes parts of itself.

This is an egg resue.

In downtown Los Angeles
that the architect.

You can make your race and
remake parts of itself digital mania.

That's the program That's what
the students working on for

a semester digital mania.

What could it be.

This is a thesis student
wondering about a scanner.

And mishandle a mucking around
manipulating a scanner and

eventually producing kind of an office
space out of focus architecture.

What would that be.

So we work on problems at times in the
studio right now which I'll show one image

from where we try to open up
the conceptions for architecture.

So that the students can think about it.

Alternatively relative to their
backgrounds this in architecture of fast

and slow surfaces and
fast and slow programs.

This is a plan on the left.

Of an urban agriculture and
restaurants there sort read parts of

the restaurant part of the great
parts of the urban agriculture.

That's an elevation on the right.

It's my my a modeled.

This student worked on milled so

I was interested in trying to take
a contemporary practice of C.N.C. milling.

And complementing it with a three hundred
fifty year old cultural discipline

the baroque.

This resulted in a museum for
cross dressers the model model

space this student was asked to do with
what would happen if we materialize

the virtual space of a building's
construction rather than a building.

So rather than his building we're
sitting in what if we materialized.

All of the material practices
the stray dogs the weather conditions.

What if we could materialize that.

And not the architecture.

So basically what Brian did
is he took Michael bezel his

time lapse photographs of
the moment New York and

in this case he's basically trying to
materialize the steel fabrication and

the light constitution within the
construction process three houses in one.

This is also three houses and
one architecture that makes the racism

remakes parts of itself in these
are preparatory drawings towards.

What would happen if you built the plant
here and this section over here.

So this is a Catalan compass.

And this is a metallurgical arsonist.

There are five characters they try to make
possible or look into the possibility

that the plan would be over there and
the section would be somewhere else.

Surreal materiality.

This is a produce section
through basically a hotel and

recording studio in Hollywood.

These are modeled components of
the motel surreal materiality.

So a student working on
split temporality He's

basically taking things that
are happening on Lake Michigan.

With sensing those conditions
transferring those to a space

between buildings in Chicago and
producing a whole series.

This is a window from a motel room so
whole series of objects which

animate that space based on intelligence
those which are gained somewhere else.

As part of a studio which I ran last
year which is called refined form and

it doesn't have so much to do with.

This problem of conceptual triggers
other than the students had to

produce a house a blank house that
opened up the conceptions for

architecture so
this is a called a plus one house and

it basically tries to deal with zeroes and
ones.

Digital protocols algorithms
that calculus of the machine

towards alternative house production.

This is a house from a great.

This studio will find form had to do with
this is parent Fedak a little bit but

I've been teaching a lot of topical
studios or conceptually grounded studios.

This was what I call
the structural studio.

That is structural not that structure not
getting weight from the out of there but

trying to frame the studio kind
of outside of your topics.

So they had to deal with
the ethical production of work.

They had to deal with this bit
the operations of the architect.

They had to deal with their own
ambitions and programatic logics

I didn't really care what the issues
were I didn't care how they work.

I wanted to work in sort
of an structural way.

So they could take the lessons from
the studio and work on them in any kind of

pace and work not surrealism not
Biblical events not abandonment.

Marginalization in the periphery.

So the way this business bull bit off
topic but this is a house from a great.

This is a hybrid landscape house.

This is the same hybrid landscape house.

This is a work that's currently going on
the state is a preparatory piece of work.

It's a house for the red tide.

In a studio we're opening up the
conceptual triggers so everyone has one.

This is another bit revisitation of
a house of multiple psychologies but

everyone I know certainly one has
a conceptual drawing of like that.

House of the multiple psychologies.

Or some of the others.

So made it a house that makes
the racism remakes parts of itself.

House is a fast change artist.

So for Sarah was designing a house and
they have a conceptual drive and

they have a site.

Both a conceptual drive multiple
psychologies virtual materialize

in a virtual space of buildings
construction those conceptual drives and

the sites are meant to be restraints.

So there were the serious cold domestic
restraints and I'm like you in that

when we work with against restraints
that we develop alternative muscles

spatial conceptual intellectual muscles
is based on Matthew Bourne is drawing

restraints where she basically produces
incumbrances so he can't do certain things

to allow himself to imagine alternative
things that he could do anyway.

We're just working in the studio now and
everyone's got one of these conceptual

drives and they also have sites that
are let's say less than normal.

So this is the site is a red tide or

someone has Bosches garden of
earthly delights as a site where

underneath the vilest wall or
over the shrines it.

