Posts Tagged ‘steven holl’

In the Mood for Love

Tuesday, February 23rd, 2010

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In the Mood for Love
2000, 98 minutes
directed by:  Wong Kar-wai

Well, this was the last film I  screened at Yale before I graduated with my M.Arch, and I suppose it was fitting that I showed the film that got me interested about the exploration between film and architecture in the first place. Several years ago, a good friend of mine who was working on a PhD on “atmosphere” at the GSD showed this film to me, and seeing it was a small revelation. First of all, the film is a profoundly beautiful film (it remains one of my favorite films of all time from one of my favorite directors). Secondly, I had no idea that there was scholarship on something as seemingly disparate as cinema and architecture. In the Mood for Love is a beautiful document of love, urbanism, and cultural identity. It’s about space, atmosphere, and time; the beautiful actors Maggie Cheung and Tony Leung are the players. For more on Wong Kar-Wai, read my post about his other movie, Chungking Express.

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When I first started the film society at Yale, it was mainly as a means for creating a debate about the relationship between architecture and media within the school. Specifically, the focus would be films, but broadly, about all of technology in general. Film is technology, and both architecture and technology share the same etymological root (tech: from Gk. tekhne-, “art, skill, craft, method, system”). The moving picture, invented at the beginning of the 20th century, contemporaneously accompanied a sequence and succession of technological changes that have fundamentally altered the world around us and architecture to no lesser degree. Le Corbusier changed the way we put buildings together at the same time, but he changed it in part because he was inspired by the technology of film. To understand these changes is to understand why our built environment is the way it is. In short, architecture is, like film, an expression of humanity.

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On this topic of cultural technologies, humanities, and digital media, there is nobody more eloquent and erudite as Mario Carpo. Having initially come across him in the first semester while writing a paper for Alan Plattus’ urbanism class, it was incredible to have him come and teach a graduate seminar in my final year. Much of what had only begun to approximate in thinking I found had already been expounded upon at length by the world’s most prominent architectural media theorist. In terms of thinking about media and architecture, Mario Carpo is, so far, the last word. His lecture at Yale in the spring of ’08 was an exciting reminder of how contentious the fields of history, historiography, philosophy, media and technology are when they come together in the study of architecture. Earlier in that same day, Steven Holl, Peter Eisenman, Mario Carpo, and Bob Stern sat and debated the changing paradigms of architecture, urbanism, and landscape, and reminisced about their shared background as young architects in New York. They were seated next to about twenty students. In one room. Such is the power of the place of Yale and its community of individuals. I miss it dearly.

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The format of the Yale Architecture Film Society wasn’t really well thought out; it was simply a matter of cobbling together something that I thought was sufficiently time manageable—screen a movie once a week or so and argue a position about the movie and its relation to architecture in a distributable format for the Yale community. However, at the time, I was simply printing out sheets of paper and posting them around the school. Looking back, it was a laughably low-tech way of going about it. I should have created a website or blog, posted links, film clips, and the written portions as well. This blog is an attempt to redistribute that information and reanimate those discussions. All the struggling I did each week over the years with how much to write, what images to include, or different ways to advertise the screenings and communicate with those who were interested would have been elegantly solved by the Web 2.0. It would have been an exploration of a modern medium using the new forms of media that are starting to influence architecture irreversibly. This blog is a continuation of that goal.

in-the-mood-for-loveThis marks the end of the series of films I began discussing under the theme of “The Future is Asian.” The next theme I will blog about will be “American Landscapes.”

-    quang truong

Momofuku Ko

Monday, March 30th, 2009

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I had the chance to dine at Momofuku Ko a couple of weeks ago, and I still can’t get the experience out of my head. It was a deliriously good time. You see, recently, I’ve been thinking a lot about food and its relation to design. I was first made aware of this connection years ago, when it seemed every other successful, interesting restaurant was run by a former architect.  This was the case with such famous restaurants such as The Slanted Door in San Francisco (run by chef Charles Phan, with an architecture degree from UCBerkeley), Freeman’s in NYC (run by Taavo Somer, who did a stint at Steven Holl’s office), BarBao (run by former architect Michael Bao) in NYC, and several others.

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I’ve also been reading about food almost exclusively lately, most recently Heat, by former New Yorker editor Bill Buford, and the life-changing book by Michael Pollan, the Omnivore’s Dilemma. I highly recommend both to anybody.

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I don’t really know where to begin in talking about how interconnected I feel are the pursuits of food-making and architecture. I could talk about the work that is involved in making something so seemingly simple–in Bill Buford’s book, an entire lifetime isn’t enough to learn how to make pasta properly, and analagously, architects often lament/boast about the extended hours demanded by the profession (and rightly so). Ambitious chefs pay for expensive schooling, then intern in foreign locales for no pay, and then work 16 hour days for many years in the kitchens of famous chefs. Architects do almost exactly the same thing. But this isn’t exclusive to architecture and cooking; especially in New York City, it’s easy to see so many people who are working so hard for such varied passions, food and design among them.

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There is also something incredibly holistic about both fields, if seen through the right lens. Michael Pollan, in the first few chapters of The Omnivore’s Dilemma, manages to directly link agri-business to the military-industrial complex (and all of its geopolitical machinations). And it’s not far-fetched once you go through the logic of his argument. In essence, it has to do with commercial fertilizer, because fertilizer is a petroleum product. So he can successfully argue that the culinary and gustatory choices we make have wide-ranging implications on the world around us. Alice Waters and others have argued similar ideas. And I totally back it.

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Architecture, once you become attuned to the way in which it is connected to people and goverments and environments, operates in much a similar way. Design choices can take on the weight of a moral imperative, and I don’t mean this lightly or glibly, any more than saying that what you eat has political and philosophical ramifications. Architecture, at its most fundamental level, involves how we interact with our environment. It is a mediated interaction, and careful practitioners of architecture have argued beautifully for a wide-ranging spectrum of sociopolitical and philosophical imperatives, of which I believe they are fully justified in doing so.

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But this is all much heavier than I wanted this discussion to turn out. I began by talking about the joy of eating at Momofuku, and I guess this moment would be a good time to talk about the real, fundamental reason why I think architects and food often go together: because both are just such wonderfully sensual endeavors. Both architecture and eating involve a multiplicity of sensual stimulation. The experience of space involves something, that to me, seems like more than the sum of our five senses could register. The experience of a human body in the environment is the medium of the architect. The inverse is the case with food–cuisine is about the feel of the environment within us. A well cooked meal or a sumptuously built space is as profound an experience as is available to human being, and that is enough said.

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P.S.: The food images are courtesy of Tina, who runs a wonderful blog called The Wandering Eater. She graciously let me use her beautiful photos. Here is her post on her experience at Ko. Tina explains what exactly goes into a typical meal at Ko. Those ingredients, that preparation, and the execution: it is all so simple, yet carries so many ideas.

P.P.S.: At one point, I wanted to talk about David Chang, the chef at Momofuku, a Korean-American, and the vibrantly Asian-French-American food at Momofuku. In this way, it is tangentially related to my Film Architecture theme, “The Future is Asian.” The Momofuku restaurants are a phenomenon that seems an uncannily prescient sign of the times and the place (New York City). As one restaurant critic said about Momofuku, “only in America.”