Script in the making

  1. Renzo Piano 2:07-2:29

 

 

 

 

  1. David Chipperfield

 

 

  1. Michele De lucchi 2.06-2.29

Quando scegliamo le cose, quando facciamo le cose a mano, ci mettiamo del tempo. Ecco, ogni livello ha bisogno del suo tempo, personalmente, l’ultimo playfield del mio pinball ci ho messo 10 anni. E’ un lavoro laborioso che però ti fa entrare in contatto con la tua parte razionale e quella dettata dal tempo, che non puoi controllare.

 

 

 

  1. Kengo Kuma

 

 

  1. Hans Ulrich in conversation with Jacques Herzog

Anytime

 

H: While the history of exhibitions has started, in this last decade, to be examined more in depth, what remains largely unexplored are the ties that interconnected manifestations have created among curators, pinballs, and architects.

 

J:  I cannot stress enough the remarkable achievements of the introduction of the pinball machine as a method of production. Nowadays, architecture has become “a patchwork of fragments,” underlining a network of relationships within the art, the design, the curatorial side..

 

H: The machines let you explore the world of art and view it as an open system.

 

J: Indeed. It is a system in progress where individual instructions can open empty spaces for occupation and invoke possibilities for the interpretations and rephrasing of artworks in a totally free manner.

 

 

  1. Atelier Bow-Wow ( Yoshiharu Tsukamoto and Momoyo Kajima)

1.24-1-54

How did we decided to collaborate together? Ahahah It was a fun game. We used to play in out studios, next to each other. And she always used to ask me can you please pass me that fragment please? So I can add it to my collection? And I had a clear vision of my project until then, but then I decided to exchange fragments and the project actually became something else. It just evolved naturally. So at that point I understood that I needed her in my project as well. We opened a studio together.

 

 

7.Kazuyo Sejima

0.33-1.10

So when I was a child, by chance, I saw my mother’s playing with the machine and there was a peephole, which always intrigued me. When I used to look inside, it let the light comes in and it made beautiful shadows of the space inside. These were like large windows allow natural light to enter a space and create an fluid transition between interior and exterior. It is this connection of two spaces from which was my inspiration for years to come.

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