So the sites all come with restraints
obstacles objectives that don't

let you do a house in the conceptual
drives are trying to open up the ways

in which we might conceptually think about
architectural or spatial production.

Well finish with some work of
mine not a lot a little bit.

You know frame it just a niche.

From four particular vantage points.

One the labor of work when a show.

Duchamp's you know an all or fountain.

I mention the labor of work for

myself do shop allowed me
to think about opening

up the practice of architectural turn
into really the work that we do.

And for folks put in for me and

I don't want to represent other points of
view the labor of work now shifts from

the labor of architecture to the labor
of work and it opens up in terms of my

imagination what's possible a whole range
of things that were previously not there.

I touched on the language of
representation in the language of

architecture.

I try to move between those
places trying to figure out

acupuncture really when to agitate
the language of representation.

When to agitate the language
of architecture.

I try to be very very careful when and
where those things come into play

latency a lot of my work again
will lies on things which live

below the surface behind the surface
in front of the surface wind me.

And I try to probe
the representations that I make and

asked the students to do the same to
try to find those assemblies those root

relational assemblies that they were not
aware of but they have started to gurgle

to talk to offer potential with
respect to an imagination about

spatiality and maybe lastly So I mean it's
very very important to me the mechanics

of engagement that is basically managing
the variables in a piece of work.

So it is new and relational structuring.

Which is the way we talk about it in
a literal way relational structuring

the type duration and weight of real.

Ation ships within a piece of work and

those relationships
are all over the place.

From cultural primitives the building
techniques to representational logics

to institutional critique and so forth.

I'm interested in trying to manage those
variables and understand the weights and

values that they have with respect
to a particular piece of work.

I'm going to show you a hint
full of selected images and

from stuff that I've made.

To try to draw out the business
of imagination a little bit more.

This was work that I made in one
nine hundred ninety six which

was parallel in the strategic
plots work in the studio.

I was trying to develop techniques and

I made about forty images like
this where I could learn.

Try to think about things
in time plotted durational.

And at the time it was working on a date
to David's Island competition which was

an ideas competition.

For an island off the coast
of New York about.

This is a plan ish you about
three quarters of a mile long.

And what I tried to do I was working
on a range of topics content the form

that had to do with military
suppression scopic regimes

mythologies an island folklore or
military jargon blah blah blah blah blah.

All of that stuff was rooted
out of the island and

what it was about what it was entailed so

all the issues that I thought the work
should be about surfaced as a result of

a kind of careful looking at this island
and what I tried to do is develop.

A means by which I could
start to plot some of those

ideas and in some cases physical
manifestations programatic law.

Objects.

Over and through time and this was
the first set of marks on that particular

drawing that allowed me to start
to to look at that possibility of

basically spacing or phasing ideas and
stuff over and through time.

So these are details
when you go back just so

you get a sense total lunacy or
sort of is there actually

I developed programmatic logics
then there was no program for

the competition I developed program magic
logics to help me deal with those issues.

Folklores and mythologies and

nautical navigation and
military regimes and so forth and so on.

So I'll just touch on some of the program
magic things that evolved in the work.

Bees or winnings for
mythical sea travelers the kind of whisker

like pieces and there are two to
six hundred foot long concrete

pieces with steel edges and
Paul up labs that comb them periodically.

There are kelp Augustine beds.

So scientific information comes together
with kind of mythological structure

probably these big camouflage
camouflage it surfaces these black and

white things they're essentially black and

white marble in the black
spaces muscles always.

As part of the work in
the white spaces children sail

white miniature sailboats they're also
swap meets the go on those things.

These are photo ops.

They move around the side in
a while you to opportunistically

photograph conditions.

This is a surveillance field and
polish metamorphic rock garden.

They're all set of sensors that are
thirteen fifteen sensors that sense this

distant ocean oceanic conditions and
feed that information.

Back here that produces
polishing conditions for

this this metamorphic rock or
their easement fences

that run through the work all
the red lines are those things.

There are a whole set of funny.

Kind of curved black pieces when you
stand at that position right there.

Those are steel walls when you stand here.

Those produce a perfect Arisan in
a clued any sense of the distant

land or the ocean.

There's a landing vessel
multiplied officers headquarters

in excess of mutiny there bird colony
lines in here of silver shell surface.

These are a labyrinth of emptiness which
essentially accelerated diesel right when

and where of sight out in different
ways while blah blah blah blah.

There's just just details that draw and

this is just a technical drawing
of the architectural elements.

There's a way escape drawing
which isn't finished yet.

That belongs to this.

This is another piece of work
which which I try to imagine.

Basically the for
magic content of a museum.

