Diller Scofidio + Renfro Runningedward Head Recto Dimendberg University of Chicago Press Iiiiii Chicago and London

diller scofidio + renfro runningEdward head recto Dimendberg university of chicago press iiiiii chicago and london

Architecture after Images diller scofidio + renfro Edward Dimendberg is professor of film and media studies, visual studies, and European languages and studies at the University of California, Irvine. He is the author of Film Noir and the Spaces of Modernity, coeditor of The Weimar Republic Sourcebook, and the principal of Dimendberg Consulting LLC.

Printed in China

22 21 20 19 18 17 16 15 14 13 1 2 3 4 5 isbn-13: 978-0-226-15181-6 (cloth) isbn-13: 978-0-226-00872-1 (e-book)

Library of Congress Cataloging-in-Publication Data

Dimendberg, Edward. Diller Scofidio + Renfro : architecture after images / Edward Dimendberg. pages. cm. Includes bibliographical references and index. isbn 978-0-226-15181-6 (cloth: alk. paper) — isbn 978-0-226-00872-1 (e-book) 1. Diller Scofidio + Renfro. 2. Architecture—United States. I. Title. na737.d56d56 2013 720.922—dc23 2012022899

∞ This paper meets the requirements of ansi/niso Z39.48–1992 (Permanence of Paper). frontispiece Diller Scofidio + Renfro, School of American Ballet practice rooms, Lincoln Center for the Performing Arts, New York City, 2010. Photograph © Iwan Baan. Reproduced by permission of the photographer and Diller Scofidio + Renfro. For Lynne I mistrust all systematizers and I avoid them.

The will to a system is a lack of integrity. friedrich nietzsche, Twilight of the Idols Contents

Introduction 1

chapter one 1976–1989 13 chapter two 1990–1999 59 chapter three 2000–2008 127

Conclusion 199

Acknowledgments 203

Notes 209

Index 233 i.1 Diller + Scofidio, Blur, Yverdon-les-Bains, Switzerland, 2002. Photograph © Massimo Vitali. Reproduced by permission of the photographer and Diller Scofidio + Renfro. Introduction

In the summer of 2002, visitors to the Swiss national exposition in the town of Yverdon-les-Bains donned plastic rain ponchos and groped their way through Blur, an artificial cloud by New York architects Diller + Scofidio. Jutting into a lake and connected to the shore by a walkway, the frame of the building resembled a Buckminster Fuller geodesic dome shrouded in fog. Its walls were made of water vapor and breathable. I was as entranced as the fairgoers surrounding me by an experience that provided almost nothing to see and became the principal icon of the expo and a crowd- pleaser. Continually shifting shape,Blur provoked that rarest of phenomena in contemporary life, an unclas- sifiable moment. How does a film scholar come to write a book about an architecture studio? What is its argument? Over the past nine years curious friends and colleagues frequently asked me these questions. Architectural historian Sigfried Giedion claimed in 1928 that “only film can make the new architecture intelligible.”1 As different as the twenty-first-century built environment is from the European modernism of the 1920s that sought to remake the world through mass-produced public housing, reinforced concrete construction, and the aesthetics of transparency and flowing spaces, Giedion’s assertion nonetheless provides a valuable point of entry into the architecture of Diller Scofidio + Renfro, in which images no longer merely document 1

- - - what Their alternation playful, and unpredictable by controlling how and how controlling by unpredictable and playful, see. cannot Its narrative unfolds in three chapters treating four decades of activity activity decades of four treating chapters three in unfolds Its narrative than and significant successful more of DS+R achievements some I consider those indicate I the beginning of each chapter at this challenge, address To Even before they produced any work, or perhaps as their first achievement, or as their perhaps achievement, first work, any they produced before Even videos, models, sketchbooks, at drawings, looking their projects; Visiting by the architects, and begins in the 1970s and concludes in 2008, and as the 1970s and just begins concludes in the in 2008, the architects, by This includes that decade. during crucial as most I regard accomplishments and notes in the archives of the architects; - them and their speaking with of the architects; and col notes in the archives commentaries critical and reading and colleagues; friends, clients, laborators, a inspecting that involved a project for research my constituted work their on at New in reverse customs through going in Liverpool, trees of moving grove they did. Few working in the arena of the built environment have more stead more have environment built the of arena the in working Few did. they mis- Revealing documentation. view to able been which I have for work unbuilt of history the impossibility While recognizing this story. to also belong steps resisted I have and evaluation, criticism and not shirking from narrating itself architects, a complete inventory of their projects, an exhibition catalog, a volume volume a catalog, an exhibition their projects, of inventory a complete architects, by works favorite my selection of a personal nor the studio, by commissioned the of exploration critical chronological a is study this Renfro, + Diller Scofidio - and the transforma of status and images (both still) in their architecture moving about. brought has it modernism of tion its alter to again, once promise, that commissions large several received studio of Lincoln renovations their are consider I projects recent The most profile. pre have limitations Space 2011. in Arts completed the Performing for Center the in interested Anyone 2008. after realized others discussing from me vented (www. website studio the visiting from benefit would DS+R of activities current dsrny.com). Yet- making judg qualitative them accordingly. about written others and have How media. in multiple work who architects the case of ments is challenging in a theatrical video should a temporary with a installation one museum, compare a or with a housing with an project a exhibition, performance set with a book, clients, aspirations, materials, audiences, different their vastly given restaurant, budgets? and frames, time buildings but investigate the visual and spatial realities of the present, as ambi as and visual the spatial realities of the buildings present, but investigate - con make these architects Blur, of atmosphere the Like has. always cinema tious intelligible, space temporary and see we what mode of a adopted 1935) (born Scofidio and Ricardo 1954) Elizabeth Diller (born exactly encapsulate to terminology conventional that challenged activity Scofidio, Diller, than label single a embracing of temptations the resisted fastly 1964).2 (born Charles Renfro their partner 2004, since and, the as well subjectand this of as significantcontribution book. strength and in Japan, project a public housing in climbing steps Airport, Kennedy York’s the of biography a Neither warehouse. Manhattan a in bathtub a in slides sorting between distinct professional and cultural languages and media is their great great their is media and languages cultural and professional distinct between

introduction 2 introduction 3

- - - despite the fact that they also realized conventional buildings. From From buildings. conventional realized also they that the fact despite I began hearing about Diller and Scofidio in 1990, fourteen years after after years fourteen 1990, in Scofidio and Diller about hearing began I Historians must identify turning points, defining actions, and substantial and substantial actions, defining points, turning identify must Historians Thus, I do not believe that recently finished buildings, projects such as the the as such projects buildings, finished that recently I do not believe Thus, avant- abandonment of alleged and commercialization of growing A narrative Later, they became known as makers of highly conceptual installations about about installations conceptual of highly makers as became known they Later, a video of Overexposed, I encountered 1994, In began. their collaboration sky- of a Manhattan wall the glass curtain through filmed workers office realize in different scales and contexts and its changing conceptual and cultural and cultural conceptual and its changing contexts and scales in different realize ambitions. details. a mass of unconnected with readers burden they lest accomplishments, demolish myths, puncture should they that concur) I (and argues Evans Richard spurious advance that narratives motivated politically and explode orthodoxies, their decade of first the during been ignored having After 3 claims to objectivity. who areputation as architects developed Diller and Scofidio slowly activities, in video surveillance and explored elements in Sentinel structural emphasized Para-Site, modes architectural in multiple worked always have they projects, their earliest the at time. same of mate investigations their innovative that ignored view a culture, postmodern advo with projects multivalent their scrupulously conflated frequently and rials to shrift short paid have commentators often, as Just positions. theoretical cating Diller, and romanticized constraints and budgetary materials, clients, designers, - neglecting their talents at thecol paradoxically asgeniuses, Renfro and Scofidio, have studio the of successes Recent ideas. their realize to necessary laborations design- that make competitions and lost the financial uncertainty also obscured the hardly and sometimes dispiriting, nerve-wracking sector cultural the ing in suggests. architects star of coverage media that sinecure glamorous the temptation to draw more than provisional conclusions about the trajectories trajectories the about conclusions than more provisional to draw the temptation to the and present meaningRenfro and of their attainments Scofidio, of Diller, settled. conclusively as are Center, at Lincoln their renovations or Art (ICA) Contemporary of Institute accidents and coincidences Fortuitous activities. their of culmination the logical on a as working small has a to commitment to shape their continue practice, a to single history irreducible direction, architectural an were there If ever scale. I story, unfolding continually this on an ending of imposing Wary theirs. it is - retell its to facilitate and of efficiency the interests in it chronologically present of architecture the when so much of (or less) more Attempting others. ing by premature. as me strikes new relatively still is DS+R distortion an implausible as me strikes hypothesis) (the “sell-out” roots garde - techno and the quality does it overlook Not only the studio. of the history of the overstates also it but decade, past the of projects their in innovation logical col shaped by are whose outcomes in design processes architects of autonomy fidelity tracking of Instead and zoning codes. sites, budgets, clients, laborators, Renfro + Diller Scofidio work the analyze I identity, a core from deviation or to

- - - Producing Producing 4 by French director Jacques Tati) and and Tati) Jacques director French by (1993), a giant pair of talking lips installed in a Times a Times in talking lips installed a giant pair of Soft Sell (1993), A work such as A work DS+R do not develop elaborate characters in their videos (the studio never never studio (the videos their in characters elaborate develop not do DS+R The capacity of the studio’s architecture to polarize critical reaction, espe reaction, critical polarize to architecture studio’s the of capacity The Square movie house that solicits passers-by, seemed to me hilarious, more open more me hilarious, to seemed passers-by, that solicits house movie Square has worked with celluloid) or utilize other films as explicit subject matter. matter. subject explicit as films other or utilize with celluloid) worked has which seldom spatial investigation, for as props elements function Narrative cinematic recognizable between and hover story a full-fledged into congeal - contempo most than authority critical with its own and less imbued irony to scenes and office room of hotel hours twenty-four Filming culture. raneous exterior the on footage the displaying and dolly, camera a designing set, a on (1996–), Facsimile did for the studio as center, convention a San Francisco of architects. as as much images of moving creators are Renfro + Diller Scofidio work that freely acknowledges previous architecture and visual culture, yet yet visual and culture, architecture previous acknowledges that freely work both of pieties academic the disrespect they pastiche, banal into lapses never turf and provoke hit nerves, criticism, cultural postmodernist and modernist wars. moving images as framing devices or as systems of notation akin to architectural architectural to akin of notation as systems or as framing devices images moving renderings. Indeed, Diller has long expressed her desire to direct a feature-length film and and film a feature-length direct to her desire Diller has long expressed Indeed, relocating involve would career that her ideal second has sometimes quipped for a metaphor Alternately business. the movie in working and Hollywood to a and of montage, an instance record, temporal a of notation, a system splicing, work the in guises is omnipresent film in its multiple mass culture, to conduit the of studio. to produce began and Scofidio Diller modernism. distanced a coolly and genres transforming 1977) was in (introduced VCR when the 1980s video during the enable films the Internet and DVD the Today, exhibition. and film distribution audi- and genres new creates television cable budgets, lower with ever be made to cameras or without be produced to images allow technologies and digital ences, to produce continue the architects these transformations, Throughout objects. their in interest videos and to realize buildings that reveal research-oriented Play Time Play film 1967 the (recalling scraper chal myself found and Diller, by recited narration voice-over by accompanied on projects later know to I came As measure. in equal fascinated and lenged 1998 as The American of such exhibition Lawn worked, + Scofidio which Diller classic from clips video and lawnmowers, maps, of installations skilful its with by theworkstudio. and elegance of rigor, the wit, Ito appreciate began films, the held retrospective a of catalog the to essay an contributed I later, years Five toward the firststep Art, Whitney Museum American at the of year following this writing book. accept While perfectly also me. struck arts, visual writers the on among cially for or Duchamp Marcel of art the acknowledge to Levine Sherrie artist for able critics many cinema, Hollywood with dialogue a in engage to Sherman Cindy art. with modern their dialogue and Scofidio Diller begrudged have

introduction 4 introduction 5 - - Tom Gunning Gunning Tom Film historian EJM 2 (1998). EJM 1 and Although not always immediately obvious, the screen, the frame, and and the frame, the screen, obvious, immediately always not Although Historically, Diller Scofidio + Renfro occupy an interstitial position that that position interstitial an occupy Renfro + Diller Scofidio Historically, An early biographical statement written by Diller and Scofidio suggests the the suggests Scofidio and by Diller written statement biographical An early Encountering their projects, collecting materials on the architects, and com architects, the on materials collecting their projects, Encountering They specialize in body-building, squash, car-racing, baseball, hygiene, androgyny, in the baseball, hygiene, androgyny, squash, car-racing, body-building, in They specialize - industrial kind, American design, demogra of every and pathologies of paranoias spread instruments and medical and devices, medical drawings of etiquette, phy, uniforms, rules robotics, commercials, TV, day-time scope. They enjoy eating disorders, for any probes and “drawings cartography, airships, culture, viruses, automobile computer electronics, Resnais, and performances of Cocteau, . . . Films made by domestic objects.” unconsciously Egoyan, Atom Cronenberg, Greenaway, Leone, Wim Wenders, Sergio Antonioni, Godard, body perfor Acconci’s Vito choices. their elected Ruiz, are Pina Bausch, Eric Bogosian 5 of their reflection. point starting art were mances and guerrilla the position of the spectator typically inform how they generate designs no less designs generate they how inform typically the spectator the position of and building site, budget, of client program, concerns traditional the more than technology. subject a Muybridge, Eadweard photographer instantaneous of work the evokes of their performances the operating in paradigms, poised between figure as “a Muybridge characterizes 7 Like discourses.” different joins) possibly (or that separates interval ambiguous expansive range of their engagement with audiovisual culture: audiovisual with engagement their of range expansive could architects, the names of other lacking conspicuously This congeries, who Eames, and Ray Charles Apart from by cinephiles. written been have only realized multiple and and culture space 125 short films investigating made over concerned more have and design architecture in figures few installations, screen and produced images with moving Renfro and Scofidio, than Diller, themselves 6 as many. duce cannot be easily associated with a single author. Patient and self-effacing, and self-effacing, Patient author. a single with associated cannot be easily duce reception the heated and activity their of stance the confrontational belie they of and clients—many collaborators, Their colleagues, it sometimes provokes. Travelogues Travelogues as such piece a in duration explore Scofidio and Diller Muybridge, whose lenticular screens installed and terminal airport an in separate (1992), of forms the older between somewhere Falling images. and space, time, join cellular YouTube, the Internet, on the flood of images and video and cinema and DS+R at the straddle platforms operate screens, and advertising telephones, criticism. cultural and culture, mass art, architecture, of intersection intrigued. more ever I became people, as Renfro and Scofidio, Diller, know to ing man, a gay couple, a heterosexual among a collaboration productive So intensely struck me as than the architects younger and a staff ofdesigners who are mostly the romantic ideal valorizes of the individ- unusual that typically in a profession and hands many of product the is realizes studio the project Every architect. ual Renfro and Scofidio, Diller, Although discussions. group extensive and minds - they pro the work of the and values studio, standards, the establish parameters, - - For these architects, conceptual thinking and opac- conceptual these architects, For - archi significant receiving before years, twenty nearly For Diller, Scofidio, and Renfro frequently describe their practice as about explor about as their practice describe frequently Renfro and Scofidio, Diller, Renfro + Diller Scofidio or editing, or panning, tracking, of camera In place Diller and Scofidio found a small but appreciative audience with beginning Diller and afound Scofidio small but appreciative body a of significance and integrity the of convinced partisan a as Writing of achievements has a long history. My goal in this study is not to present the the present to is not this study in goal My a long history. has achievements of contemporary the of as emblematic Renfro + of Diller Scofidio architecture and time and assembles shots into unities intended to convey drama and point drama convey to unities intended into assembles shots and time and between relations emphasize frequently DS+R of projects media The view. of and more subtly today working architects Few and spatial exteriority. interiority vibrant contemporary design cultures employ many vocabularies on behalf of on behalf of vocabularies many employ design cultures vibrant contemporary has studio architecture unique a how suggest to want I Instead, agendas. multiple the to devoted amalgam a distinctive of modernism into strands fused multiple with professional tension in productive while remaining vision of exploration it has long odds, often despite and how, arts the and academic culture, practice, form. built in ideas its realized and commitments its maintained that suggests Images,” after “Architecture this book, subtitle of the and ing seeing, responsive environment a built that is reveal their creations the lessons among and forms visual upon reflecting necessitates the present to and responsible relations merely not implies “After” world. the contemporary in their circulation which in to,” close of, the surface as in “along in space, also relations time but in when heeding Duchamp’s even sight, far from is never architecture this sense and the retinal both from visual phenomena, of “abandonment for predilection 9 the anecdotal point of view.” but rather a single eye of activity the as not understood seeing, to also belong ity brain. cyclopean a of product the as and and sequentiality and to manage continuity screens walls, windows, employ glaz employ their projects of Many juxtaposition. through realities new create much like in quotation marks, environment architectural an place to as if ing dissects space montage cinema, In narrative a film. a long shot in of the effect whom I interviewed during the course of researching this book—tend to be be to book—tend this researching of course the during interviewed I whom - intellectu with the studio, their and about thoughtful involvement passionate themselves. and freethinkers curious, ally 8 their work. earliest the funding on relied they 1990s, the the middle of in commissions tectural Only art biennials. European) and (mostly art competitions of public structure and stability obtain some financial the studio decade did that of the end toward widely the today, Even a small permanent staff. beyond employees additional hire building competition the and participates which it art biennials in publicized of scale an economy Realizing losses. financial commonly are it submits entries - conceptual as laboriously work is the when is difficult even) breaking merely (or this as that by produced varied and programmatically planned, obsessively ized, studio. Building of Corbusier. Giedion Le as the work maintained about spirit of the age, and centuryto a is single irreducible technology, direction or in the twenty-first

