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Extra info for Matter: Material Processes in Architectural Production
I feel like you are able to tap into that, but it’s unique, very few people are talking about space these days. I mean, Moneo talks about space, you talk about space via experience and I would argue a highly visual, optical sensibility of space, but that is unique in many ways. So many other architects are interested in a formal vision, a sequential vision; I mean, sequence is a lot in your work too but always as a subordinate collaborator with the ideas of space. MM: The work that I’m doing, that I’m interested in, negotiates many different types of projects, many different contexts.
But inevitably architects are going to have to deal with animation, moving images, as a way to communicate and build constituencies. I was just on thesis reviews at the GSD and I can tell you, the plans were horrible, but the images were stunning. So what do you do at that point? In China they would be okay with it – just hand in the images and they build it. Is that okay? I do not know what it means for us as a profession when we evacuate the plan. SA: I think you are right about the need to come to terms with the moving image.
Like a ding in a Ferrari. MM: I have an admiration for anyone who is able to sustain that kind of insistence in their work, but that’s not ultimately what I’m interested in. Maybe it is a different attitude of what control in architecture is. What kind of dynamic does that actually produce? That question has evolved in my work. Going back to the idea about movement may help to describe that sensibility, especially when you were talking about an openness to admit imperfection in the work. Early on I was more interested in movement, and the choreography of the way that someone would experience work, because for me that was a way of rethinking the relationship between space and form.