So this is a visualization of
basically what the work is about.

This Thetic scientific and

historic understandings of cultural
artifacts problems of curation structures

of vision curiosity
problems Curiosity Cabinet

problems that knowing Greek muses
as a possible reinstallation to

do with the museum at center etc etc
Just It's called a fanatic drawing.

Just the primary thematically conditions
of the work I'm just trying to visualize.

So in clear my head.

So those other room for
work to be done here.

I'm literally just trying to visualize

what the work is about there's
some proto architectural elements.

This is a pro architectural element.

This is this is here.

So it's not purely for
the magic There are some things.

I'm not averse to moving the work towards
geometric conditions when I know them

shoes me there are three cryptic
site drawings for that piece of work

Cross have across it across an across and
it's up walk in Fresno California.

There are three drawings which essentially
try to hieroglyphic Lior glyph a CLI

produce indications indexes

tendencies for
what the spatial conditions might be.

Those are called cryptic site drones.

This is a drawing when trying to
work on the nine Greek muses and

I'm trying to work on
knowing drawing machines

that continually action
reaction alabaster surface.

The alabaster falls into a quipped
which moves around the site.

So all I'm trying to do is visualize
what I can know about those

knowing great uses drawing machine
alabaster archival surface.

So proto formal drawing just trying
to imagine what that could become

detail from the drawing.

And then I shouldn't even growing
something like this is a super super super

early and crude stand in for
a piece of the museum.

These are post it notes.

That's nothing just there.

These are a little These are starting
to be developed is an archival surface

that cattle run around in.

It's actually two
archival surfaces now and

this is a gallery pace is
a primary piece of the museum.

This is the alabaster.

Archival surface again just a dummy
a trope a stand in a post it note that's

not what it is just trying to get the work
they usually this is a student helping me

just trying to get a base based model so
that we can start to

work on some things this is just
an elevation view of that same model.

I shouldn't show you this is this is
less than a good sketch this is this is

quite pitiful at the moment but
you get it.

I'm interested in architecture it actually
might be able to get to space itself.

I just want to try to demonstrate and
then when

I know how many I have four

hundred pads of yellow paper or a map
by weapons that look like this stuff.

This is a house that I've tried it I was
trying to work on it made three proposals

for it's called fast which basically
I'm trying to get out of the way

I'm a poster poster at this image.

I'm trying to get out of the slow ways
in which I work in trying to imagine

an alternative way to work so
I basically tried to work on

a desert house now three iterations of it.

No going to show you that was a plan or

even two states there
are three elevations studies.

One two three and

you can see the architectural objects
Billy the joins are very hard to capture

their quote their little bit subtle.

All that.

So I'm going to show you a super
super crude model equally crude to

the to the museum thing.

So this is these are three of the ark.

These are three of the these are literally
just extruded from the elevations so

it's not this isn't anything.

But what it is what the House
is essentially is this

piece moves their trucks on
the side this piece moves in is

the sleeping space this
primary living space.

This is if you want to kind
of follow a shelter or

a kitchen piece then there
are whole series of gardens

that are milled by landscape
scale million machines.

And it's constantly million in re
milling aspects of the site and

they're set up so
strange objects in this thing is a pool.

This is a fancier a wall
the rhetorical shadows.

Unusual kind of Nomen as that
aren't here yet wobbled law.

The next time this work owes them of
the world it will be properly don't.

Kid I'm trying to imagine house in which

I basically suffocate or
a race domestic orientations.

So I'm interested in trying to produce a
house where I to race suffocate bleach out

since are things which
Korean to us domestically

practises equipment spatial conditions and
so forth.

What I did is a way to imagine the a
racial point the censorship part is I

made a pair of drawings.

This is one of them all I'm trying to
work on is censorship any Ray sure.

So there's a drawing made which
you see almost none of now and

then essentially systematically and
that drawing is the drawing.

It's made or meant to be proto or
kind of indexical elements for

the for domestic practises lighting
a piano a threshold or practice.

There just indexical marks and
then what I do is I systematically come

back and erase sensor and
then re code those marks just so

that I understand what that
practice might entail.

It's not a plan so sessions that a.

Active it's not it's not
any of those things.

It's pro it's prior to then there are a
pair of what I call reflexive objects

they will go back into this now evacuated
domestic scene and try to restructure it.

So this is this we need to work on
this right need to work on this.

This is just in this state.

Now I see it but
we haven't been able to model it.

It was just details of pieces
of biopsies from that drone.

I got interested in ratio as
an architectural activity

I was asked to give a lecture at
the Bartlett about three years ago

the Bartlett School of
Architecture at U.C.L.