introduction 6 introduction 7 - an apparently straightforward concept such as the moving screen has has screen moving the as such concept straightforward apparently an During the 1980s, scholars across the humanities and social sciences ques- and social sciences the humanities across scholars 1980s, the During and revived practices image–based and moving art, installation art, Media Approaching buildings as a display surface for images and media messages messages and media images for surface a display as buildings Approaching - tech the century, nineteenth the early since had existed billboards Although tioned many of the certainties about late twentieth-century culture Diller and and Diller culture twentieth-century late about the certainties of tioned many after year a 1980, in Writing practice. their in undermine would soon Scofidio Few architects studied Dadaism and Surrealism more closely, as confirmed by by confirmed as closely, more Surrealism and Dadaism studied architects Few Glass, in A Delay Duchamp, Marcel about performance 1987 the on work their - their art contempo by also viewed Notary and His Hotplate. They Rotary or The Facsimile, in advances continuing if not because of, despite, realize, to a challenge proven walls (LED) display diode light-emitting digital when moment a At technology. cliché of to and resistance thoughtfulness the than steel, cheaper becoming are tonic. is DS+R of architecture the the proliferation noted Geertz Clifford anthropologist their studio, founded they humani the across as “text” life of social metaphor the and of “blurredgenres” of Law “The essay his published Derrida Jacques 12 sciences. social and ties and argued the and for that contamination cross-fertilization year same Genre” had not and Scofidio 13 Diller their existence. for a precondition as of genres and that these writings no - exists influ evidence at the time, read either essay their when a practice they commenced Nonetheless, their enced design process. redefinition the not universities—if in underway knowledge of reorganization systems—had data computer and biotechnology of age the in beings human of to begun architecture. and art impact 1980s and the throughout textual the visual and the tensions between redefined and Scofidio Diller studio. the of existence the decades of two the first 1990s, in earlier modernisms. in place already and reading of seeing questions engaged effectively investigate these distinctions as, for example, they did in their today today their in did they example, for as, distinctions these investigate effectively a video in which iconic and a window design monitor the House for (1989), Slow architecture. and seeing view complicate through and in waterfront a display 1919– Tatlin’s Vladimir from architecture, in modern lineage venerable a enjoys Volharding 1928 the to 20 designs the for the Monument to Third International, to Maison de la Publicité, 1934–36 Oskar Nitzchke’s to Building of Jan Buijs, Football National the for sketch 1967 Brown’s and Denise Scott Venturi Robert enabled digitally recent of more the proliferation to competition, Hall of Fame Venturi, Robert For 10 city. contemporary the in screens media architectural and ornament of inscriptions the legacy to back dates as display architecture with contemporary associates buildings he shed” “decorated the and demarcates 11 architecture. commercial flat sur- a stationary than on other time in real video images display to nology Diller + Scofidio Yet 1990s. the of technologies the with computer arrived face the and art digital of much contemporary the staleness from ways part Renfro - trans to media tired form threatens facade that of the architectural already the case of as in how, It is striking advertising. into building surface every form glasses, 1997. 1997. glasses, i.2 Vice/ + Scofidio, Diller Virtue by Michael Photograph Photograph Moran. © Michael Moran. by permission Reproduced and of the photographer Scofidio + Renfro. Diller (1993). Here ordinary ordinary Here (1993). Press Bad To analyze their works is to encounter both older modernist practices practices modernist both older encounter to is works their analyze To ⁴ A tendency toward broadening the definition of architecture is fundamental architecture of the definition broadening toward tendency A which nonetheless their projects, inform frequently and impurity Purity sis, Diller Scofidio + Renfro produce work that eschews neat divisions, thrives thrives neat divisions, that eschews work produce Renfro + Diller Scofidio sis, the from others might recoil where promise and discerns upon contradiction, their proclivity In societal conditions. and messiness of human recalcitrant raries, Vito Acconci, Bruce Nauman, Laurie Anderson, Nam June Paik, and Dan and Dan Nam June Paik, Anderson, Laurie Nauman, Bruce Acconci, Vito raries, Graham.1 a continually fuse into architects the that ones postmodernist recent and more idiom. changing as their in shirt folded project, work, their to a ironing” to practice of “dissident according twisted and shirts are folded men’s of fashion and conventions labor, domestic female the box, of logic the takes that sug- a creation Such folds. architectural and critique of a parody the basis for as and chal- contaminated already is always architecture that contemporary gests show to if as provide, can it perfection and cleanliness the about dogmas lenges and to be refusing caught act in the thinking, of with itself, wrestling modernism definition. or objects making of mode single a to down pinned the in Gender relations with openness. balancing rigor such oppositions, scorn most perhaps architecture, their in concerns as surface also environment built which share Brasserie (2000), the in restrooms and female the male in famously - a higher synthe of credo a philosophical In lieu of formulating sink. a common

introduction 8 introduction 9

- Each Diller Scofidio + Renfro project involves a “rethinking of of a “rethinking involves project Renfro + Each Diller Scofidio Creating buildings, art installations, performances, books, cho- books, performances, art installations, buildings, Creating first x-ray, that undergo robots toy of an installation Master/Slave, Realizing large-scale technologically based multimedia works in works multimedia based technologically large-scale Realizing the program within the context of our culture and our time.” The The time.” and our culture of our the context within the program to a of their activities and establish refuse architects hierarchy Nor do they propound a cult of technology, which the architects architects the which a Nor cult they technology, propound do of Although it in their work. and demystify analyze systematically In the traditionalto definitionsarchitecture. of themselves confine Diller: of words also introduced a predilection for viewing contemporary culture as culture contemporary viewing for a predilection also introduced optimistically, most and, performed, read, be to signs of system a rewritten. exploration aesthetic playful and sociocritical commentary which the that visual projects of the spectacle and suggest studio coexist, 1⁵ culture. the ends of global capitalist modernism need not serve novel and the body, shifting definitions of materials, new explores be difficult would and today transparency modes of architectural the possibilities without expensive) (if not prohibitively imagine to work of the the of bycomputers, design and fabrication afforded Yet and software. with hardware a fascination to is irreducible studio nos a backlash, antitechnological as understood be it can neither hand. by making of modes other or drawing of superiority toward dialogue and gravitation toward paradox, they are among among are they paradox, toward and dialogue gravitation toward architects. contemporary of Socratic most the and websites, video, theater sets, photographs, dances, reographed design- of modes normative challenge they objects, consumer and the among these understanding boundaries ing architecture a sense of pub- maintain consistently architects the Yet media. is self-contained their projects Each of work. their in address lic prior familiar- no presupposes and self-referential) than (rather widely assume involves they expertise The ones. with previous ity visiting space, as inhabiting domestic such experiences shared win- the in or observing people airplane, by traveling a museum, buildings. urban of dows Art Contemporary for Cartier Foundation the at 1999 in exhibited cap- York, in New a 2003 retrospective of a centerpiece and later of the familiar ordeals by Informed and children. adults tivated surveillance television line or closed-circuit airport security the “mini- troubling yet the banal revealed the piece in public spaces, their in had earlier explored architects the life of daily mal units” It (1987). the withDrawing Room space, of domestic investigation the endorsement of a blanket or of digital culture talgic rejection i.3 + Scofidio, Diller Domestic Prophylactics, unpublished sketchbook nd. Reproduced drawing, by permission of Diller Scofidio + Renfro. - - - pro problems, architectural solving designs, generating No single method for and multimedia interdisciplinary the fundamentally is challenging Equally of performers the display as involving architecture of Their understanding If we paid too much attention to borders, we would be playing into the hands of the border the border hands of the into be playing would we borders, to attention much too If we paid is buildings building though even architects as ourselves asserted always have We patrol. critique and sometimes of our a target is often Architecture of our production. just one strand of spatial conventions in interrogating lies our interest weapon. Broadly, our most effective 16 job. particular for the of the right tool of medium is a matter The choice the everyday. and audiences in space recalls the legacy of Claude-Nicolas Ledoux and Karl Karl and Ledoux Claude-Nicolas of legacy the recalls space in audiences and of and set designs dramatized relations theatrical whose Schinkel, Friedrich dition of understanding spectacle and its sensory modes as integral to the built to as integral modes and its sensory spectacle dition of understanding Diller Scofidio + Renfro are heirs to this tra- this to heirs are Renfro + 18 Diller Scofidio and social identity. vision, power, 17 well. as cant precedents the informs culture in contemporary intervening or ducing media installations, always has and materials of ideas palette evolving A continually of DS+R. work Their path of style. a unity than rather their production to central been more during especially zigzag, an unpredictable traces the next to one project from and urban installations. projects gallery between alternated they when 1990s, the collabora gifted find to lucky been have nonetheless they talented, Undeniably art officials public and dedicated curators, sympathetic clients, adventurous tors, the crucial has been but equally Less recognized works. their realize them help to Iwan and Moran Michael as such photographers architectural of contribution public. global a reach to projects their helped have who Baan, If in recent which impedes its periodization. architecture, their of character - on instal work to continue also they buildings, designed more have they years architecture them as total to to outsiders present Yet lations and performances. and codes, construction budgets, with Working incorrect. and romantic overly is - disci the in participated always have Renfro + Scofidio Diller programs, client have they as even built, get which nothing could without collaborations plinary building. of premises the question to strategies sought - of reveal the challenge these practitioners embrace architects, than most More as much of culture, the product is the built environment see in we what ing how began and Scofidio When Diller processes. construction or as building materials disci the in precedents obvious immediately few 1976, in collaboration their Their practice making. began they work the for existed architecture of pline to with respect a genealogy of the establishment to lend itself does not readily at architecture the longtime dean of Hejduk, John architects. of other work the Some of the 1980s. the throughout a interlocutor key was Cooper the Union, Haus- and Himmelblau Coop Austrians by experimentation 1970s and 1960s a architectural also and fascination with suggests prosthetics Rucker-Co bodily such artists among The collaborations work. their in evident later environments Billy engineer Swedish by organized technologists and Rauschenberg Robert as signifi- doubtless are (E.A.T.) and Technology Art in his Experiments in Klüver

introduction 10 introduction 11 - - If the generally favorable reactions to their accomplishments have brought brought have accomplishments their to reactions favorable the generally If the of their rejection insiders, outside if one prefers, or, Inside outsiders, helpful moderately only prove history architectural to approaches Traditional Their projects also evoke the commitment to formal investigation, synthesis synthesis investigation, formal to the commitment also evoke Their projects commissionshigh-profile through such as the today known well Although Diller, Scofidio, and Renfro international recognition, especially among aca- among especially recognition, international Renfro and Scofidio, Diller, ICA (2006) in Boston and the redevelopment of the campus of New York’s York’s the campus of New of redevelopment the and in Boston (2006) ICA than far smaller is their studio Arts (2011), the Performing for Center Lincoln dominant building type, mode of construction technology, commission or client commission technology, mode of construction type, dominant building course the over Realized region. specific a to suited materials of use or profile, manifest direction, a consistent in it does not evolve years, thirty than of more - and no indi in print, are work their publications on a few Only theory. tectural present the as such monograph a attempted has wisely) (perhaps scholar vidual contemporary the from work earliest their separating distance the Given one.20 partici- today which DS+R of globalization in age the in architecture of practice to date is than more justified the trajectory of their achievements analyzing pate, investigation. historical a as the among and more recently journalists, and architectural demic commentators - the design pro in a hands-on role them from it has not removed public, general within status their and choice, by studio growing) (though a small Theirs is cess. Lebbeus Eisenman, Peter as as different practitioners by shared their profession, obtaining the chasm between about much reveals Daniel Libeskind, and Woods, or banal. cynical, generic, not are that designs realize to able and being publicity design recognizable architecture—a twenty-first-century of principles operative personality—is the of cult the and marketplace, the in identity brand a signature, and the reassuring, avoids instinctively work Their as it is uncommon. as striking programs, client materials, into research for opportunity an as project each treats culture. contemporary of institutions the and a to pre which cannot be byreference unified architecture, this analyzing in environment and the architect as a scenographer of private and public a as of realms. scenographer private architect the and environment German the with Bauhaus, associated and performance exploratory of media, earlier these 19 Like century. twentieth the of design in school famous the most the learn (and arts other to integrate seek Renfro + Diller Scofidio modernists, do not they Yet architecture. their into enables) such experimentation ing curve in individual distinterested are and of media or materials a hierarchy espouse leanings of Bauhaus the mystical none of betray They self-realization. creative their and Meyer, of Hannes views Marxist strident the or Itten Johannes master it has functioned the Bauhaus, Unlike of ideology. a hotbed been has never studio from students of flow the steady despite a school, than rather work of a place as Columbia. and Princeton, Union, Cooper a single and has but compete commonly they which against firms those of many these teachers, as Influential Chelsea neighborhood. West York’s New in office as Respected manifesto. quoted widely or disciples no obvious have architects - archi of in collections anthologized been have writings never their thinkers, One may disagree about whether or not the work of DS+R constitutes a uni- constitutes of DS+R work the not whether or about disagree One may a single style, privilege specific forms, or advance narratives of an emerging emerging an of narratives advance or forms, specific privilege style, a single or utopia technological or aesthetic, avant-garde group, or collective national commentators throw to conceived deliberately appears it Sometimes dystopia. track. off string a or is it does not), long maintained have and Scofidio (Diller corpus fied - as strik is of its concerns the consistency Yet approaches. and ad hoc solutions of engaging and architecture of discipline the on reflecting in success its as ing If or megalomania. hermetic self-referentiality while escaping world the larger also are improbably they are the sometimes creations laconic, of these architects - the contem in live to how about suggestions full of indirect and joyful, upbeat and irony. of humor the indispensability of reminders constant world, porary - pro has encountered Renfro + of Diller Scofidio architecture the The resonance vides an inspiring that the reminder imagination and a to pub- commitment a of this study that hope is My solutions. formulaic over triumph can lic realm scholars, clients, students, urbanists, architects, will enable practice still-evolving that infuse its and skill intellect, the curiosity, appreciate to readers and general activities.

introduction 12 1976–1989

One

An inclination to “blur” traditional genres and media pervaded much of the most ambitious culture produced during the 1970s and 1980s in New York City. Diller and Scofidio clearly learned from the proliferation of video, performance, postmini- malist, and installation art, developments they knew well and that constitute a significant frame of reference for understanding their architecture. Inspired by the political ferment of the 1960s, this mixing of cultural forms sought to apprehend the realities of life in advanced industrial societies. Hans Haacke mapped the holdings of New York’s worst slumlords in Sol Goldman and Alex DiLorenzo Manhattan Real Estate Holdings, a Real Time Social System as of May 1, 1971.1 Martha Rosler combined photographs of the Bowery with captions in her 1981 work The Bowery in Two Inadequate Descriptive Systems.2 Different as the aesthetic creeds and contexts of these projects were, they shared a concern with investigating the spaces of everyday life as highly codified social and political systems, that is to say, as languages, for this was the moment when semiology, the study of culture as a system of signs, exercised its greatest influence in the humanities and arts.3 Visual artists in New York encountered the ideas of French semiologist Roland Barthes in translation and engaged with them in their work by the middle of the 1960s.4 Attempts to theorize architecture as a language 13 - They sought to examine how consumerism, consumerism, how examine to sought They Initially, architectural theorists employed theorists employed architectural Initially, 5 withDrawing the a (1987) as Room contribution Applying the core insight of semiology developed developed insight of semiology the core Applying At its most strident, the 1980s fusion of semiology and psychoanalysis, espe- and psychoanalysis, 1980s fusion of semiology the strident, At its most of and Science their Cooper at the Advancement location Union the for From Diller and Scofidio took seriously the analogy between architecture and lan architecture the analogy between tookDiller and seriously Scofidio Many artists in New York during the 1970s understood scrutinizing everyday scrutinizing everyday 1970s understood the during York in New artists Many practice while teaching at Cooper, they followed the work Graham artist of Dan work the they followed Cooper, at teaching while practice at Franklin realized Window, Gallery on a His Projections with particular interest. Haus-Rucker-Co. - the perfor or the museum, the gallery, in their observations and displaying life 9 gesture. a political as space mance and notions of roles, sanctioned gender culturally media, the mass advertising, and benign func- whose naturalness of control maintained relations domesticity cinema avant-garde recast As semiology 10 dubious. increasingly appeared tion - photog artists, world, art the out into leached studies of film the discipline and with political of culture complicity the expose to sought and filmmakers raphers, 11 institutions. economic and visual of suspicious moralizing, could become theory, the field of film in cially rec- on early had Scofidio and Diller If 12 guises. their all in pleasures erotic and signi- between of binary oppositions logic the semiological of the utility ognized became never they for Saussure, the sign of components the signifieds, and fiers of each and opportunities the constraints by driven and, this model, to enslaved with too enamored space, too playful, that was they made architecture project, 13 theoretical orthodoxy. to to conform and creating objects, design, an occupied the ideal the architects New position which to observe from Art, they did Although 1970s, not in the exhibit in art venues late art world. York architectural from withdrawn had and Scofidio a student still was while Diller commenced in the 1930s, yet the project of understanding it semiologically was was it semiologically understanding of the project yet 1930s, the in commenced and Baird, George and Jencks Charles of work the in first 1969, until up taken not Geoffrey Gandelsonas, Mario Agrest, Diana theorists architectural fellow by later Alan and Colquhoun. Broadbent, the social sciences, in tendencies behaviorist criticize to sign the of the notion and amenable law-governed appeared which the to built environment according 6 and control. prediction to char- or “arbitrary” the conventional de Saussure, Ferdinand linguist Swiss by to meaning innate the imputation of critics questioned these signs, all of acter and space between a correlation establish to of science ability the architecture, 7 styles. functionalist in meaning of neutrality alleged the and behavior, as their description of guage, - the “irreduc of the isolation and of “home” grammar” oppositional “an toward signifying ele- 1980s extracted the of work 8 Their suggests. unit” ible domestic drew It codes. of spatial the social character reveal to architecture ments from and the visual arts and had academic in architecture from discourse sustenance utopian or producing advocating however without thrust, critical a culturally leanings analytic and ironic their between difference key a spaces, alternative or Himmelblau Coop architects Austrian by projects experimental earlier and