University College London in my opinion
is the best design school in the world.

Best Architecture School
in terms of design.

They probably had more formal
an aesthetic range than any place in

the history of architectural education.

So I said What can I possibly talk about
in a place that's manifest probably as

much formal material or ticklish and
as any place I know whether you

agree with whether you think it's a good
school or not is not the point I try to

figure out something that I could
talk about that might contribute.

I was thinking about a ratio as
an architectural activity an offering and

making in a started a piece of
work in which I took Vermeer's

the great Dutch painter known as for
me or known Vermeer's order of painting.

And the idea is that by working through it
at the level of Ray sure that I would like

to produce the art of architecture through
eraser as an architectural activity.

Anyway this blossomed into the talk
that I did at the bar which

was much more expansive than this but try
to look at the Unmaking of something as

a way to challenge the racialists
appetite of the architect.

I also have about Doubt
is a was a as another.

Way to imagine things I have about
eight hundred landscape drones.

I should have about
eight thousand of them.

The idea was that I would make one a day
they would take I would take a shower and

it would make one and
I did it for the first six weeks.

But my schedule and
travel and family life and

all that sort of got in the way didn't get
the way I want it and get away at all.

Quite the opposite it.

I was unable to continue with that set
of practices but what I was interested

in is developing a very particular
discipline for working on something.

It was working on a landscape and
realize it.

Knew anything about it.

So I tried to evolve ways in which I
could represent landscape conditions and

they work in series small series as for
the largest series of thirty five and

there are about eight hundred of them and
one essentially do as I sit down.

They're all done on eighteen
by twenty four white trace

two layers tape two inches in two inches
in white tape eight inch bobble blow.

Twelve inches by nine inches and

any number of things can motivate the
imagination from some stuff I have sitting

around in the workspace to a poem that
my wife Amy might give me to imagining

something like a perspectival sky what
would that be like to a micro landscape.

Anyway what I do what I do
is I just work on them.

These guys these are really quite there
was these were fun I had a bunch of

finishers and turpentine stuff laying
around the studio just for them.

I made some gold leaf marks and
some asphaltum marks those little

dots and I basically poured the stuff a
little bit like alchemy onto the surface.

And is the surfaces started to dry.

I simply took seven million a dry
pigment graphite and I just love that.

Drawing us into existence little bit like

looking at the stride spit on the wall try
to try to imagine an alternative world

which really would rob the drawings
in the present saying.

So these are called invisible.

These are called Pompei in just
about room and auto facts and

the debris the archaeology
the thickness of places like

these these are I think that much
better is things they don't photograph

particularly well but
you get a little sense of what they are.

I just had cadmium red hanging
around the studio lot of stuff.

Taped and paint and drawing things.

So I had this color and I just I was
thinking about Chinese landscapes at

the time scroll painting
Chinese iconography and

I just tried to evolve the series
which basically use that color.

So you see.

These are I was interested in
those controlling things too much

an architect controlling things here.

So I said can't do that.

So as interest income.

I was thinking about
Chinese calligraphy So

I just close my eyes with these and made
a hole so there's just graphite walks on

it kind of yellow background series
that look a little bit like this.

I stopped making a series once I feel like
I've exhausted my imagination essentially.

Do won't be too much longer a promise.

I was asked to participate in
the progress in two thousand and

five it was quite interesting framing of
what I was asked to deal with I was asked

to do with architecture is a transience
phenomena period and OK I can do that.

I think one of ended up doing I won't
give you the long history but I ended

up dealing with problems of instinct and
desire which I basically argue.

To myself and sure that work instinct and
desire have been eradicated from our

cultural experience will realm information
logic saturation level but what.

So I dealt with instinct and
desire in the way I did it or

the way I'm trying to do it still is a to
both what I call the medicine fear exist

and it's a cross between medicine
between metaphor and atmosphere.

Spiric.

Sue.

Well I did then as I
developed six species.

Cloned ific unborn so forth.

And three program elements
a roving taxidermy

Botanic surfaces and a vessel for
obsolete atmospheres.

When I was interested in is trying to
develop the species that move between

the domesticated and the Beast steal

the savage in here with respect to
this problem instinct and desire.

What this is it's a fifteen
foot long image so

this is about the size it
was this is the graphics.

This is the graphic
demonstration of the image.

It's basically one of the fanatic plots.

So the species are in here the kind of
relational make up of those things or

any other certain coding
in indexing devices.

They were killed somewhere between attacks
taxonomical framework in a puzzle.

And what happens there.

Actually it's all put together there.

The only images are mounted in
the reworked their gold leaf parts they're

drawn parts they're real fabric parts
blah blah blah blah blah prog but

basically all I'm trying to do is imagine
the problem of transience architecture

through conditions of instinct and
desire modeled on these.

This sort of species in this medicine so
obviously the initial

images where I wasn't saying much were
part of that part of their representation.

So what we did last summer.

So we're starting to we I don't do
digital I don't work digitally.

Sadly.

But if a student was helping me
model simulate the behaviors

of some of the species because room
actually interested in trees the landscape

of architectural proposal and I'm actually
interested in designing that stuff.

So that's where we were trying to move
that piece of work forward now as well is

just biopsies slightly larger biopsies and
the earlier images which I opened up with.

And you know finish with a piece of
work which I'm currently working no

through a grant which
Monica Ponce de Leon or

new dean who some of you
know well from here.

She made of fair chunk of money
available to faculty members so

competition basically we had
to write a grant proposal.

I got lucky to get one of them
is meant to be a two part Grant.

This is called Can Be Dragons.

This is called spatial
blooms here be dragons.

There's the areas in Medieval
maps that are under the margins.

They both deal with problems of landscape
and hell landscape might fold itself back

across architecture this proposal which
I'm not working on it has to do with

taking two or three of my landscape
drones and trying to figure

out what those could be architecturally
no questions asked no cultural density.

No history of representation.

No history of landscape
stuff no garden thinking.

None of that just trying to figure out.

How to take landscape representations and

make them architecture this part which
I'm working on is called spatial Bloom's

fundamentally it's a much more
complex structure than this but

fundamentally it has to do with
taking landscape principles

axial structuring the Meander picturesque
garden those principles and crossing those

with landscape elements Dykes berms fences
rabbet Ment's fortifications and so forth.

Taking those two things landscape
elements landscape principles and

then running what I'm calling landscape
biology's against those are through

those landscape biology's
genetic manipulation

maintenance logics insect infestations
dormant season fallow conditions

in landscape essentially temporal
logics that belong to landscape and

I'm trying to produce an alternative
architecture that has imbedded temporality

So these are super super graphic
things I'm going to show you.

And they're essentially nowhere but

I'm going to show you them
nonetheless was working on this now.

So we're working on there are things
called Fabric predators belong to us.

Let me give you a little ditty that will
give you a sense of where I'd like to

go with this work.

The three line thing.

Spatial corsets and
fabric predators in the midst

of configured blooms
scanning belike surfaces and

suddenly hiding in a bio diversified
architectural not spatial devices of or

for wondering or a temporally
loaded in triggered architectural

ecology scaled in a scalar
at the same time.

So we're trying to visualize
some things now we're not we

do not have the temporal
logics in place at all.

We do not have the.

Architectural logics and

play these are basically visualizations
of landscape principles landscape

elements there we're trying to visualize
towards this spatial blooming problem.

Looming so

mentor a student in space blooming
literally temporally load it phased

with respect to landscape principles and
landscape elements.

So again we.

These are super quick
visualisations of how things might

be organized in a spatial set up.

Now we got a couple more images.

So this if I could mean
this is an old image but

this is a little bit indicative of.

What I imagine the landscape elements
of the landscape principles to be

there's no durational there's no temporal
there aren't maintenance logics.

There are fabric predators which
secrete rubber masks on surfaces

as a result of information which they've
gathered from fifteen seventy two Venice.

Which would like to try
to get to in the work.

So anyway this is this is a mature I
should have shown this one either.

It's so preliminary and.

It's basically just it's great it's
incredibly graphic at the moment.

You know finish.

I'll just finish the talk with these two
images of the aurora borealis them and

thinking lately about what architecture
would be like they could populate that

could occupy its edges in densities and
saturations and proclivities to chain.

And it ask you to maybe think about

what could an architecture
a species note in your imagination.

Be like that might actually
use this as the site for work

for me in terms of what's necessary
terms they are architectural and

spatial imagination with respect to
developing a cultural imagination.

It's important that I
can populate that and

imagine that culturally spatially
architecture where there is potential

where I can ask you to you know just for
a moment.

Open the imagination to another place

that might allow you to say
you know I can imagine doing.

A cloning clinic in that space.

Or I can imagine developing
an architecture that makes the races and

remakes parts of itself that would
populate we construct animate negotiate

the possibilities within something like
Iraq borealis or scanning the flowers and.

That's it that's it.

There will have.

I'm sure it's I'm sure
it's midnight already but

I'd be happy to take questions.

If that was if anyone at them.

Thank you for your and thank you very much
for coming out of a really appreciation.