Chapter One 14 1976–1989 15 - - - - In 1972, the office realized the renovation in the the in renovation the realized office the 1972, In 5 1 quare S newspaper and across the street from the Cooper Cooper the the from across and street newspaper Voice Village ooper C ix S - - and con permanence implying studio, architectural an notion of very The 1967 founded in was & Scofidio, Roberts, Berman, earlier practice, Scofidio’s hirty Brooklyn park of the Prison Ship Martyrs Monument, dedicated to those who who those to dedicated Monument, the Prison Ship Martyrs park of Brooklyn area ten feet deep between two topographical contour lines uncultivated for the for lines uncultivated contour topographical two deep between feet ten area park.” hilly the of lifetime texts. They slept in one corner of the space, worked in another, and hired student student and hired another, in worked the space, of in one corner slept They texts. 1997, until unchanged largely a pattern them, required a project when designers shortly 2006, In employee. permanent one just had studio their time which at their once Chelsea, West in Street Twenty-Sixth West 601 to moved they before and spilled stations work at with designers overflowing was loft empty nearly additional an onto floor. over be better 1980s could the what during of the rhythms does not capture tinuity, without pass would years, sometimes Months, atelier. artist’s an as described which during activities, their in print of discussion any or work paid design were andSupplies equipment time andtoScofidio Diller taught a earn living. the about and along with debt uncertainty to grew personal charged credit cards, pro a large in employment long-term sought Neither Diller nor Scofidio future. They Meier. for Richard briefly worked Diller once although practice, fessional shape. could they whose outcome and commissions independence preferred an option architecture,” “paper driven a conceptually toward Nor turn did they obtain cli- to unable were who their generation of architects many by embraced not be would built. their that the and ents drawings to likelihood resigned unconventional Its most State. York buildings in New numerous and completed com in Brooklyn Park Greene Fort for proposal an unrealized remains project “an leaving proposed who later Hans Haacke, artist the with 1968 in pleted Furnace from January 2 to January 20, 1979 (a piece that the architects could have have could architects the that piece 1979 (a 20, January to 2 January from Furnace the front half of the lower onto gallery spaces slides of other projected seen), the among win- relationship 14 space. Investigating exhibition the of window sug piece Graham’s the spectator, and photography, transparency, mirrors, dows, and space issues of media engaged in multiple working artist visual a how gests well. as architects two these of concerns as key emerge would that vision shortly events at the Kitchen, Diller and also attended numerous Scofidio At this time, located video and experimental performance 1970s for the in venue the leading with contempo their encounter link between The missing Soho. York’s in New of synthesis a and their its tendencies into dis- creative rary art and architecture created. they environment studio the in emerge would soon vocabulary tinctive T the above Village, East the in Square Cooper Thirty-Six at loft live-in their In offices of the to applications writing grant 1980s and Diller spent much of Scofidio Union, con- theater experimental and art public in projects architectural small finance - 19 Although Although 18 a member duk j e H nion and John John and nion U ooper C Scofidio and Diller initially did not seek projects with larger budgets and and budgets with larger did not seek projects Diller initially and Scofidio he he Analyzing the relation of Diller and Scofidio to Hejduk is and Scofidio of Diller the relation Analyzing of Daniel Libeskind.20 T Cooper the was the architects for the institution key 1980s, the Throughout 1967 taught from Scofidio where Art, and of Science Advancement the Union for 1979 and taught there 1975 to Cooper at from architecture Diller studied to 2007. Cooper established Peter and philanthropist inventor 1857, In 1990. to 1982 from an endowment the basis of runs on this day to which of his school, the charter A examination. entrance an through scholarship full on students admits and Architecture of Chanin School the Irwin S. of the identity on major influence as its dean and served 1963 in there arrived He Hejduk (1929–2000). John was yet prolifically wrote and painted, Hejduk drew, 1975 until his death. from of interior the of redesign the is project best-known His little. relatively built 1974. in completed Building, Foundation Cooper the Charles Eisenman, of Peter grouping implausible Five”—an York of “the New promoted was that Graves and Michael Hejduk, John Meier, Richard Gwathmey, the Museum at Architecture the Department of then head of Arthur Drexler, by an educator. as influence profound his most exercised Art—Hejduk of Modern inspired and building with par on were storytelling and drawing believed He and dissatisfied with thecommercialization who were architects younger many not find clients could who perhaps simply or architecture, of commodification lan- verbal of embrace Hejduk’s 1980s. the of recession economic the during function could architecture that belief and and prose) poetry wrote (he guage of thegeneration architects to numerous mattered and allegorically poetically died on British ships during the American Revolution, with landscape architect architect landscape with Revolution, American the ships during on British died of memoryrelation the in interest Scofidio’s suggests This commission Bye. E. A. in plan a master completed Roberts T. and John 16 He built environment. the to Cooper by then owned Jersey, New Camp in northern Green the for 1973 January Union.17 care not did they building, of enjoyment their Despite programs. complex more small research-based to Their commitment architecture. of the profession for including 1980s, the in practitioners most them from distinguished projects Eisenman, Peter as such quo status the to challengers self-proclaimed other Cooper Union schools, two time, this During Gehry. and Frank Daniel Libeskind, them with and to in which to ideas exchange contexts provided and Princeton, interlocu and key who became collaborators and students colleagues encounter toThese academic affiliations to well as shape enabled them earn a living as tors. teaching and as by faculty their and the involvement by profession pedagogy Laurie Ban, Shigeru as such professionals architectural noteworthy subsequently Henry Urbach, Roy, Lindy Mayer, Jürgen Lewis, David Lewis, Paul Hawkinson, Alejandro and Zaera-Polo.

Chapter One 16 1976–1989 17 - Hejduk cared deeply about how buildings might enfranchise their users and their users buildings might enfranchise how about deeply Hejduk cared By emphasizing the frame and its elements through which architecture could could the emphasizing By frame and which architecture its elements through All three architects shared a penchant for conceptual polarities, a distrust distrust a polarities, conceptual penchant for a shared architects three All as one of Austin at of Texas the University at 1954 in Beginning his career the so-called Texas Rangers, a group including architects Colin Rowe, Bernard Bernard Rowe, Colin architects including a group Rangers, the so-called Texas improve the world. A committed modernist, he believed successful architecture architecture successful he believed modernist, A committed world. the improve could effective when most and space, in lived intervened form, on its reflected ture, especially the interwar buildings of Le Corbusier, into a largely moribund moribund a largely into Corbusier, buildings of Le the interwar especially ture, and his (he Texas at time his during figure a contested was Hejduk curriculum, he wherever so and remained later) years two their jobs lost innovators fellow ellip- delivering to and given opinionated, highly charismatic, taught.22 Deeply he accent, Bronx trademark his in architecture about pronouncements tical While teaching. his to built form toward sensitivity an extraordinary brought three- a problem, the so-called nine-square with Slutzky he developed in Texas, It a model. as or be designed in plan that could grid square-by-three-square also Slutzky before even Cooper, at pedagogy element of studio a key became 1968. in faculty its joined the and walls, beams, the and a interaction of explore program posts, develop to teaching. design a approach formalgeometrical nine-square exemplified by roots if not Platonist, transcendental, its acknowledged Hejduk later, Years It . . . me. is for it still was, always It is metaphysical. “the nine-square that noting nine- The years. thirty the last in given the classic open-ended problems is one of is unending It is detached: The nine-square with style. do to has nothing square and half-baked weaknesses revealed it effectively Although 23 in its voidness.” what of the cost at came tool design this powerful work, design ideas in student of design decisions removal calls “the complete generation a later of architect an teachers and later many and a cultural context,” world from both the physical 24 formalism. self-contained its from themselves distanced more complicated. Although they never accepted the search for transcendence the transcendence search for accepted they never Although more complicated. writ his (especially work his in evident self-expression of mode romantic and went embraced on ideas and increasingly and as time subject 1970, ing) after com- nonetheless they worldview, in Hejduk’s place find no could that matter him. with dialogue in practice their menced a Hejduk, ambiguity. for a liking, if not tolerance, a high and of closed systems, into stories detective introduced a cinephile, and of literature reader voracious the relation Cooper analyzed of architecture the and curriculum perspicaciously The Shining (Stanley admired and Diller He image. the moving the frame of to and- precision either archi visceral impact, a mystery, whosefilm 1980), Kubrick, and Diller by projects If certain 21 work. in design emulated have would tect sketches Hejduk’s of quality and laconic the elegance recall 1980s the of Scofidio an as his example anthropomorphism, their occasional if not and objects, to career entire his and devoted making money about little who cared architect them. to significant more likely was it might lead, wherever research, exploratory - architec of analysis formal a rigorous that introduced Slutzky and Robert Hoesli, - - - The student work Diller completed at Cooper defies easy categorization and and categorization easy defies Cooper at completed Diller work student The - inevi Hejduk as opinionated as architect an by run school small a in Studying Either consciously or unconsciously, I’ve determined not to accept the status quo in the status accept not to determined I’ve or unconsciously, Either consciously pragmatic a very it is. I’m the hell or whatever theory, practice, whether it’s architecture, where ideas of program but not in the antiquated in the idea of program, I believe architect; aesthetics, it has to and do with building has to not only Program is paramount. program getting at? In other know what I am You aspects of a world. . . . do with the sociopolitical other are but there their authenticity, that still maintain today programs are there words, no function. An eighty-story, at all. They serve be around now that shouldn’t programs no just for our time. There’s program is an antiquated high-rise office building block-wide use for it.25 - that Hejduk intro those from different very and social concerns formal presents - of her stud the course Hejduk over from distance growing Diller’s remembers impact upon direct that Hejduk’s assessment own with Diller’s agrees and ies a wasto closer Hejduk andminimal.29 enjoyed Scofidio was her while a student him.30 with friendship warm be poetic and political. As the Texas years receded in time, Hejduk introduced introduced Hejduk time, in receded years the Texas As political. and be poetic allegories, construct stories, tell to means a as drawings his into language verbal - profes architectural the excoriated He frequently moral judgments. and issue messiahs: false as regarded he whom Johnson, Philip as such figures and sion Tod colleague with his tandem sometimes in Cooper, at studio taught Scofidio emphasis Its pedagogy. studio on essay an published whom he with Williams, pre the school of philosophy the echoes skills in students formal on developing 26 If Scofidio Architect. an Education of the book editions of several the in sented occasionally alluded to the shape of his 1964 Porsche 356C in a design, more more a design, 356C in 1964 Porsche the shape of his to alluded occasionally rela his began he time the By frustrating. practice professional found he often he had contemplated 1977, with him in a studio took who with Diller, tionship of it. the politics with disenchanted increasingly was and architecture giving up whom with he cotaught Webb, and Mike tremendous, His was teacher a as impact a studio in to met or had listened I ever architect “No claims, studio, fourth-year 27 design.” architectural to approach mathematical rigorous tough, had Ric’s such Cooper faculty Other their identity. forming architects young affected tably of atmosphere an to contributed Eisenman Peter and Abraham Raimund as a photography as Diller began her studies sides. took which students in rivalry dis a certain with architecture to she came this reason for and perhaps major, her creative retaining in students fellow of her than many better and fared tance she Cooper, at the faculty on already when later years some Writing autonomy. as his statements manner: “Just a revealing in authority Hejduk’s acknowledged and parable of the riddle through do often they as surfacing be interpreted, must and the independent mind of both student nurture to his strategy the raconteur, subtle most the school’s that constitutes It is Hejduk indirect. is equally teacher 28 Williams that cannot be followed.” a leader he is for, paradox: and pervasive

Chapter One 18 1976–1989 19 - - “Twin Houses” is also among the earliest instances of doubling in Diller’s in Diller’s of doubling instances the earliest among also is Houses” “Twin Diller’s senior thesis of 1979, “Twin Houses for One Resident,” reveals her her reveals One Resident,” for Houses “Twin 1979, thesis of senior Diller’s work, an an she and idea that in the return work obsessed design her and would work, considerable draughtsmanship. A drawing from it exhibited in a June 5–23, a June 5–23, in it exhibited from A drawing draughtsmanship. considerable Women by Works An Exhibition of Task; Detail: The Special show, group 1984, and adjacent piano from the attic window nobile window Architects, presents with a client 32 Her brief describes resident. one for houses nonidentical but but someone fas the irrational (who else on desiring border aesthetic strong cinated by dualities would build, inhabit, clean, and maintain twin houses?) houses?) twin maintain and clean, inhabit, build, would dualities by cinated Abraham’s own work. It concretizes Diller’s retrospective assessment of Cooper of assessment retrospective Diller’s It concretizes work. own Abraham’s the represented and representation between “the distinction where a school as space ultrathin the drawing, the of properties physical The entirely. collapsed notation defined architectural of strategies the new and surface, the drawing of 33 agenda.” the school’s - three-dimen also produced Yet she coming decades. the over realized Scofidio duced during his early years as dean. Architect Ralph Lerner (1949–2011), several several (1949–2011), Lerner Ralph Architect as dean. years his early during duced - remem her, he hired where at Princeton dean later and Diller ahead of years trans political the and riots State the Kent by shaken deeply Hejduk being bered at this moment that 1970s.31 Hejduk It was broadened the early of formations a who introduced of the the approach Abraham, and school such as hired faculty precepts modernist the than making form to approach and lyrical intuitive more eventually Slutzky 1973. to 1963 Cooper from at taught who Meier, of Richard a the with Art after to theSchool disagreement about Hejduk of direction moved heading. was the which in Architecture School of architectural the meetings of and with joints a palpable fascination and reveals a and affect and a meditation on process between hovers The project surfaces. in discern could also one tendencies built form, in ideas realizing toward step 1.1 Chair, Diller, Elizabeth 1976. Termed, Loosely by Ricardo Photograph Reproduced Scofidio. by permission of Diller Scofidio + Renfro. - urniture F asochistic” asochistic” 5 M ado- S otunda and “ and otunda R illa V Diller tried her hand at cinema in her second year in Scofidio’s studio, mak studio, in Scofidio’s year at cinema in her second hand her tried Diller The project was based on the fact that each elevation of the villa originally faced a different a different faced originally of the villa was based on the fact that each elevation The project identi- making them no longer giving each identical façade a unique reading, landscape he he T art are and Scofidio of Diller collaborations early best-known the Although was a little- their together first project investigations, and projects conceptual Competition Design Residential the Shinkenchiku to 1976 submission known the Rotunda,” Villa 36 Entitled “The Japan Architect. the magazine by sponsored to opportunity an provided house country Palladian a recognizably of design - of sec alternation the through views” different four of “the meeting explore the design is its juxtaposition of about striking 37 Most tions and elevations. As and of the contraction the horizon to perspectives original views. reestablish recalled: later Scofidio anic moment, it suggests that autobiographical expression, conspicuous among conspicuous expression, autobiographical that it suggests anic moment, option she decisively a creative was 1970s, the during York in New artists women more ever an with Scofidio in her collaboration Indeed, time. this at rejected practice their of promotion the from bodies own their of removal pronounced the celebrity from themselves distancing their suggests and evident becomes star by as dominated a field practitioners in Not many architecture. of culture almost and divulge Notes” called a text publish “Autobiographical would culture graphic the computer about detailed information nothing personal but provide 3 performances. in utilized systems sional pieces that were formally outrageous by prevailing Cooper standards. standards. Cooper prevailing by outrageous formally were that pieces sional which in she Loosely Termed Chair, 1976 is her tension this of example A good to by ropes poplar a frame. them tethered and filledand with cotton sand bags by place held in ropes, taught by a frame created on be stacked could The chair which horizontality, Its frank the floor. on directly or positioned “nails” wooden chal- furniture, of upright a piece than a chaise lounge to akin it more makes the tofirst design the with associated chair, the lenges presumption of verticality Typically, a attempt piece of when they turn furniture. usually which architects Diller Here mobility. over stasis material, over structure chair designs emphasize the to conforms that not only a form and creates equation the standard reverses and process-oriented, but is flexible, versa vice than rather the occupant of body Eva by works of materiality and shapes organic the Recalling indeterminate. is Cooper, at year third in her produced chair, Diller’s Morris, and Robert Hesse the school at pedagogy architectural far how just that suggests a design solution sandbag a drawn had I “if that observed Lerner 1970s. early the since traveled had 34 out.” thrown been have would I school, the at year first my in of the mode in shot a film, of copy the only a pique in destroying and later ing - an epiph was this Whether or not an orange. of herself eating Warhol, Andy