Well last thing while staying.

Questions.

To us please.

Here's.

The life.

Speech was.

Were were you.

The reason I asked Is Were
your students kind of.

This is this from.

Years down the road.

Well I said I'd like to go for

spatial stuff I mean in particular.

If I were to use your so I guess.

That work well that little ditty.

Fabric predators and spatial corsets

scanning berm like surfaces
configured warble blooms.

That's what I see taking at work.

Yeah that work right now looks like it
looks like graphic design and we've

been so I mean there are million images
like we've been we've been fighting.

I think we've made a break.

Last Friday we've
actually got it now with.

I think a new an architectural or spatial
consequence not a graphic consequence but

you had a little ditties
probably as close as I can get.

I mean there are things in it.

Now there are there are tests.

There are sort of arrayed
test tubes with Bonsai like

trees coming out of them that are have
these secreted rubber masks over them.

But the bonsai tree is a class tree.

It's actually a kind of
an alchemical model for

other behaviors the fabric
predator will participate in.

So what the moment what we're trying to do
is produce a whole series of fictions like

that like those duties and
then we're trying to trying to visualize

what those will be so we've lacked
the temporal structure with Latin lacked

an architectural structure they look like
a graphic landscapes at the moment but

that's where we hope to take it.

Yes.

No ideally we're to produce a pair of
constructs we're not interested in

modeling we're not in a lot of sin
making perspective use of space

where produce a pair of
constructs that are.

Many have timing devices they have
an advise to illuminate pieces they

have configured marble logic
they have fabric pieces in them.

So we're measuring kind of architectural
surrogates not art pieces but

we're imagining circuits for
architecture but

will do if we can get it where we want to
it's I mean it's no where no it's garbage.

If we can get where we want to we
probably will do a full array of spatial

articulations but it will be phased in
what I said fifteen seventy two Venice

will be tapping into multiple
temporality reason squeeze even

affecting things from alternative places
in the world back through that space.

We're me to move between medieval
technologies and probably the you know

nano nano nano technology so it's a longer
piece of work than the grants going to.

Going to support but at least it
would be something we're good at

something maybe it's it it's really
nothing no it's not anything.

It's not interesting.

I think it can be for us.

Maybe one of the person
that's helped me work on it.

Been imaginal alternative.

I'm interested in participating
in a lot of the bio the bio

conversations right now but
not at the level of the medics and.

By award.

I'm interested in participating in those
logics mostly at the temporal levels and

trying to produce an alternative spatial
condition I don't know what it would have

no idea materially we may
have to invent materials and

we talk about things that us and Joan do
this mean for me it's not impossible to

think of making an architecture that's
made out of ten thousand Flamingo.

Those And then bots and.

So we may have to invent some
some architectural materials to

handle what we're up to the split
temporal stuff is going to be hard

fifteen seventy two Venice.

That's harder than here and now.

Sort as I can tell so we would make it.

We make it somewhere if we don't.

There are two other pieces of work that
I'm trying to fold off that one right now

trying to get out a way myself.

Essentially I just don't like the way
it worked and what I'm thinking about.

That's a little bit of a break for
the border.

It's you sure you can.

Would you come in status.

To your loss.

Yeah this you know this is this is a
really it's a really interesting question.

The dotted line for

me the if I had to pick any line type
in the equation of architectural.

Drawing types though the dotted line
would be an interesting one for

me because it's both.

There are not there.

And in my work.

I'm interested in complete the latent the
nascent as much as I am once visible so

it in the Nates essentially from the use

of it in minutes from that
point of view that it's both.

There are not there.

It's also used often to suggest kind of

morphologies within things that things
are X.M.L. changing or shifting their.

Their status over and through time.

But mostly I like that.

It's almost always only apparent to
me when I work on the work in other

words when I John saw an exhibition in
Texas that I did some of the drawings and

there are a lot of things like
the dotted line that are only there for

me really the construction lines.

You could ask an equally interesting
question about the role of

the constructional And I think
those really have that's before me.

On the surface really practicing
drawing trying to figure out

what's in it at the level of drawing know
the level of content so that the dotted

line is also it's coming and
going it both wants to be an accomplice.

But once to evaporate vision
any sense of distance from it.

You can't see them.

So those are two or

three key areas in which I think
the dotted line plays a role.

I'd like to make an architecture of
dawdled lines and I'm interested for

example in building all of the lines
that we when we make designs I did.

There's a bunch of stuff
I didn't show tonight.

But I made a desert house in
one nine hundred ninety eight.

John and it is a probably
seen interactions of this and

I made that plan constructed
the plan thirty times.

Changes and all that.

I'm interested in building
all of those long lines.

So that's let's say the opposite of the
hidden line which is trying to go away.

I'm trying to build I'd be
interested in doing architecture

why I built all the lines.

So I'd also allows me to
push polls that allows me to

put GO GO TO edges which
the profile on of the object line

would never never let me do
because of its inheritance

because of the weight that comes with
those kinds of lines or markings.

If you know for sure.

Yes please.

Good for

you and me.

I mean what he taught me.

OK.

Wow.

You know.

Guy.

Yes.

Yes you're on your way and.

You.

You know I mean that.

You have.

What are you trying.

Yeah it's a good.

You know.

It's a good question.

For me.

I try to answer it maybe a little bit
along get it and I don't need to be that

way but it might be necessary to build
it up for me it's easy to have ideas.

It's less easy to have interesting ideas.

It's less easy to have interesting
relevant ideas and it's

incredibly difficult to get interesting
relevant ideas into a spatial makeup.

So there escalating degrees of
difficulty in mind in my mind

in terms of moving from the intellectual
project let's say to the spatial project

which is one very very limited way to
go about it is you have ideas then

you go to stuff that's what I typically
do the methods suggest otherwise.

What I tell him I put what I tend to
do in terms of the framing for my so.

Often I think maybe with some
of the students I don't know.

I know John in a slightly different
context I don't know Dennis so they have

different registers relative to this but
we're really trying to find appropriate

ways to work on whatever the phase of
the work is that's being worked on.

What that normally means is that
the ridges are easier to build as you move

from something to something else because
we're trying to not apply techniques.

I don't have any interest and we're trying
to figure out relative to the phase of

the work that the status
of the questions and

nature of the relational
make up at that moment.

One of the best ways to try and advance
the work towards a spatial condition

if that's what the ambition
is let's say it is.

So I can only probably give you a general
answer in that regard that I'm interested

in the students having a full or a full
working knowledge of all the conventions.

All the monsters that come
out of those conventions and

inventing things that are nowhere
near the conventions.

So that they can then methodologically
representational and conceptual so

they can then say these are the things
that seem seem to be on the table.

Now these are the things that I think
I can mobilize towards manifesting

that work at a higher level of
spatial definition or to kill ation.

I personally use analogic
thinking a fair bit.

But I don't.

When I said earlier the house the section
of the house can be like a whatever stupid

thing I said you know a section through.

Medical Dictionary.

Not that cavalier or
maverick with what I do what I try to do

is take the ideational framework and
then often I'll try to imagine formal or

material conditions which are have
enough degrees of likeness relative to

the ideas or relative to
the status of the representation.

So I can then make a slightly.

More mature effort at a spatial or
architectural or landscape condition but

you're asking a very very complex question
and I think you just have to understand.

Basically the values that are embedded
in every way that you work.

What things.

What techniques representations
methods can and

can't do and then try to figure out
given the series of questions or

conditions I have on the table which
things can immobilize to greatest effect

to optimize that next job really depends
what your ambitions are relative to work.

I mean Joe may have been doing some stuff
with you that just had to do with how you

manage your manipulate representations
didn't care about gender or

social consequences of the history
of ideas you might not care about.

So you also really have to understand
I think the situation in which you're

operating sometimes that will seem I'm
just cutting stuff out and folding it and

photographing it.

That's a totally legitimate way
to increase your skill sets and

understands and communicative
potential of things by doing that.

That's different than waiting through
idea an idea an idea an idea.

Yeah I don't know I'm not sure
what the intentions were.

But.

Beth has to do with it.

Well might.

Again that dexterity
the versatility to really work.

I want to be able to make a totally
different piece of work if someone asked

me to do seventy in here and if someone
asked me to do something in China.

So I've got to mobilize all those
whatever or whatever little bit.

I might understand about
something which is not very much.

Trying to eke some of that stuff
into existence so I can do.

What's appropriate or relevant.

With respect to what I'm asked to do.

And also not interested if you know
I'm not interested in doing work that

other people do it doesn't interest me so
I'm that part of the dexterity and

versatility which also has to do with
knowing that you can work things in

very very different ways which Jong
part of John's teaching might have done.

That's incredibly important.

So again it's the dexterity and
versatility that you don't.

I respect someone like Richard Myers
enormously enormously.

He's done essentially the same building
every single time he's done one

that doesn't interest me.

It's not.

He's a great architect he's way
tone better than I'll ever be but

it doesn't interest me to do work which
is based on that kind of set of logics.

So.

You mock around sometimes
you look around with stuff.