Chapter One 20 1976–1989 21 exhibition exhibition (1921), and part exploration of materiality. Entitled of materiality. part exploration and Cadeau (1921), architecture critic Paul Goldberger, who devoted the single the single who devoted Goldberger, critic Paul architecture Times York New This reluctance to impose a normative definition of the body, a one-size-fits- the body, definition of a normative impose to This reluctance Window, Room, Furniture Furniture Room, Window, the in a drawing showed Diller 1981, In cal. In the 60s, the urban/suburban sprawl surrounding the villa was erasing the 4 different the 4 different was erasing villa the surrounding sprawl cal. the urban/suburban In the 60s, I think villa. defend the was to solution that original idea. Our hold to necessary landscapes 38 at an intersection. design a house was to the competition Ricardo from with assistance Diller, by Elizabeth is the sofa/chair unusual, visually, More on a bed can be assembled leashes that of bags on “a pile which is described as Scofidio, genuine This may be the first sit in, for comfort or cruelty.” anything to of wooden nails into is much more designed; once again, the issue here ever piece of sado-masochistic furniture function, it seems comfort. so far from has this design gone It is that not only than mere might esthetic purpose that a piece of furniture any conventional gone far from have also to rope- bags, their between the forms of the dacron-filled It is about the interplay express. by conveyed been better have would and the bed of wooden nails, and its lessons leashes, 41 sculpture. pure It depicted shadows moving moving shadows 39 It depicted Williams Cooper. at curated that and Scofidio could that she a demonstration board, and drafting room a combined across If Goldberger is the first critic to interpret the work of Diller and Scofidio as and Scofidio work of Diller the to interpret critic the first is Goldberger If its ironic overlooked have to the last he is hardly and confrontational, violent - “con toward aspiring those especially designers, Many qualities. and humorous as comfortable designed chairs inadvertently have purpose,” esthetic ventional the Recognizing pleasing. aesthetically and no more a bed of nails as sitting on and Scofidio Diller all design, by implied and movement the body over power cloth- the manner of Man Ray’s in gesture part Dadaist anti-chair, an us give ing with tacks, iron Penal the “In Kafka’s Franz from departs Condemned Man, it the Chair for Colony.”42 informs 43 Ifof their 1980s. many projects of the architecture, to all approach on reflect well one might exasperating, occasionally work their this renders The design (which tied for third place in the competition) is more rooted in in rooted more is the competition) in place third tied for (which The design again ever would architects the than anything style a architectural Palladian and landscaping, urban, exploring to commitment their yet it suggests attempt, under forms historical of appropriation the when moment a at issues perceptual rise. the on was postmodernism of banner the as such artists that preoccupied and perception subtle shifts in light investigate a her design for and soon so sedate, was work all of her 40 Not James Turrell. - a “concep magazine held Architecture Progressive attention. chair gained second nerve a raw struck entry and Diller’s year, that same competition” furniture tual with it: to review his in description longest Duchamp’s adage that “it is better to project into machines than to take it out on it take to than machines into to project that “it is better adage Duchamp’s not on assault on conventions, an entails architecture this in Violence people.”44 ouse H lywood lywood P inney inney K Determining when their architectural practice begins is complicated, for it it for begins is complicated, practice architectural their when Determining he he settlement to replace the previous house that had burned to the ground. The new The new the ground. to that had burned house the previous replace to settlement which standard into panel system 4' × 8' plywood a standardized utilized house theless sometimes escapes overly literal critics. literal overly escapes sometimes theless - remod a series of interior with architecture, in careers as do many commenced, larger any with little sense of detailing but with precise Realized eling jobs. and Delsener (1986), Duffy House (1987), the Hochman House at stake, project designed elegant architects the that demonstrate convincingly (1984) Office the case of Hochman beautiful kitchen in an especially (and and quiet interiors up make to understood plausibly most are These commissions renovation). architectural several realized couple the 1981, In studio. the of prehistory the these is among known Least and promise. complexity formal of greater works the by dictated roof, whose pitched York, New Elmsford, in plant Colorlab the of quasi- instance a rare is film processing, for a plant of realizing program noth- nonformulaic, Intriguingly work. their in repetition formal expressionist central that prove concerns on seeing or images, reflected this design about ing project. next their to T the Kinney realized and Scofidio Diller practice, their founding after years Two built They 1981. in County, Westchester in residence weekend a House, Plywood an insurance as of $45,000 received a budget with foundation existing an it on human beings, a distinction Diller and Scofidio continually respect that none- respect continually and Scofidio Diller a distinction human beings, - 1.2 Colorlab + Scofidio, Diller New Elmsford, Building, Photograph 1981. York, Scofidio. by Ricardo by permis Reproduced Scofidio + sion of Diller Renfro.

Chapter One 22 1976–1989 23

5 4 The interior of the house is unrelated to its free façade. Diller and Scofidio Scofidio and Diller façade. free its to unrelated is house the of interior The describe it as “the result of the meeting of a non-specific serial strategy on its on its strategy serial a non-specific the meeting of of as “the result describe it the interior.” demands of programmatic the conflicting and surface exterior enthusiastic champion in Hejduk. Writing in the Italian architecture journal journal architecture the Italian in Writing champion in Hejduk. enthusiastic claimed, he Lotus, - a com suggest materials ordinary These inserted. were windows casement Pella and attention, captures fenestration its precise Yet residence. mon single-family striking more Even so small. a house for excessive appears windows the number of the house, side of the eastern on windows double and of single alternation the is a palpable which establish the northern side, on windows the of the regularity and one a sequentiality if not problem, the nine-square an echo of rhythm, formal their designed architects the That strip. film picture with motion associate might - the problem suggests house a destroyed of the foundation on structure plywood critics. their by discerned later haunting, not if double, the of atic too are high to it located open the becomes the windows clear that inside, From against hidden a stairway along illogical Their position is somewhat easily. and its chimney room, the living of center the at is nearly A fireplace wall. a and bedroom the second-floor to stairs leading a parallel flight of through runs the house the bedroom, of walls the dividing of the exception With bathroom. and detailed, sensitively executed, well Although open space. entirely almost is - rela elicited initially House the Kinney of budgets, tiniest the with constructed an found it completion, its after years three 1984, 46 In commentary. little tively 1.3 + Scofidio, Diller House, Kinney Plywood County, Westchester 1981. New York, by Ricardo Photograph Reproduced Scofidio. by permission of Diller Scofidio + Renfro. - - - - 1 5 Recalling the popular proverb “the eye is the the is “the eye the popular proverb 0 Recalling 5 Although Hejduk’s essay provides no clarification of these points, and Diller these points, no clarification of provides essay Hejduk’s Although Hejduk becomes the first critic to apprehend the architecture of Diller + architecture the apprehend to critic the first Hejduk becomes man does not look cultivated “A Corbusier, Le told architect Viennese the As Numerous details of the interpretation advanced by Hejduk remain unspeci- Hejduk remain by advanced the interpretation details of Numerous This house inquires into the very nature of “window,” not as an opening to the outer world, world, outer the not as an opening to of “window,” nature very the into inquires This house hides a depth acts as a mask which The house facade our inner core. into but as opening of our cerebel rear the of our eyeballs to the surface 8 inches, the depth from (a depth of by a circular in fact plummeting, we are elevation, this haunting, lonely at As we look lum). be to Poe this an inner magic begins. I believe our own thoughts . . . and for into reflection house.47 of this gray an inhabitant Hejduk’s reading the project within the typology smallof the the nineteenth-century the typology within reading project Hejduk’s unemployed building elements by standardized from constructed house wood writes, He carpenters. boat out of the window; his window is a ground glass; it is there only to let the light the light let to only there glass; it is a ground is window his window; the of out the While the validates 49 Kinney House through.” the gaze pass let to not in, in Hejduk’s mask, a in opening an as window the of account modernist Loosian historian culture visual as If, vision. theory of a premodern it promotes reading of work the in a framing device is primarily window the argues, Anne Friedberg unmedi- Hejduk it provides for in Descartes, of skepticism trope a and Alberti the to inner world. access ated the Kinney Powers, Hiram American sculptor to attributed the soul,” of window and spiritual, Hejduk is ecstatic vision for which to the extent emphasizes House epistemology. Cartesian and perspective renaissance from respite a of hand, a skillful sleight out? In open windows the do core whose inner On fied. a telling reminder of the he omits the term ocular in the triad eye-window-soul, out thus be and elevation, the one see Must reading. of his viewer unspecified from or can someone looking introspection, enhanced enjoy to the house, side ele the at staring if And effect? similar a gain world outside the toward inside the thoughts,” own our into reflection circular a “by back viewer the throws vation mirrors? the in actually windows the house are interpreta phenomenological his embraced have to appear never Scofidio and the fluid- reflection,” the notion of “circular it does introduce house, the tion of that would of ity with the of meaning associated the work Duchamp, hinge in still is remarkable More work. own their significant in increasingly become Scofidio as not simply a means toward realizing a client program but as a space of a space as but client program a realizing toward a means simply as not Scofidio its how is House Kinney the about him interests What investigation. perceptual these He reads world. the external than rather interiority, psychic access windows Edgar of the figure and fall, vertiginous façades, masks, to in relation windows as heirs emerge Scofidio and Diller interpretation, romanticist his In Poe. Allan does house whom “the for Loos, Adolf with associated tradition a modernist to as a and the facade mask that - serves pro the to exterior” not anything tell need to the public domain of monetary urban gaze, a corrosive its inhabitants from tects exchange.48

Chapter One 24 1976–1989 25 Poised on the the on 3 Poised 5 - archi for critical venues both significant Oppositions, Scofidio and Diller’s Kinney House is authentic and it is profound, for it has re-captured re-captured for it has and it is profound, Kinney House is authentic Diller’s Scofidio and Anticipating subsequent discussions of the urban future of Columbus Columbus of urban future the of Anticipating subsequent discussions to refusal and its the design of the unpretentiousness that suggests Scofidio This type of house was not to be found anywhere but in America. The canal carpenters canal carpenters but in America. The anywhere be found house was not to This type of other places and Buffalo, Albany, Rochester, Croton, can be found in Yonkers, wood house of that sort. It is authentic. idea . . . the impacted have Scofidio and Diller recall. without historic of the above elements time, for its physi- stilled covers mask/masque in a modern way. Their of “mask/masque” 52 present. . . . only cality has no past, no future raffic Circle, including a 1985 proposal from Moshe Safdie to build two enormous enormous two build to Moshe Safdie from proposal 1985 a including Circle, circle and determined the locations for traffic cones, which he and friends began which he cones, traffic the locations for and determined circle An rendering early area. the tri-state across the days previous at 4 a.m. collecting a different axis, an east-west along bands organized depicts five of it in color T the the scale of work on to opportunity their first obtained and Scofidio Diller the winning entry a for public art competition Traffic, 1981 piece their in city by Founded and Urban Studies. Architecture for the Institute by sponsored the institute 1985, through 1967 and operating from Eisenman Peter architect a publishing for known best and remains series, a lecture and classes sponsored book series and the journal and the marginal with to known respect Less well at the time. thought tectural Scholar program. its “Revisions” was and Philip Johnson of Eisenman interests with funding 1981 launched it in Hubert Christian architect and Ockman Joan Chatham. Walter architect young the from Joan historians Hubert, Christian juried by the ideas competition, skyscrapers, numerous received Deborah Berke, architect and and Mary McLeod, Ockman build- the large to alternatives the city, of views postmodern reflecting entries Hubert brief. had no formal The competition there. constructed ings eventually with its vivid by submitteddrawing colors arresting that the visually remembers jury. the captivated Diller and Scofidio the gridded out assistants and some He its selection. a building explain as appear Hejduk praises the house precisely for its ability to realize what Aldo Rossi, Rossi, Aldo what realize to ability its for precisely house the praises Hejduk of modern the principal failure as lamented time, the same about writing synthesis. historical valid a realize to its inability architecture: contemporary how demonstrates House Kinney the Hejduk, for American, and - prec adapting creatively while tradition within itself locate can architecture conditions. new to edents razor’s edge between the ordinary and the transcendent, memory and - pres the and the transcendent, ordinary edge between razor’s European and ideality, physicality timelessness and temporal specificity, ence, - 55 At the end of the day, the participants scurried around Columbus Columbus around the participants scurried the day, the end of At 4 5 “Art on the Beach,” as the festival became known, took place every sum- every place took became known, the festival as the Beach,” on 6 “Art 5 To perceive the patterns formed by the pylons and the relation of the plaza plaza the of relation the and pylons the by formed patterns the perceive To entinel in 1983 for the the 1983 for in Sentinel commissioned Time Creative organization arts The Park Battery into transformed held on landfill later performance “Civic Plots” City. for twenty-four hours, the piece deployed 2,500 traffic pylons four feet apart in apart feet four pylons traffic 2,500 deployed piece the hours, twenty-four for thearound the at monument center. with gaps traffic lanes, for lines, vertical The spatial position. an elevated occupy one must architecture, surrounding to the of balcony the concave from was the piece location for viewing optimal Gallery of Modern the as known Art (also Museum of Hartford Huntington and 1960, in Stone Durrell Edward designed by Circle, Columbus at Two Art) Louise Ada by on lollipops” Palazzo Venetian cut a “die dubbed memorably Huxtable. later which the architects in a with the dialogue of the colors city, surrounding things.” unlike “veils snowfall how to as comparable website their describe on by created islands” the six discrete fuses that “visually landscape” The “cohesive would that later small gestures and context to the sensitivity intimates the cones Renfro. + of Diller Scofidio architecture the as significant elements of emerge central proved performance bodily for space a creating and norms Questioning project. next their to S scheme from the final installation of the cones along a north-west axis. Installed Installed axis. north-west a along cones the of installation final the from scheme Circle to gather up the cones and returned to the Hartford Gallery for a recep a for Gallery Hartford the to returned and cones the up gather to Circle engaged cones the bright orange suggest the installation of Photographs tion. 1.4 Traffic, + Scofidio, Diller Circle, Columbus City, 1981. New York by Ricardo Photograph Reproduced Scofidio. of Diller by permission Scofidio + Renfro.

Chapter One 26 1976–1989 27 Today, the future of this area, the of this area, future 7 Today, 5 Four steel plates are vertically arranged around around arranged vertically are 8 steel plates Four 5 The piece evokes one of Diller’s studio teaching assignments at Cooper in in Cooper at assignments teaching studio Diller’s of one evokes piece The Collaborating with artists Jim Holl and Kaylynn Sullivan, Diller and Scofidio and Scofidio Diller Sullivan, Kaylynn and Jim Holl artists with Collaborating falls through the suspended through falls cone. well could that project of type a mechanisms, balance designed students which mer from 1978 to 1985 and generated considerable excitement as a venue for as a venue 1985 and considerable excitement generated 1978 to mer from art temporary site-specific viewing installations. of Lower redevelopment the with up is bound Zero, Ground from blocks a few on September Center Trade World the attacks on the of wake the Manhattan in while character provisional a similarly 1980s it possessed the early In 2001. 11, construction. subsequent awaiting and costume theater, and sculptural, architectural simultaneously a work created against leaned they as Conceived one. into rolled set performance and building, World of the towers the a project sought with the twin dialogue a car in the street, wealth “sentinel of a as architecture of the monolith” It “reflected Center. Trade recalls. as Sullivan and power,” a mask flush mounted occupies a performer Inside, a square. of the perimeter at notches vertical the below Just it. from extending a glove and surface the with extends top the from one-quarter about a horizontal beam of each plate, top the pendulum a cone the other end at and a lever, At one end is the piece. through C a channel beam - pro this, to Perpendicular dangles a and wire. from pulley and black sand a funnel roof, to A beam connects angle. a 45-degree at trudes Sentinel, 1.5 Jim + Scofidio, Diller Holl, Kaylynn and Sullivan, City, Park Battery 1983. City, New York by Ricardo Photograph Reproduced Scofidio. by permission of Diller Scofidio + Renfro. was not unlike unlike not was at this this at moment she the felt Sentinel, Holl recalls it more as an exploration exploration an as it more recalls 9 Holl 5 may be the closest the work of Diller and Scofidio ever ever and Scofidio of Diller work the the closest be Sentinel may involved burying objects (shoes, money, watches) for for watches) money, burying objects (shoes, involved Is Money, Time Two entry kiosks formed by steel perforated plates are vertically mounted mounted vertically are plates perforated steel by kiosks formed entry Two 5 6 Constructing a heavy steel structure on a bed of sand with a minimal budget a minimal budget with a bed of sand on structure steel a heavy Constructing Sentinel penetrates, city the angles right whose at box, black A - formal prec significant most the as of Hejduk work the herself cited Diller ate - Metal stor the employees. shade sun roofs canvas foldable Hinged a frame. in on mounted windsocks black-and-white Two them. of back in stand bins age structure. armored a fully what seems into a hint of frivolity introduce masts a suit of armor, an early manifestation of Diller’s interest in prosthetics but also but prosthetics in interest Diller’s of manifestation early an armor, of suit a a telling indication of the art critics, ignored by Largely and a a timepiece stage. it found world, tenuous connection of to the art Diller and at that time Scofidio Kenneth Historians critics. architectural among response sympathetic more a a Leonardo as publication a French in it described Kagan and Michael Frampton IBM.62 by later centuries four realized machine a for sketch Vinci da fascination faces, evoke that often volumes elemental geometric for predilection as a his work suggest narrative and talent architectural with for mechanical parts, as metaphor that Hejduk understood the mask In Sentinel, point of reference. key vision The unbounded present. actually is House the Kinney of the facade for behind a slit and a eyes glove, as two he ascribed to operates its windows here which for reason 64 surrealism.” “medieval own Hejduk’s to approached G a with summer following the City Park to Battery returned Scofidio and Diller entitled they the Beach” on “Art for structure an entrance design to commission Gate. have been inspired by her teacher Raimund Abraham. Here, the falling of sand of sand falling the Here, Abraham. Raimund teacher her by been inspired have an becomes and time” of intervals of passage the signal to arm its “activates glass. an hour of equivalent architectural Although Diller and initially Scofidio than architecture. of aesthetics” “relational and on collaborated together had worked songs from workers’ sang sometimes Sullivan 60 voice. her own discover to need the If realized, Sullivan and that Holl performances two The the structure. inside Shoe Fits and equitable exchange “an toward aspired and the sand in dig could visitors which 61 audience.” the with four of foundation a by designing that Diller met challenge a significant was Formally, a beam. by grade above joined corners without independent panels a male “suggesting anthropomorphism, Its frank classification. Sentinel resists the by is confirmed the south” to elevation a female and the north of elevation the elbow at arms bent spread Beams resembling pendulum. hanging breastlike seeds) (or sands the flow which through beam C phallic dangling the and joints, sculpture. minimalist from piece the differentiate time, of Indeed, his her subsequent designs.63 Indeed, about make never would a claim she edent,

Chapter One 28 1976–1989 29 1.6 Gate, + Scofidio, Diller City, Park Battery City, 1984. New York by Ricardo Photograph Reproduced Scofidio. of Diller by permission Scofidio + Renfro. - - heater T - with see fascination and continued Sentinel emory M he T (1984), on which Diller and Scofidio collaborated. A collaborated. and Scofidio which Diller on (1984), and ysteries M The entire structure exudes a hyperbolic quality, spartan yet protected, as as protected, yet spartan quality, a hyperbolic exudes structure The entire Recessed behind the perforated steel surface, the top windows are encased encased are windows top the surface, steel the perforated behind Recessed merican and separated from the visitor. As the viewer recedes, the scene in the back- recedes, viewer As the and the visitor. separated from In windows. the bottom set in each of glass is Safety focus. into comes ground function common the most transforms of materials the choice both instances performance and the differences between seeing and reading provided a fruitful provided reading and seeing between the differences and performance a short for studied Maguire Indeed, architects. the with collaboration basis for Abraham. with Cooper at time with an attempt to evade categorization. toevade attempt an with of single and reduction austerity the in It revels as building. gesture much ironic spurning As if deliberately signs. and exit the entry and in title both in its words, vision he transcendental and the Hejduk discerned the in the of fenestration to but the soul to leading not windows design here architects the House, Kinney commerce. of ends barbed) (and prosaic more A architects the for step next a logical was performance for spaces Constructing with experience their positive given and and wrote Matthew Maguire director Actor 66 ing and relations of voyeurism. American directed Mysteries philosophi and conventions noir film of hybrid a theater, experimental of work a femme a detective, includes the play the body, and cal meditations on language condemnation of in its whom figure all of victims, and sundry murder fatale, ofthose that evoke words in approach his describes Maguire punishment. capital hypercontrolled a obsession; through emotion yields “Formalism architects: the it is reductive. it because I reject tool; a is just Formalism work. my triggers frenzy with 67 His concerns of precision.” the beauty it because it contains I embrace - ten the heighten cashiers, which sit behind plate, each into recessed Windows - coun A prism visitors. from of money the receipt facilitates Transparency sion. activity. the double other the on bowl change metal a and side one on ter the visual to external portal a transparent access facilitating from of the window typically Seeing, distance. if not produces, acknowledges, that a frame to world constraint. and confinement signifies here knowledge, enhanced with associated theto the prism left theirhypertrophy, a visual cashconfront proffering Visitors the pebbles on eyes, of which reflections in the right, to the metal cash bowl or them between the distance exacerbate board and particle glass, safety ground, in booth projection film a composed structure the if as is It the cashiers. and an surfaces creates these two Joining the animated gaze by of the viewer. reverse, bisec the formal to thanks and metaphorically, literally that is edgy, architecture Gate occurred. transaction the where of glass the plane by the half sphere tion of that details tectonic and handling of materials sophisticated yet a raw suggests together DS+R, by architecture of characteristic a prominent as emerge would

Chapter One 30 1976–1989 31 - 1.7 set + Scofidio, Diller design for American Mysteries by Matthew by produced Maguire, Production Creation MaMa Company at La presented 1983, E.T.C., Art Center by the Walker at the Southern Theatre, 1984. Photograph + Scofidio. by Diller by permis Reproduced sion of Matthew Maguire + Scofidio and Diller Renfro. It began in a series of sketches of a juggler of a series of sketches It began in Over the course of their careers, they would oscillate between embrac- between oscillate would they careers, their of course the Over that explored a similar idea. that explored - the archi of American Mysteries, an unpublished description in Writing Diller and Scofidio designed the set as a seven-foot hinged cube, a variation on a cube, hinged a seven-foot as the set designed and Scofidio Diller In a particularly energetic scene, the panels ascend and descend with pulleys with pulleys and descend ascend the panels scene, energetic a particularly In tects call it an attempt to “fuse drama, music, architecture and film total a into architecture music, tects “fusecall to drama, it an attempt a realizing toward aspirations their acknowledge and theatrical experience” Wagner of art which work for the total composer Richard Gesamtkunstwerk, assume a dramatic role. dramatic a assume typically the locus of greatest realism in perspectival renderings (including the (including renderings in perspectival realism the locus of greatest typically rear in the a window cut Scofidio and Diller with fiction. identified film screen), images, film of projection rear the for screen a inserted they which into panel designs. their of one in images moving of appearance first the marking If one wings. into walls from their metamorphosis suggesting and sandbags, - rela formal of static the presentation was the nine-square of the conceits of makes and time of dimension the fourth with it injects geometry here tions, entitled project a drew they year, That same and indeterminate. malleable space Balance and hinges, sandbags, mechanism of pulleys, an elaborate through points the film Coma in (Michael Crichton, the bodies hanging in space by inspired 1978). strived.68 an anti-illusionism ing this aesthetic of spectacle and opposite, its apparent these seeming as in Blur, and its objects.69 Sometimes, vision that reveals antitheses appear in the their willingness to same and push project suggest forms oxymoronic toward directions, in unorthodox audience and work their and in which performance ideas of spectacular antispectacular architecture the nine-square, within whose four-side panels the action alternately transpires. transpires. within whose panels the action alternately four-side the nine-square, it and forms the action within a back and encloses room. side walls Initially, architects The a Later into transforms it flatwalk. grid the which on characters square, the central with the play, acts of the nine for rooms nine separate created eleven of equilibrium from a state suspended in was a body which in of gravity, A second collaboration with Maguire on The Memory Theatre of Giulio Camillo provided another opportunity to explore theater architecture. The site of the play, that ran from June 18 to June 25, 1986, was the Anchorage of the Brooklyn Bridge, an inspired choice for a drama about mysticism, lapses in memory, and architectural proportion. Maguire had read The Art of Memory by Frances A. Yates, the standard history of Camillo and the synthesis of classical Ciceronian memory theory, Hermetic-Cabalist tradition, and Vitruvian precepts realized in his Renaissance memory theater.70 As he noted in the proposal he had sent to the architects soliciting their participation:

The play will be a formalist collage of the psychological thriller and the cabalistic work of the Renaissance memory theatre. Giulio Camillo was one of the most famous men of the 16th century. Through the patronage of the King of France he created a theatre which contained secret powers. Whoever entered the theatre would emerge with a memory of all the knowledge of the world. . . . The Brooklyn Anchorage is a perfect site for this play. Architecturally it is that part of Roebling’s bridge where the great suspension cables of the bridge are anchored in the earth. It is comprised of eight separate barrel vaulted chambers, all brick and stone, all of different sizes and set at different angles, each with an overwhelmingly medieval quality. I will use the anchorage as Camillo used his memory theatre, as an architectural model of the inner chambers of the mind. The play will create a body of images, the memories. The audience as it moves through the eight chambers will be experiencing the mind of Camillo by literally walking through his memories. . . . With this piece, my ongoing exploration between theatre and architecture has a very fertile ground.71 1.8 Diller + Scofidio, Juggler of Gravity, 1984. Reproduced Initially, Diller + Scofidio proposed constructing two rooms, one above the other, by permission of Diller Scofidio + Renfro. with the lower “experienced in changing perspective while the upper will be understood in plan.”72 This is the earliest written mention by the architects of a space with multiple perspectival modes, later a key strategy of A Delay in Glass, or The Rotary Notary and His Hot Plate and the withDrawing Room. Although they did not realize this bicameral spatial concept, a metaphor for the halves of the brain, their emphasis upon dynamic opposition subsequently attained simpler and more direct form. Without explicitly mentioning a suspension bridge, the architects’ initial proposal underscores that “the power of complementary structural conditions of direct load bearing is posed against suspension, (their combination also comprise the structural innovation of the Brooklyn Bridge).”73 Maguire invited eight teams of architects to design sets in the eight vaults of the Anchorage within which the play was staged. He recalls that Diller and Scofidio opted for the central chamber with the highest vault, already selected by the team of sculptor Elyn Zimmerman and her collaborator George Palumbo.74 Diller and Scofidio constructed two objects, a suspension bridge that connected two sides of the room and a gridded shelf that hung from a wall in the background. The bridge contained eight constituent parts: four cables tensioned to compress four rigid members against the Anchorage walls. No mechanical con- 32 nections fastened it to the masonry, and the wondrous elegance of its construc- 1976–1989 33 - Maguire understood his theater production as a political gesture, noting in in noting gesture, a political as production theater his understood Maguire time in which America America accompa a the again is and time amnesia into which moral in slipping during Appearing aphasia.” an epidemic of is like degradation of language nying of memory lapses (at this exploration presidency, the Reagan half of the second tion becomes even more striking when one notices the gap where the cantilevers the cantilevers where the gap when one notices striking more even tion becomes a frame for provided a vertically nine-square oriented the wall, Against meet. world. the to evoke intended words cipher a moment: the present for meditation upon memory is necessary the script “a 1.9 Bridge + Scofidio, Diller (Synapse), set design for of Theatre Memory The by produced Giulio Camillo Brooklyn Matthew Maguire, New Bridge Anchorage, Photograph City, 1986. York + Scofidio. by Diller by permission Reproduced Scofidio + Renfro. of Diller in his New York York in his New For Maguire, the contribution the contribution Maguire, For 5 ) sought to focus attention on attention focus to ) sought Synapse consisted of three freestanding wood frames wood freestanding three of consisted Windows Three project she and Scofidio exhibited at the XVII Milan Triennale Triennale Milan the XVII at exhibited and Scofidio she project Hung vertically from a wall like a painting, Diller’s “mirror piece” was still still was piece” “mirror Diller’s a painting, like wall a from vertically Hung The window reconciles the original violation of the wall. the original violation The window reconciles the outside. the inside and the window excludes The window excludes the uninvited. limit that tempts The window is a legal weather. homogenize with other machines to that conspires The window is an apparatus dust. and breeds load horizontal The window resists projected. are light on which opposing elevations The window is a section cut through and time. place to out of all reference leads The window is a solid whose penetration point converge. point and vantage The window is the moment when vanishing 81 in glass.” liquid, a “delay The window is a slow indows Although Diller had rejected representing her own body, she and Scofidio, in a in Scofidio, and she body, her own representing Diller had rejected Although itself, architecture which in radical strategy a more devised Duchamp, to bow - actual axis, on positioned and beams floor to connected cables by supported the In text, exhibition catalog forms. architectural varying in window the izing description of it, a physical nor work the making for a set of procedures neither definitions: of series unusual an outline architects the Large Glass scraping of his Large the laborious especially of Duchamp, apartment.79 the in occur shortly would form three-dimensional to A move two-dimensional. Windows Three at colleague future Diller’s Teyssot, Georges 1986. 18, June to 30 March from Domestic The curated years earlier, two had met and Scofidio whom she Princeton 80 exhibition. Project one point the architects one their called architects the point bridge Germany, in Bitburg, cemetery the to the president by 1985, 5, visit on May the buried.7 are the SS members of forty-nine where resonates/emanates that reality the spatial find “to helped and Scofidio of Diller “Janusian a it call they bridge, the in gap the Explaining 76 theme.” the with the A gap between . . . there. yet but not here that is no longer a location moment, by consummated is bridge the the body; be spanned by only can cantilevers two 77 stride.” human the W Backing Rubbed with Piece Mirror entitled a piece made Diller student, a While away scraped had she surface whose of half on mirror, a of consisting Half Off A three-dimensional diagram recalling and wires hardware. the tain to reveal Pistoletto, Michelangelo Morris, Robert by works conceptual and minimalist and in romanticism trope the quintessential it examines Smithson, and Robert - skepti to self-knowledge from meanings range modernism—the mirror—whose work the evokes vividly it support, and material cism.78 Exposing construction

Chapter One 34 1976–1989 35 - 1.10 Mirror Diller, Elizabeth with Backing Piece ca. Half, Rubbed Off Photograph 1979. Diller. by Elizabeth by permis Reproduced Scofidio + sion of Diller Renfro. In the urban window, transparent glass is replaced with a copper handling handling a copper with glass is replaced transparent window, the urban In here the window, would manifest its spatial and cultural identity. Although not not Although identity. cultural and spatial its manifest would window, the here of lan- philosopher Oxford the what evokes text this person, the first in couched we “when that meant he this By “performative.” a as described Austin L. J. guage an do perform we something something or describe something or report state Diller 82 which act as bit act an act as is an much of every ordering wanting.” or con- architectural traditional to statement their in attend do not and Scofidio instead They ideal. aesthetic an of or realization construction, of material, cerns as an act of and - cultural highlight the ten performance architecture propose number of pos- any them in and realizing its properties stating sion between assume to comes built).83 Performance rendered, written, (spoken, sible forms suburban window contains an electric eye and a steel blade to mark divisions mark divisions to blade a steel and eye an electric contains window suburban and frame the glass separates window The rural and private. public between contain three All point. vanishing and point vantage of the relation explore to a key role in the work of the architects, not as the occasion for autobiographical the as not autobiographical occasion for architects, the of work the in role a key vehicle a as but or construction of drawing mastery or demonstrating revelation about and from stories of extracting the possibility architecture, narrating for DS+R it, or presenting work their performing actually Whether world. the built drama. and conflict by shaped as itself space approach the contrast, By that also a viewing mechanism and an antenna. contains system Chapter One 36 1976–1989 37 - became fully man fully became late P on which he worked on which he worked ot H is H A Delay in Glass, or The Rotary Notary Notary Rotary or The Glass, in A Delay otary and N otary R he T A Delay in Glass, or The Rotary Notary and His Hot Plate grew Notary and His Rotary or The Glass, in A Delay lass, or G - Camillo perfor the on with Diller + Scofidio worked already She had 5 elay in Even before the theatrical debut, Diller had offered “a first public presen- public “a first Diller had offered debut, theatrical the before Even is window, the modifier in Étant donnés is door. The modifier in the Glass is window, medium. thwart their respective to Both serve gaze. self-conscious our extremely Both temper Both solicit a visual violation. 87 of vision. properties are and penetration In both, desire D

tation of the ground work for a work in progress” in a lecture on March 11 at at 11 on March a lecture in in progress” work a for work the ground tation of Alvin director its of invitation the at London, in Association Architectural the - a perfor suggests the lecture of text out typed Her meticulously Boyarsky.86 of science, the histories and career Duchamp’s across Ranging score. mance part of its Duchamp centennial. It opened on June 3, 1987, at La MaMa E.T.C. in in E.T.C. MaMa La at 1987, 3, June on opened It centennial. Duchamp of its part it the museum survive, in the play of renderings some early Although York. New the at it staged Mosakowski hall. main its in stage a create to unfeasible proved Duchamp’s with 18, to 16 October from in Philadelphia Center Art Bride Painted Kubota Shigeko and Paik, June Nam Tanning, Dorothea artists and Teeny, widow, attendance. in and art, architecture, would that henceforth and design research historical, of cultural, a body from work, final his with painting Duchamp’s Comparing D+S. for norm the become Étant Donnés, Diller and outline a theoryScofidio of the visual that challenges elements: architectural of identity specific the Duchamp’s from Notary and His Hot Plate departed Rotary or The Glass, in A Delay Glass, Large or Even, Bachelors, Her by Bare Stripped Bride The detailing that protrudes beyond their wooden panels into the gallery space, and and space, the gallery into panels wooden their beyond protrudes that detailing representation between play the suggest prepared D+S drawings elaborate the stereoscopic its with window suburban the in dramatized section, and plan in 84 investigation. the of problem key a as mirrors, A Windows Three by implied machine viewing Duchampian The work theater experimental 1987 ifest in the Duchamp. on trilogy a of part as Mosakowski, Susan by and His Hot Plate, directed take and frequently performances whose and writer a plays director Mosakowski, about play a time been envisioning for some had their subject matter, as arts the Duchamp.8 Stewart, Ellen approaching After Maguire. Matthew her partner, by staged mance, (La Company La MaMa Experimental Theater York’s of New director creative she mentioned her plans response, an enthusiastic and receiving ) MaMa E.T.C. who initiated Company, Creation member of her a board Tanning, Dorothea to as the that the Art performance with Museum sponsored Philadelphia of contact 1.11 Three + Scofidio, Diller at Windows, exhibited “The Domestic Project,” 1986. Triennale, XVII Milan di © Eredi Photograph Luigi Ghirri. Reproduced of the Estate by permission of Luigi Ghirri and Diller, Scofidio + Renfro. (opposite) 1.13 set design for A Delay in + Scofidio, Diller and His Hot Notary Rotary or The Glass, by Presented by Susan Mosakowski. Plate of Museum of Art (Apropos the Philadelphia Celebration) a Centennial Duchamp, Marcel 1987. Bride Art Center, at the Painted Produced 1987. at La MaMa E.T.C., Premiered Company. Presented Production by Creation Minneapolis, at The Southern Theater, Production in association with Creation + by Diller Company, 1988. Photograph by permission of Susan Reproduced Scofidio. Scofidio + Renfro. and Diller Mosakowski (above) 1.12 “A Delay + Scofidio, Diller delivered lecture in Glass,” at the Architectural Association, London, Reproduced 1987. England, by permission of Diller Scofidio + Renfro.