I'll make a mark all sit make a mark I'll
make seven hundred marks until I like one.

Well make a series of objects and
say I want to five could make

an office building know that I just
muck around with stuff so it's OK.

Also you don't know what it is
you have to deter delay the shelf

the gratification shelf life you don't
know what you're doing it cut it out for

reffin it ended and don't know.

But it allows you to
see something where you

didn't see before you can see that before.

That's where contribution occurs
when you see opportunities and

potential where others don't.

So it's that kind of work that allows you

to work alternative way that
wide open something up and

you're going to take on something
that you can then share with others.

Just one more question right here please.

This one.

This is don't think
this is don't question.

Everything so

how do I do a gauge
that it's a super good.

Yes.

He's the one who has this right.

This is a good question.

I fundamentally try to make
situational judgements.

What do I mean by that I'm
hungry in the morning.

And with our daughter element I have
some oatmeal and some honey on it and

some milk and so forth.

Situationally that's an approach.

Thing for me to do.

When I work I try to figure out whatever
the work is of I'm working with Dennis and

John in room working with I try to figure
out what's situationally relevant.

What's appropriate to do so.

That begins.

That's the first scoping of the work.

The scope is set there.

Now what I'm interested in not someone
what someone else thinks out to do but

what is relevant.

So I go to an ethical structure for
the work and

try to figure out
culturally how can I can.

How do I think I might contribute in a try
to work on things here questions a good

one because the some of the representation
techniques could get that thick.

You could have known for hours and

interests in a piece of work because
there's nothing that shuts the water off.

It just keeps running.

So what we try to do.

Maybe both with students and i'm own
work again is trying to figure out.

Well what if the what the ambitions for
the work are.

What can architecture take what's
its cultural attentiveness

from a number of
perspectives I try to really

continually gauge that scope to
figure out then when it's finished.

Ultimately I'm not interested
in finishing work.

I'm interested in work that's incomplete.

That doesn't mean that it's unfinished
That means it is triggered it's loaded up.

It's just ready to go and increasingly I'm
trying to figure out what's the minimum

I can do to load simply nub So
it is just way to spring and

all kinds of levels without
having to play anything out but

my difficulty is having
to manage a surplus.

I get a lot of stuff in
play when I work and

I don't know whether these guys at concur.

You know a lot of stuff
going on in the studio.

You know a lot of stuff
they're trying to deal with.

So this is a brilliant question because
ultimately we try to figure out.

What to deal with now
what to deal with later.

Transformation is a part of that what to
deal with now that you transform relative

to later and what I'm really trying to
increase in the last two three years in

the studio is trying to figure out how
to really keep it on the scope that's

the mechanics of engagement
how to really manage that.

So that you know that
you're getting closer.

If you can evaluate
what you're doing that.

You know when to say enough is enough but
I make a judgment from all kinds

of levels compositional levels historical
levels one of what roles as a teacher or

an architect.

I try to make those that kind of decision
from a number of different perspectives

relative to what I think the situation
is about that situation is that

constructed world in which I'm operating
the situation is not just the space.

It's not that.

It's a discipline or

a function of what I do the history of
ideas how they belong to the situation.

My emissions belong to that
your emissions belong to it.

So the situation is complex but
I try to gauge it.

The scope when to call it a day
relative to situational thinking.

Now space enough on it.

Where is the space and.

Where did it begin.

Not to be a not not not trying to make
light of I don't think it is fun it.

This is a key.

This may be a key for
me in terms of my imagination.

There was one point where I
realized that a garbage can.

Was not a thing.

It was relational assemblies.

It's what I call them contoured
relationships who made this stuff where

it came from the history of treasure and

all that so that now is a dispersed
temporally dispersed object.

So for me.

Space is not is is not is not
is not finite and that why.

It's material it's detectable there
are degrees of detectability to it.

It is different levels of presence thing
but I wouldn't say that it's finite.

Well this is also an interesting
observation because Y.

wife continually says to me that even if I
could get into space where I think I could

that space couldn't take it.

Not that I'm better than
space not that I'm better.

I'm not suggesting that I'm in a good at
what are Durham better than space but

I want tendencies to been been
to load space up to fill it up.

In terms of the work that it tries to do
and I think it's She's absolutely right

and that's why I'm trying to figure out
the incomplete project how to do what how

little can I do to trigger and
stimulate provoke possibilities for

a cultural imagination rather than
finishing closing feeling we should.

So this is what our eyes
tell us because true or

president may be very happy to be in
the audience you're very welcome.

I hope everyone sees walk by here.

Thank you for coming.

All of you thank you for one.