Chapter One 38 1976–1989 39

- She and Scofidio understood opacity as a fundamental concern of The concern a fundamental as opacity understood and Scofidio She the as a divided space of the with afield and astage front Approaching back, will be a tragicomedy. There will be seven animated components, four of components, animated seven will be There will be a tragicomedy. A Delay in Glass the the bride, the bachelor, the mechanical bed, apparatus, the human. The field, them are juggler. witness, the used as utilities. are and electricity gas Water, is irreconcilability. whose objective anti-narrative It will be circuitous and sometimes coincident. simultaneous 88 are languages Visual and textual and conceived of the visual armature for its rendering on stage: on stage: its rendering for armature visual the of and conceived Large Glass of Thecomposition Large Glass, vertical of Duchamp’s rotation the 90-degree of the sign isolate to “a/b note in his allusion an discerned they which to a the painting into division of well-known in The Green The Box. accordance” the to the latter bachelors, to the bride, theformer devoted a and top bottom, appears that in retrospect an elegant solution and back, a front becomes here a but not completely, Large Glass is primarily, Duchamp’s obvious. deceptively angle above the stage area. A retractable metal garage door accentuates the divi- accentuates door metal garage A retractable area. the stage above angle slide images. for screen a projection as and doubles and rear front sion between and in elevation the stage of the front apprehend can simultaneously Viewers of doing ‘set designs’ and only work on projects in which we help initiate major help initiate we which in on projects work and only designs’ of doing ‘set the think about to prefer We and on all aspects. collaborate themes the works for the choreographing involve they as principles’ as ‘staging visual contributions 89 stage.” the of space the among plan, a as it reconfigured and Scofidio Diller elevation. perspectival rendering for architecture of conventions important representational most in renderings between shift continually Architects 90 space. three-dimensional fea common this selected Scofidio and Diller and elevation, and section, plan, and two between fluctuates which staging, their for basis the as of practice ture dimensions. three - their appa introduce the architects as a designated “0,” line by of accordance surgical rubber of stretched plane an obscuring of consisting a device ratus, 45-degree a at positioned Mylar reflective lightweight of plane revealing a and intermittently from 1915 to 1923. Diller and Scofidio explained it later as follows: as it later explained Scofidio and Diller 1923. to 1915 from intermittently the of interpreted highly and elliptical most the of one is artwork Duchamp’s and machines. vision, sexuality, desire, a meditation on century, twentieth a art visual static object with a time-based production into stage Transforming interdisciplinary a fundamentally and music suggests sets, actors, dialogue, the with It resonated translation. rather called “ignition” that Diller approach 1980s and 1970s the during explored of performance understanding expansive such as the in venues Group Wooster and the Pina Bausch, Wilson, Robert by the point of equilibrium find to was mandate “Our of Music. Academy Brooklyn idea the rejected always “We observed. Diller irreverence,” and fidelity between

Chapter One 40 1976–1989 41

- with bromide emulsion, thus creating a photo (and (and a photo thus creating emulsion, with bromide a shorthand writer, is a guarantor of signatures and documents, documents, and signatures of guarantor a is writer, shorthand a notarius, Vito Ricci’s bouncy electronic score, the movable magician’s guillotine cart, guillotine cart, magician’s the movable score, electronic bouncy Ricci’s Vito What Duchamp called “a wedding of mental and visual concepts” evident evident concepts” visual and of mental wedding “a called What Duchamp The mirror is a reflecting hinge, turning actual image into virtual image, rotating plan into into plan rotating virtual image, image into hinge, turning actual is a reflecting The mirror the plane, of the in front the bride performs example, For plan. into and elevation elevation her while behind the plane bride lies prone Or . . . the in plan. behind is projected bachelor accor The line of foreground. in the the bachelor above vertically float to image appears dance is a revised proscenium edge, that divides real and virtual, physics and pataphysics, and virtual, physics and pataphysics, edge, that divides real proscenium dance is a revised 91 actual and illusory. and female, male tion by postmodernists. Diller and Scofidio designed striking armor for the the for armor striking designed and Scofidio Diller postmodernists. tion by that dissects of prostheses system the bride. an elaborate and bachelor At once its metal- object, a sexual as inspection it from and removes parts into the body spheres, obtaining pleasure through onanistic self-sufficiency rather than cou- than rather self-sufficiency onanistic through pleasure obtaining spheres, flirtation their elaborate staging of in Mosakowski’s analogue finds its pling, performance, the of end the At sets. the by enabled space of layering the and the to floor, perpendicular angle, a to 45-degree lowered was screen the Mylar spectators. its revealing a paral- and seeing finds reading between work in his traffic the incessant in title of the If entendres. and double to puns recourse lel in Diller + Scofidio’s Glass Rotary 1920 Plates Optics), (Precision Duchamp’s evokes the performance - rota the hinged also suggests it 1926 film Anemic Cinema, his in reworked later by perceived reflection” the “circulation on variation a apparatus, their tion of the from “notary,” with “rotary,” Rhyming House. Plywood the Kinney Hejduk in Latin “Hot texts. written and labor of inscription the bodily between the intermediary or flesh, warm chaude,” “chair cinematic glass plates, a pun on rotating is Plate” the coating of idea unrealized Duchamp’s evokes It house. hot chaude,” “serre half of The Large Glass bride’s surface. sensitive erotically) of a rendition wheel suggest a horizontal that rotated bicycle the stationary and the than comedy film to in spirit closer academic, than Dadaist more Duchamp - in his recep common too all that became humorless critique of representation the rear reflected in the mirror overhead in plan. Architectural representation representation Architectural plan. in overhead the mirror in reflected the rear - and object of its perfor subject the the play, of foundation visual the becomes architects, the of words the In mance. vision, and investigating boundaries as destabilizing Duchamp Reading art history. years of thirty the past terrain of contested enter Diller + Scofidio fourth-dimensional assumption, traditions virgin’s the of pictorial Alchemy, psychoanalysis and fantasies, incest psychology, experimental optics, geometry, Krauss Rosalind historian art codes” “master influential the of some but are Nonconsummation 92 Glass. Large The reception the determined as having notes elaborate that despite paradox the and title in its the “Delay” signaled by separate their in and bachelors remain the bride and pathways, machinery - (Fritz Lang, 1927).93 Lang, (Fritz Metropolis Mosakowski recalls the construction of the set for the play as a technical chal technical a as the play the set for of the construction recalls Mosakowski Over the coming years prostheses would reappear in Diller’s teaching and and teaching Diller’s in reappear would prostheses years coming the Over become a persistent motif in her and Scofidio’s architecture through the early the early through architecture and Scofidio’s motif in her a persistent become 94 plates. body hard-edged without properly When stretched surprises. many too without one but lenge lic impermeability recalls the Bauhaus costumes of Oskar Schlemmer and the the and Oskar Schlemmer of the Bauhaus costumes recalls lic impermeability film Weimar the in Maria robot cloned Ant as practitioners such and experimental avant-garde earlier Although 1990s. tended they 1970s, the elements in prosthetic had explored Archigram and Farm the in or, machines, Goldberg–type Rube or appendages plastic soft goofy be to and the metallic than rather narratives for armatures conceptual case of Hejduk, A Delay in Glass, or A Delay in Glass, 1.14 armor by Elizabeth Body Scofidio and Ricardo Diller for and Notary Rotary The by Susan Plate His Hot Presented Mosakowski. by the Philadelphia Museum of Art (Apropos a Duchamp, of Marcel Celebration) Centennial Bride Art at the Painted Philadelphia, Center, at La Premiered 1987. 1987. MaMa E.T.C., by Creation Produced Company. Production Southern at The Presented Minneapolis, in Theater, association with Creation Company, Production by Diller 1988. Photograph Reproduced + Scofidio. by permission of Susan and Diller Mosakowski Scofidio + Renfro.

Chapter One 42 1976–1989 43 - 96 Facsimile. oom 5 R that Diller + Scofidio realized at Capp Street Street Capp at realized Diller + Scofidio that the withDrawing Room rawing D - investiga a set of conceptual was behind the withDrawing Room The impetus architects the struck Street space Capp the installations, prior fifteen After For Diller and Scofidio, the major gain from the performance was an opportu an was performance the from gain major the Scofidio, and Diller For as ripe for investigation, perhaps like the Kinney Plywood House haunted by by haunted House Plywood the Kinney perhaps like investigation, as ripe for Hoberman, and James Turrell. Exaggeration, distortion, and mutilation, a sort of and mutilation, distortion, Exaggeration, and James Turrell. Hoberman, normal for unsuitable and disquieting interior the rendered reverse, in exorcism sleep, eat or to desires prosaic and evoked part nightmare, part plan, habitation, the with elaborate require always did not architecture through and seeing in Exploring effects produce could filmic devices, classic a juxtaposition, A cut or machines. the In demonstrated. architects the by project the next as of similar intensity, installation D+S designed 1987, 12, September to 12 August from Francisco in San Projects a client, by predetermined a program without space an interior time the first for a had sold Ireland David Artist tabula rasa. a was scarcely that a setting albeit in curator to board and gypsum iron in corrugated clad house hundred-year-old 97 installations. then who artists’ dedicated to it Ann Hatch, the and the house” “the skin of term what D+S between interactions tions into the single-family between opposition the unit,” domestic the irreducible of “skin life. of daily space defined interior a culturally and space as bounded dwelling excisions, “incisions, Realizing fields.” “domestic call they what up make Both to activities in the attention such as and house inscriptions” directed implants, the and of nature television spatial enclosure. watching and sleeping, eating, Perry as Mary Lucier, such artists by interventions this case previous in ghosts, wrinkles, Mylar possesses mirrorlike properties and actually a higher degree of of degree higher a actually and properties mirrorlike possesses Mylar wrinkles, a was in it image high-resolution at one’s gaze To glass. mirrored than reflectivity were and lighting reflection, angle, with Experiments experience. disconcerting The loft. in her built set the on months several of course the over conducted an architectural and a brought model of the constructed architects guillotine, as did their that their to impressed and a her, collaboration clarity sensibility as a together She describes their work and striving for simple direct solutions. 9 and playful.” “joyful opacity. and vision of regulation the for apparatuses mechanical realize to nity materials of reflectivity investigate to architects the enabled The performance a of planes multiple the to akin more space a in bodies of movement the and far simpler was the set design of the hinged If stage. a proscenium than building media, utilize electronic intensively more would which efforts, later their than to not technology merely that employed it nonetheless an architecture outlined the to close- Operating analogously channel or augment vision but to question it. Rotary or The Glass, in the magnifying glass in A Delay as such a device up in film, in screen mobile the prefigures Plate Hot His and Notary - to retract) also also to retract) retrahere, the withDrawing is a Room

“To take back or away (some- away back or take Dictionary, “To English Oxford To withdraw (from the Latin verb the verb (from Latin withdraw To 99 99 The recourse of the architects to a quasi-surgical vocabulary underscores a underscores to quasi-surgical vocabulary The of the architects recourse space of discomfort, an allegory for the incomplete contemporary individual individual contemporary the incomplete for allegory an of discomfort, space the the initial meaning of Although 98 architecture. domestic in who dwells the to according means, experienced).” or enjoyed possessed, allowed, granted, has been given, that thing Narcissistic The and Intimacy, Etiquette, Line, Property concepts—The Four even as it frustrated them. Organized around four “quadrants”—an incision in incision in “quadrants”—an four around Organized them. as it frustrated even their installation of room—the space a living and area, a dining a bed, the floor, and ambiguous fractured. deliberately was associations of stripped this project, in as metaphor the body of the centrality Indeed, and proportion. wholeness of an image as or pur seek comfort to whether the public realm, from distancing title evokes and dislocations in cuts violent the contemplation, aesthetic disinterested sue and public between distinction the of untenability the suggest installation the spheres. private 1.15 the + Scofidio, Diller Room,withDrawing at Capp installation San Projects, Street 1987. Francisco, + by Diller Photograph Reproduced Scofidio. by permission of Diller Scofidio + Renfro.

Chapter One 44 1976–1989 45 - - 1.16 the + Scofidio, Diller Room,withDrawing at Capp installation San Projects, Street 1987. Francisco, + by Diller Photograph Reproduced Scofidio. by permission of Diller Scofidio + Renfro. An elevated bridge revealed components of the project on ground level below below level on ground the project of components revealed bridge An elevated Cut center.” its “honorific the bed, at intersect in the withDrawing Room Walls Impulse—manifested in the installation thwart prereflective inhabitation, inhabitation, prereflective thwart installation the in Impulse—manifested a century the eighteenth In friction. with minimal spatial dwelling effortless men to allow to retreated women which the to space was room withdrawing in mixed inappropriate activities considered and discuss politics, drink, smoke, chal equally space, unisex a construct Scofidio and Diller Here company.100 visitors all of to lenging genders. - the Duchamp perfor As in “hidden lines.” or the broken by signaled in plan, eleva from translation of an open-ended process is upon the emphasis mance, a of a possibility perspective, different the very in which tion to to section, plan visual core and the conceptual becomes architecture, of fundamental property the information,” analytical and experiential “Oscillation between the project. of between fluctuat[ing] “constantly viewer the of role the entails write, architects and privileging objective 101 By and that of detached observer.” that voyeur of the designing elements by conspicuously most views, perspectival notational over edges” and blurred “collisions provoke to sought architects the in full scale plan, 102 residence.” actual “the and condition” domestic fabricated “the between hinges by connected are halves two its a cross-section, as in the middle, through Here, the bed rotated the bed rotated Here, A thin light well between the adjacent building at Sixty-Five Capp Street Capp Street adjacent the building at Sixty-Five A thin between light well of Diller + Scofidio’s the divergence about significant clues also provides It provides the location for an investigation of the property line. Placing a mir- Placing line. the property of an investigation location for the provides also the latter, if Gordon Matta-Clark.104 For of artist the work project from more the cross-section, for a predilection displayed architecture, in trained the a as plan mode architectural of acknowledge works did his rarely finished representation. His cuts, circular gouges on the sides of wharf buildings, a bullet wharf buildings, the sides of on gouges circular His cuts, representation. and and Urban Studies, Architecture of the for the window Institute through hole that introduce residences the middle of single-family through slicings chainsaw that allow one section to be rotated to 180 degrees. Anyone with a partner who Anyone 180 one degrees. that allow section to to be rotated the Yet solution. inspired an as bed rotating hinged a regard well might snores - connec a constant that precludes this separation of resonance troubling more but remain can unite “the occupants insures words architects’ the and in tion The Large Glass evokes a momentary condition” intimacy is . . . divorced spatially 103 halves. and bottom top its between the distance and lead. in cast spread a by covered was and head, to head body, to body from This and the top incise a bottom the architects floors. cut through within ror it, - opens up pre space, the interior into the cross-section of the logic introduces Revealingly, beneath. crawlspace the exposes and installation, of layers vious an into furniture of piece banal a from it transforms and chair a bisects cut the instability. of icon alarming 1.17 the + Scofidio, Diller Room,withDrawing at Capp installation San Projects, Street 1987. Francisco, + by Diller Photograph Reproduced Scofidio. by permission of Diller Scofidio + Renfro.

Chapter One 46 1976–1989 47

In some cases, as as In some cases, 5 - the withDrawing tele a which in Room, (Robert Wiene, Caligari Wiene, (Robert The Cabinet of Dr. they describe as “‘de-signed,’ stripped of cultural fixity,” elegant elegant fixity,” cultural of stripped “‘de-signed,’ as describe they series of Diller and Scofidio. While they shared his interest his interest shared they While and Scofidio. series of Diller Bad Press Reality his Reality in famously most boundaries, urban explored too, Matta-Clark, This becomes clear in the generic furniture deployed throughout the with- throughout deployed furniture the generic clear in This becomes theserestrict hinges that by limit theirto the tablerotation, Attached pivots Refusing to construct new buildings, Matta-Clark explored historical strata strata historical explored Matta-Clark buildings, new construct to Refusing The poster the architects produced for for produced architects the poster The series of 1973–74. And he also made films, sometimes sometimes also made films, And he 1973–74. Estates series of Fake Properties: appeared. he which in “mockumentaries” cases other in works, his of records sel- Diller + Scofidio by produced images moving anonymous The carefully immediacy of the brute for In its predilection their projects. dom document with a fascination work suggests Matta-Clark’s structures, rubbish or decaying Drawing Room Drawing through a subtractive method that did not culminate in any new architecture architecture new any in that did not culminate method a subtractive through and less evocative of the tension between incisive gesture and the crude matter the crude matter and gesture incisive between tension the of and less evocative work of Matta-Clark.10 the one finds in of building materials light and the surrounding city, are less fastidious and clinical, more expressive expressive more and clinical, less fastidious are city, surrounding the and light in the Diller + Scofidio made by the incisions contrast, By geometries. of pure space. domestic in body the investigate directly Room withDrawing Smithson Robert art by in contemporaneous evident age the industrial ruins of the detailed carefully and the less raw with that contrasts Serra and Richard Room. withDrawing 106 out.” squeezed is space separateness; vanishes mirror “the which a conveys backward, appears writing and a mirror into its image vision reflects space that function akin to periscopes, Diller and Scofidio added, expanded, and expanded, and Diller added, Scofidio that space akin to function periscopes, through their incision Revealingly, House. Capp the for contents new generated that work produced If Matta-Clark often the horizon. not ground, the it exposes interiors, of confined out way a and intimated world the exterior toward opened of view romantic this somewhat about less sanguine were and Scofidio Diller an architectural within realize what they could about more optimistic yet space, interior. at mini- or preclude, they the ceiling, from and chairs suspended table the in the toy by suggested an idea already their traditional use, complicate, mum vastly the in arranged triennial the of installation. window suburban furniture Another of dining. the rituals to them hostage holding their maneuverability, legs, prosthetic elongated has monitor television a of front in positioned chair the perhaps an allusion to high chairs in comfort, bourgeois replaces repose which stern in nightmare an updated 1920), Amputated, an appears on theinfliction body. television ofand viewing power vanity the so-called support, a prosthetic by and replaced legs removed three its chair as a functions Duchampian the architects for bachelor machine within or objects. He consistently returned to specific architectural forms such as row row as forms such architectural specific to returned He consistently or objects. the sub- anticipating them in series, deconstructed and methodically houses sequent “anti- temporary realizing to his commitment forms, domestic vernacular in in interventions through and his aspiration to disorient viewers monuments,” Chapter One 48 1976–1989 49 - - came at a price. If power squeezed squeezed If power a price. at came of the withDrawing the polemic Room Yet Produced at a moment when the work of French philosopher and historian and philosopher historian of at a when the work French moment Produced They have pitted their multi-dimensional vision of structure and space, almost on an their multi-dimensional vision of structure pitted They have encasing art. . . . What hermetic shell of Ireland’s against the cerebral, basis, adversary neighborhood, is that every South of Market in an ordinary here, such art convincing makes architectural with a sure scale proper its has been gauged to component of the installation in written associations that might be better with literary is laden But the imagery touch. . . . the composition, into a medical metaphor a book. injected have The artists, for instance, that explain or attachments—to clamps devices—as or surgical “prosthetic” to resorting That brings into creation.” in Ireland’s antibody rude and creative is both “a the installation art, whose realities as an open and practical concept of architecture question the whole walls, it all metal corrugated confined with Ireland’s But here, anecdotes. clever transcend sense.108 make seems to out space in the installation, it also negated any obvious strategy of resistance, of resistance, strategy obvious any also negated it the installation, in space out a critique of thoughtful so accompanying program a positive of the lack and The possibility limitation. a distinct was space everyday overlooked normally which appeared in which appeared and Punish, Discipline his book especially Michel Foucault, pursued by practitioners of cultural studies, would obtain a more complete hear complete more a obtain would studies, cultural of practitioners by pursued reactions of individual the which in and Scofidio, Diller by projects ing in later components. integral become viewers Foucault’s ideas permeated much experimental architecture of the 1990s, yet yet 1990s, the of architecture much experimental ideas permeated Foucault’s neo-formalisms, various and mark of deconstructivism the high-water 1987, in that and the body exploring issues about power were American architects few the imbrication recognize to alone let build differently, to them led might have a project in cited Alain Robbe-Grillet, 109 space. vision in domestic and of culture whose writings approached also an interlocutor, was the architects, statement by 110 dust. of acknowledged and details accretion an as metonymic dwelling gender dif reflect spaces capitalist in late experiences and lived that identities insight an consumption, of styles unique and subcultures, changing ferences, similar idea. Two pairs of feet standing in opposite directions construct a space a space construct directions in opposite standing of feet pairs Two idea. similar of mirrors a profusion to thanks body the orient to which it is impossible in - and cre performers with collaborated + Scofidio Diller Although angles. and odd acting and the in the it, circulated they never a videotape ated of the installation, An initial the to use video to proposal penetrate street amateurish. appears piece realize. to expensive too proved wall American academics and cul- among gaining traction many was 1977, English in as a dis- architecture domestic treated the withDrawing Room practitioners, tural forming to as central understands that Foucault the kind of apparatus ciplinary and critique of of modern societies.107 Its illustration the identities of citizens bracing proved spatial practices everyday in the body over of power the exercise - architec of the nature as it questioned even the installation, to visitors many to Scofidio: and Diller by project the of observed critic one As ture. - the withDrawing the withDrawing Room, at installation Projects, Capp Street 1987. San Francisco, by permis Reproduced Scofidio + sion of Diller Renfro. 1.18 poster + Scofidio, Diller for ) followed the Storefront the Storefront II) followed Bodybuildings A Delay in Glass, or The Rotary Notary and His Hot Rotary or The Glass, in A Delay Gate, and provided the first occasion for a catalog publication a catalog for occasion the first provided Bodybuildings altered excerpts altered remains of a collection from projects recent from as component, the body involving body as motor, 111 body as site nvestigations lamps mounted on the wall to display images from the performance. Writing of Writing the performance. from images display to wall the on lamps mounted observed, critic a installation, the of element this ture “A Delay in Glass”) throughout the text to describe earlier projects main- describe earlier projects to text the throughout Glass”) in Delay “A ture an or experiment a controlled verb, a or a noun Is it ambiguity. a similar tains a fluid as it retains just perhaps both, ways, In some exploration? unpredictable a cavities, for searches A dental probe space. or exterior interior to reference that odd fact an it is and the universe, of edges the distant explores probe space and distant space, and private enclosed the most the human body, investigating As co-organizer term. the same involve and known, enclosed the least galaxies, of the work Diller and recalled, Woods of the Lebbeus architect exhibition and thus normal in any was sense, unarchitectural radically at the time Scofidio most Park.112 Perhaps Kyong architect by curated the Storefront, for fit a perfect significantly, a and second. soon spawned work, their to devoted I as to (sometimes Investigations referred and exhibition the white shared its aspirations to cube challenge of the gallery. at year the following held the installation, curated McAnulty Robert Architect June from Pennsylvania of University the at Art Contemporary of Institute the or The Glass, in A Delay armor from the body It included 1988. 31, July through 10 which utilized slide one of works, new two and Notary and His Hot Plate Rotary Body Buildings their mummify to and its power format exhibition the gallery of Suspicious - and re-exhib recombining approached warily the architects works, previous accompanying Bodybuildings catalog the permeates awareness This iting. and Art for Storefront the at exhibition 1987, 3, 10–October September their Bridge, from and renderings photographs It included York. in New Architecture the withDrawing Room, verse: by uncommonly, introduced, Plate, of expectations undercut “remains” and “collection,” “altered,” as such Words lec- in Diller’s appears that first word (a the use of “probe” as just originality,

Chapter One 50 1976–1989 51

114 Commerce, - solicita Commerce, 5 and suggests an investigation of television television of an investigation and suggests Engaging a contemporary art exhibition space also inspired the installation installation the inspired also space exhibition art contemporary a Engaging their of Gate, this unrealized design was windows the cashier from Apart Photo-documentation can be pedantic and off-putting, but the artists have devised a novel a novel devised have but the artists off-putting, and can be pedantic Photo-documentation goals. It involves two admirable a way that accomplishes their information, present way to display the usual two-dimensional and it transforms the presentation, in actively the viewer The itself an object of interest. construct that is architectural a three-dimensional into has two sets (one project stacks in eight vertical mounted slides are photographs project small magnifying them through wall. examines The viewer of the gallery of slides) in front the wall. to 113 mounted cables thin along that can be moved glasses first foray into commercial display, and like the earlier piece it sought to to it sought the earlier piece and like display, commercial into foray first tion, art, and architecture coexist in the installation, evoking the interplay the interplay evoking in the coexist installation, architecture and art, tion, Rotary The or Glass, in Delay A in space of penetration visual the and desire of the into these concerns introduce shortly would and His Hot Plate. D+S Notary Diller and Scofidio presented July 1–24, 1988, at the Nature Morte Gallery in New Gallery in New Morte the Nature at 1988, 1–24, July presented and Scofidio Diller - compe architectural an of the results it presented Larry Rinder, by Curated York. critic. one of words the in spaces” gallery “alternative/commercial for tition the visual axes won thecompetition with an thatDiller entry explored + Scofidio a track and suspended the of the that door through from ceiling gallery window An axis on the floor art for the transport window display. objects to front would desk. front the to led chairs mobile two for “the gallery is effectively wrote, They relations. of exchange awareness heighten - is effec The gallery of solicitation. the plane window, the shop into collapsed a threshold, commercial an extended the door into from back extruded tively 11 encounter.” the commercial commemorating passage art. modern of citadel (1987), the second and more conspicuous piece, was a cathode ray a cathode ray was piece, conspicuous and more the second (1987), Television whose wheels to with a with attached precisedetailing contrasts tube mirror commonmonitor in time. the at theart to video much display the indifference sets television off-the-shelf 1980s clustered the in artists video If numerous Diller + Scofidio a gallery space, in architecture as them and deployed in rows the medium the approached and a television from opposite direction dissected the and exhibited a organs without body, an anatomical specimen, as if were it culminating to in the display their taxonomic approach It anticipates results. The American1990 exhibition Lawn as an thenobject common than as a temporal byrather in video artflow figures such as Viola. Bill Investigations (BodyInvestigations 1.19 + Scofidio, Diller exhibited Television, at Building II), Institute for Contemporary Art, University of Pennsylvania. + by Diller Photograph Reproduced Scofidio. by permission of Diller Scofidio + Renfro. ite S installed in New York’s Museum of Modern Art from July 1 to to 1 July Art from Museum of Modern York’s in New installed Para-Site, ara- ing to the sculpture garden and were displayed on monitors in the ground-floor the ground-floor in on monitors displayed were and garden the sculpture to ing the introduced Castleman Riva and McShine Kynaston Curators room. projects “working artists contemporary by installations present to 1971 series in projects P In public a more took relations visual in interest Diller + Scofidio’s 1989, 15, August Live visitors. and its art museum the of the institution on both focusing turn, locations: three in mounted were cameras surveillance seven from video feeds the doors lead- and the lobby, in the escalators the entrance, at door the revolving

Chapter One 52 1976–1989 53 - the architects define their approach through a ten- a through their approach define the architects the withDrawing Room, 121 an actual force. exerts space; the parasite a fictive provides para-site architectural project, a para-site for the architectural site » the museum as a surrogate parasite. architectural for the interrogating site » the museum as a cultural replaces “body/antibody.” Matilda McQuaid, then a curatorial assis- a curatorial then Matilda McQuaid, “body/antibody.” replaces Para-Site Grant applications to the National Endowment for the Arts and the Graham Graham and the Arts the to the National for Grant applications Endowment Our installation will interpret its context as the interface between two conditions: as the interface its context will interpret Our installation The In our time, the human body has not been a prominent concern of architectural practice practice concern of architectural prominent In our time, the human body has not been a decade, last in the However, theory. architectural from exiled and has been virtually politics, feminism, media and writings in other disciplines, such as psychology, theoretical culture on the body in contemporary focus critical attention begun to have theory, literary the toward force generative . as a rich and urgent . The human body is re-emerging . 119 of architecture. advancement Diller + Diller 116 work.” situational “ephemeral and creating forms” in non-traditional particular environment, here the museum. Unlike most architectural exhibitions exhibitions architectural most Unlike the museum. here particular environment, the use of photographs, through absent buildings evoke to that seek in museums “cultural a lack of what Diller called from suffer and often and models plans, Revealingly, the research of D+S begins as a comparison of models of the body the body of models of a comparison as of D+S begins the research Revealingly, have suggest they which Oskar Schlemmer, and Vinci da Leonardo by developed - com of information, technologies the new of age the in anachronistic become - of and tra experiences and time space Conventional 120 and travel. munication, and Diller obsolete. become have programs and cultural architectural ditional anthropocen from away broken “has irrevocably architecture that posit Scofidio the for environment and their as an present installation “architectural trism” is concretized humanism architectural of This critique body.” bio-technological in the installation of forms and physical ambitions the a memo describing in museum: the As with a functions of the cultural and the installation of space the physical sion between Scofidio came to the attention of Stuart Wrede, then head of the Department of the Department then head of Wrede, Stuart of attention the to came Scofidio in project seventeenth the install to them who invited and Design, Architecture worked. yet had architects no which in space, the as the installation to refer first Arts, the Fine in Study Advanced for Foundation connection its indicates that locution a body/antibody,” Room: withDrawing “the elements as to its architectural as does the reference Capp Project, the Street to title, its from disappears Room” withDrawing “the stage later a At “probes.”117 and the with closely worked who and Design, tant the Architecture in Department of the installation’s for the catalyst that remembers the installation, on architects the in specificity in its site architects the of interest the growing was title final confirms: narrative project their as crucial, equally was body The museum.118 1.20 Para-Site + Scofidio, Diller - 17) installa (Projects in The tion view of lobby Art,Museum of Modern 1989. Gelatin- New York, (19.1 × 9” print, 7.5” silver × 22.9 cm). Photographic of the Museum Archive, New Modern Art Archives, by Mali Photograph York. of The Museum Olatunji. Modern Art, New York. Image © The Digital Museum of Modern Art/ Licensed by SCALA/Art New York. Resource, - introduces what subsequently what subsequently introduces Para-Site - genera also creative but their hosts as dependent upon understood Parasites, monitor. Observers are positioned between them, and the height at eye level of of level at eye the height and them, positioned between are Observers monitor. a element key of the clearly design at this was stage, and viewer camera, monitor, - the draw In appear. do not wall the gallery on chairs mounted two the although reciprocity,” Diller and Scofidio attempted to use the museum to exhibit itself, exhibit itself, to the museum to use attempted and Scofidio Diller reciprocity,” artists of as such modernist work the in lineage El a venerable a with project Judd.122 Donald or Buren, Daniel Lissitzky, their own not if the project, for metaphor the key provide situations, of new tors Significantly, the to museum. relation time the and time of real the with lag between concern a will productive become the exhibi in the installation of An initial drawing of D+S. work the video into from cantilevered monitor television a the museum shows in file archive tion Perpendicular wall. the from it extends above mounted A mirror the corner. the from away The camera points bracket. and cantilevered a camera are it to installation installation 1.21 + Scofidio, Diller Para-Site of Gallery in Projects The Museum of Modern 1989. Art, New York, + by Diller Photograph Reproduced Scofidio. by permission of Diller Scofidio + Renfro.

Chapter One 54 1976–1989 55

- the withDrawing the withDrawing Room. explored surveillance, it also investigated the the also investigated it surveillance, explored In the Projects Gallery, a 20' × 40' × 10' space on the ground floor of the reno- the floor of the ground on 10' space 40' × a 20' × Gallery, the Projects In At first, museumgoers apparently enjoyed the experience of being voyeurs voyeurs of being experience the enjoyed apparently museumgoers At first, Another chair was cut down the middle and mounted opposite a convex mir- convex a opposite and mounted middle the cut down was Another chair The most important aspect is the point at which the viewer in the museum becomes aware becomes aware aspect is the point at which the viewer in the museum The most important You the artifact itself. unit after museological irreducible as the most of himself or herself acknowl already are in a bank, feel uncomfortable because (the cameras) ordinarily don’t at pieces of art. look to When you become aware there edged. But in a museum, you are the subject, disconcerting.125 it can be very the focus, that you are that you are ing the ing the locations of the television additional and an supporting change brackets and the gallery corner of this shape of the final adumbrates It appears. monitor thethe arrangement of thatconfirms media Diller and conceptualized Scofidio installation. its of advance in well apparatus walls from protruded monitors television twenty-inch seven museum, vated slightly them “recondite, called One reviewer mountings. and metal wood using ele- guillotine-like vise-or and metal edges abraded or menacing (with sharp The the book from text with raised A chair 123 beautiful.” oddly ments) but often the ceiling. from hung inverted Michel Serres philosopher French by Parasite embossed been have would text the and mirror, a with it read only could One 124 theory Inserting the into the chair. of the occupant of buttock virtual the into parody. suggests gesture this position, impossible an in albeit installation, of chair vanity the recalling alcove, an elevated in ror Cinema for Vertov penetrated dimensions of the visible world world visible the dimensions of penetrated Vertov Cinema for perception.126 a quasi- as and functioned the unaided human eye to inaccessible normally device. prosthetic limit of total seeing: the blind spot. blind the seeing: total of limit themselves they realized quickly they yet other museum patrons, watching and soon camera the and doors, revolving its through entering when filmed had been McQuaid to the ascended next escalators again when they floor. film them would of see- the experience enjoy to the escalators rode that some repeatedly recalls a which appears more than reaction gleeful on the video screen, ing themselves one one’s viewing and space physical experiencing the lag between Yet paranoid. observes, Diller As overcome. become never could image only a museum encompasses in body visitor’s the of awareness a new Provoking significant. equally was aspiration cognitive Its Para-Site. of dimension one experience common a not is plan in overhead from door revolving a Observing to it became possible technology video the use of through and people, most for understood Vertov Dziga theorist and filmmaker that Soviet the potential tap human of expanding project the modernist and images moving to as intrinsic Despite the ample viewpoints presented by the installation room, none was all all none was the installation viewpoints by presented room, the ample Despite - every to see was impossible it stood one where and no matter encompassing, or back, one’s behind gazing required have would that omniscience an thing, If Para-Site hanging upside down. - - most viewers would would viewers Para-Site, most (1974) that explore that explore (1974) Delay on Time Monitors Video and Mirrors Opposing video of Para-Site. Lacking the the record the museum did not Significantly, Perhaps for this reason, Diller + Scofidio employ multiple cameras and moni cameras multiple employ Diller + Scofidio this reason, for Perhaps Diller and Scofidio share his predilection for recording from improbable improbable from recording for his predilection share and Scofidio Diller have and film medium the in worked never and Scofidio Diller Although expose our work to such a broad cross-section of the public was gratifying and and gratifying was the public of cross-section a broad such to work our expose invaluable.”129 of looking specific to the museum environment and suggests its dependence dependence its and suggests the museum environment to specific of looking who fatally the parasite all, After can produce. they the pleasure if not them, on self-defeating. is host its attacks had no evidentiary the installation earlier moments, and replay rewind to ability which practices, traditional surveillance with common little in and shared value As registers. as cash such conflict zones of upon potential concentrate to tend with Jeremy associated paradigm of power, the Foucauldian critique of an early Wrede Stuart to Writing prescient. remains Para-Site panopticon, Bentham’s was project that “the observed Scofidio the installation, conclusion of the after in its exploration further work push our to us allowed It of crucial importance. to The opportunity culture. of our the institutions to relation architecture’s of already have seen themselves on closed-circuit television cameras, and the odd- and cameras, television on closed-circuit themselves seen have already weight. carry itself in not would monitor a on image one’s seeing of ness museum.128 the in spaces several throughout circulation and investigate tors to central become installation, their of character the event and spectacle, Crowd that the art and museum unlikely as is to acknowledge stay here if to its meaning, mirrors Graham incorporates contrast, By the near future. in replaced be to and video-within-video images so as to suggest time delay, behind the spectator, - empha is and piece Nauman’s in disappears technology If regress. infinite an types which in Para-Site, explores role a secondary it occupies Graham’s, sized in (often overhead) angles and locations so as to free the human eye from the shack- from eye the human to free as locations so and angles overhead) (often an enhanced provide images moving that suggest never they If the body. les of of to their knowledge they significance nonetheless recognize truth, to relation of a system part of as video utilize to sought Para-Site environment. the built Vertov unlike yet space, architectural of features explicate to notation intended archi and spatial took critical scrutiny for available make to it sought the reality object.127 its as production, of relations not relations, tectural of it is nota- their utilization images, moving produce to video employed always Even years. twenty than art video much the of preceding architectural more bly as pieces formative) clearly architects the for (and self-conscious as spatially in (1969–70) or Room) Room/Private Piece (Public Surveillance Video Nauman’s Bruce Graham’s piece, In Nauman’s telling as the as similarities. are the differences surveillance, the to invisible room a second and has claustrophobic, narrow, is long, the space the museum evoking toward wariness a and exudes It is self-contained spectator. to sought practices art conceptual sixties that distance spatial and critical the the time of By institutions. obtain world art from

Chapter One 56 1976–1989 57 - sig had become and Scofidio Diller studio, their founding after years Ten nificant figures within experimental architecture, indeed the first architects architects the indeed first architecture, nificant within experimental figures to exhibit work in a museum context previously defined by the works of visual visual of works the by defined previously a museum context in work exhibit to - their con translating by activities their own niche for a carved had They artists. to institutions helped process the and in and genres media multiple into cerns of features innovative the most of Many directions. and unexplored in new move and staging spaces analyze to technology video of its employment their practice, in unmistakably now were implications, architectural with rich of performances 1990s. the throughout further develop would and place

1990–1999

TWO

Para-Site brought Diller and Scofidio to the attention of practitioners, scholars, and critics interested in architecture and media.1 It yielded more invitations to realize temporary works that Diller only half in jest dubbed the “Department of Money Losing Projects” of the studio. Today, architects often collaborate with graphic artists, furniture designers, museum curators, or theater directors, yet this was less usual when the couple began to do so. Their projects of the 1990s established a precedent for cross-disciplinary and multimedia architecture now more common. During this decade the most significant accomplishments of Diller and Scofidio were the design of the Slow House, the installations Tourisms: suitCase Studies, Bad Press, Soft Sell, Jump Cuts, and Loophole; the performances Jet Lag, Overexposed, Moving Target, EJM 1, and EJM 2; and Flesh: Architectural Probes, their first self-authored monograph. In these projects their concerns with vision, the body, and space attained provocative expression. These works frequently utilized recent liquid crystal film and LED technologies and prefigure the investigation of seeing and moving images realized later in their buildings. They confirm Diller and Scofidio closely followed the development of new materials and rapidly incorporated them into their practice. Producing many small (if mea- sured in square footage) though rarely simple and often temporary works became the norm during the second decade of the studio. 59 - - - - In 1992, they began to realize their work on a regular basis in Europe, where where basis in Europe, a regular on work their realize to began they 1992, In whenwork at a both juncture members Diller and The appearance Scofidio’s In a profession as acutely marked by status and - distinctions status archi as fashion by marked acutely as In a profession - technolo new explore to platform and development a research providing By sitates innovations in programs and materials and challenges to cultural norms. norms. cultural to challenges and materials and programs in innovations sitates things is fun- and making new things new making to commitment A modernist their to damental practice. Always fascinated with the circulation of media images and styles, Diller and and Diller and styles, of media images the circulation with fascinated Always as of history understanding the postmodernist of remained skeptical Scofidio neces architecture valid that instead believing cynicism, and its easy recycling tity this practice implied would have proven too stressful for many architects, architects, many for stressful too proven have would implied practice this tity resentment. by crippled becoming without it accepted Scofidio and Diller yet not obtaining the about of architecture, profession then were as they Ambivalent and own critique their it sharpened though painful, was building commissions positions. writers American of most advance it in appreciated and understood curators and critics Michael Sorkin York of New the exception with architecture, on 1980s.2 By the late talents during their who had recognized Herbert Muschamp the of notice taken academics had architectural many 1990s, the the middle of since changed had not the profession to relation tenuous their although couple, a after, sought increasingly their were services At the 1990s, end of the 1970s. the grants. writing on depended they when years earlier from shift substantial - of archi and the weary larger public had grown avant-garde of the architectural of as pastiche building form—the clichéd in its most postmodernism tectural and suc recognition eventual their explains appropriations—partially stylistic irrelevance, social courted architecture postmodern jaundiced, At its most cess. 3 Building. AT&T of Philip Johnson’s 1978 review a in as Michael Sorkin suggested tecture, associating oneself with the mainstream is nearly always identified identified always nearly is mainstream the with oneself associating tecture, the confront inevitably Architects thinking. and original a lack of creative with a as - as and pro utilize outsiders marginality to themselves fashion temptation with sometimes as when a unintended comical results lack motion technique, portrait A self-effacing of radicality. as evidence is presented of commissions cor collaborators, their with in interviews across comes and Scofidio of Diller the of the photographs and studio, their of years the early from respondence and suggests number long unlisted, telephone its Cooper Square, at loft austere a glass divid- design of 1990 Their or cynical pose. a false not struck had they area Classic and Car work of Imported Briarcliff the and office between ing wall - architec in an interest conveys already York, New Manor, in Briarcliff Service and structural to solutions and fastidious drawings Elaborate transparency. tural Diller yet little, paid Most project. every with developed challenges technological them. of all into energy and time poured Scofidio and atelier, part laboratory, part was practice their early and problems, materials, gies, hired they Cooper students were their initial employees and and part classroom, iden nontraditional and uncertainty financial The tasks. particular with assist to

chapter two 60 1990–1999 61 - - - closed. In closed. Para-Site Architectural historians and theorists then teaching at Princeton, includ- at then teaching and theorists Princeton, historians Architectural Frank Lloyd Wright, Le Corbusier, Richard Neutra, R. Buckminster Fuller, Fuller, Buckminster R. Neutra, Richard Corbusier, Le Wright, Lloyd Frank Consumerism, globalization, and branding that developed in the wake of of wake the in developed that and branding globalization, Consumerism, phe historical a as modernism of status the underscored Postmodernism rinceton nomenon, often taken for granted during the 1960s and 1970s, could no lon- could 1970s, and 1960s the during for granted taken often nomenon, of School at Princeton lectured all had Venturi and Robert Kahn, Louis close size facilitated tiny and its points in its history, various at Architecture ances that she would be encouraged to pursue her own interests within the the within interests her own pursue to be encouraged would that she ances 4 had peaked. of postmodernism, American representatives prominent the most next. come would what of question the raised arrival Her P Cooper andteach at Union after Scofidio to Dillercontinued assistant an as Diller hired Architecture of School University Princeton 1990, and distraught the school of excellence academic the by Attracted professor. was the fact she (despite reasons for political tenure Cooper denied her after about and Diller was apprehensive Hejduk teacher, and devoted an effective working about apprehensive wasinitially she too gaining muchScofidio clout), assur numerous receiving After setting. a suburban so in York New of outside and the among high- most she sophisticated was the time what at joined school, century, twentieth the half of the latter in anywhere design programs profile and a whose shared more tank and students small think faculty center research as an than a typical enterprise intellectual a vision common of architecture school architecture. of exchanges philosophical High-level and students. among faculty collaboration and Diller came the the as just norm, influ- were the about built environment and one of the school designer in renowned the most Graves, of Michael ence postmodernism contributed to a new sense of what it meant to be an architect. architect. an be to meant it what of sense new a to contributed postmodernism Gehry, Frank by garnered attention public the 1990s, the of beginning the By the - pro tourism, the rise of architectural and Graves, Michael Philippe Starck, for technologies new software, and design computer the personal of liferation cultural, in designers for demand growing a and text, and images of display the elastic and increasingly an expanded promoted and media environments retail, beneficiaries. were Scofidio and Diller which of architecture of notion of language the as English of the emergence Simultaneously, be overlooked. ger the of consequence a experimentation, cultural of arena the in especially Europe, War, World Second the of end the since culture popular American of dominance global resonance whose of D+S, work the to receptive climate a foster to helped bound and cultural national across easily traveled sensibility and cosmopolitan the extend and refine would and Scofidio decade Diller the coming Over aries. - and interlocu set of colleagues a new and obtain their practice possibilities of thanks in affiliation. a to part new institutional tors,

5 - Diller and Scofidio became became and Scofidio Diller a pair of high heeled shoes a pair of high heeled Kennedy the assassination of John F. match a boxing by Velazquez Meninas Las a musical instrument a meal in bowling a strike Erasers the city in Robbe-Grillet’s a one man scull a crash from resulting the deformation of an automobile of Liberty the Statue Diller’s dedication as teacher quickly energized the masters in architecture architecture in the masters energized quickly teacher as dedication Diller’s or decipher record to or apparatuses of systems the invention may require “map” Your combination with in new media and techniques explore to encouraged are information. You liquid light, Consider the molds, video, representation. of architectural the conventions fat, texts, readymades, assisted human hair, rubber, surgical xerography, rayograms, 7 etc. Polaroids, Map one of the following objects or events listed below. listed objects or events Map one of the following - practi talented most the was that she belief Lerner’s and confirmed program Students and faculty discussed writings by Sigmund Freud, Jacques Lacan, Lacan, Jacques Freud, Sigmund writings by discussed and faculty Students too the work of Duchamp, Marey, Virilio, and other figures included in the fif- included in and other figures Virilio, Marey, of Duchamp, work the too the seminar description. to appended and charts diagrams, of maps, pages teen phi Diller’s animated training, vocational or not professionalization Research, Many of these techniques and modes of depiction, including moving images, images, including moving and modes of depiction, techniques these of Many so years, coming the over Renfro + of Diller Scofidio work the in appear would ing M. Christine Boyer, Beatriz Colomina, Alan Colquhoun, Robert Maxwell, Maxwell, Robert Colquhoun, Alan Colomina, Beatriz Boyer, Christine M. ing attracted and Mark Wigley, Vidler, Anthony Georges Teyssot, Alessandra Ponte, openness of “intellectual atmosphere an to contributed and students excellent as the top at of the engaged field,” totally was in which and vitality” “everybody recalled. 1989, in Architecture of School the of dean appointed Lerner, Ralph art Observer by the of Techniques published book the recently and Derrida, Jacques of seminars.6 and out Crary in Jonathan historian with them and and Colomina Teyssot and later collaborated Wigley friends with for Centre Canadian the at on The American held exhibition and Ponte Lawn 1998. in Architecture - that stu the charge especially assignments, Her studio her generation. tioner of an or dissect a brassiere, and device a prosthetic between a cross dents design marked indelibly it in section, then represent and shoe high heel inexpensive the syllabus term, 1990 the fall in Already at Princeton. pedagogy architectural interests: her of range the suggested seminar “Probe” 503 Architecture her for

chapter two 62 1990–1999 63

- - - - 10 A public discussion with Graves, Eisenman, and Colquhoun that took place on place took that Colquhoun and Eisenman, Graves, with discussion public A - depriva and sleep the intensity with work could students Princeton all Not Her syllabi provide revealing insights into her performative conception of of conception her performative into insights revealing provide syllabi Her and the design process drive must that investigation Diller underscored and decorative paper trace yellow on drawings pretty where a school Once architecture, as when she some years later admonished students, “This is your your “This is students, admonished later years she some when as architecture, and working smoothly, complete, be should the installation and review final a learning environ had become now Princeton predominated, watercolors await them in professional practice. professional in them await questions arrival Diller’s after years five that even suggested 1995, 16, November ment in which all materials became fair game for architectural investigation. architectural for game fair became materials all which in ment department physics the from scavenged parts with apparatuses Aluminum it and dragged car a dilapidated purchased A student walls. the against sprouted a became metal of made projects design When review. studio a for campus onto materials. other with work students that insisted Diller convention, mannered spoke she which in Scofidio and by Diller lecture public the attended who All forgot never glove a fluorescent with the dark in a blackboard on while he drew of photo alternation and mesmerizing performance, coordination, its planning, theoretical Diller enabled remembers, As Teyssot and drawings. speech, graphs, atten Her design studios. the with parallel in function to the school in discourse two these connected curiosity and intellectual technology, of love detail, to tion 11 synergy. new a created and school the of sides and Diller when met she resistance demanded the Cooper, norm at tion that was - noth was pedagogy her for projections, new redraw and revise constantly they she and project, no had she or he idea, no had student a If rigorous. not if ing or The gentleman term. the the end of at scratch from start to many forced as cultural the designer an ideal of by replaced out, was architect gentlewoman all a project one’s to a with give for hunger ability the and commentator ideas did they which work of realize to students Diller pushed a little bit more. and just would of the acapable and that deadlines preview offered themselves not believe losophy of teaching. She exposed students to methods of notation and problems problems and of notation methods to students exposed She teaching. of losophy cur- the studio in of prominence a place to and raised culture of representation riculum. and rehearsed be should installation the with and in performance Your flawless. you and piece a public performance this is remember, choreographed.—Clues: viewing the who are are people who and where Consider it as treat should such. 8 the presentation.” Stage viewed. are who and of commitment— absence the or of preparation—vagueness indecision or lack to committed As results. of final presentation the public inadmissible in were the remains, Renfro + as Diller Scofidio anti-illusionism of credo the modernist show and drama with dispense can architecture that suggested has never studio an axiom be to overlook would as antitheatrical work its construe To manship. - move the and space to intrinsic are performance and conflict it: informs that it.9 through bodies of ments - - - Dead Ringers

5 (David (David Eraserhead 1979), Scott, Alien (Ridley echnology T rystal C (Peter Greenaway, 1985), and 1985), Greenaway, Noughts (Peter A Zed and Two iquid L provided provided in Ottagono colleagues their Princeton This dossier of criticism by Teyssot remembers that by the early 1990s most of the school eavesdropped eavesdropped the school of 1990s most the early that by remembers Teyssot nter advanced by surrealists such as Salvador Dalí. Suffused as it was with discussions was as it Suffused Dalí. as Salvador such surrealists by advanced nar- voice-over with a quasi-screenplay as (written essay Teyssot’s the body, of and Harald Clair Jean by 1975 exhibition the quotations) presented and ration 1 poetry. found as served that quotations estab and date to received had work their that engagement sustained most the the ideas of Sigmund to relation reading it in for an influential paradigm lished as artists as well Artaud, Antonin and Gilles Deleuze, Luis Jorge Borges, Freud, Farm. Ant and Robert Smithson, Matta-Clark, Gordon as Hans Haacke, such 1973), (Michael Crichton, Westworld 1977), Lynch, doubles, with films fiction or monster science mostly 1988), Cronenberg, (David in devices narrative and storytelling the Revealingly, attention. their captured repre their than less Scofidio and Diller interested have to appear movies such sentations augmented and aberrant of bodies.16 E - tradi the Ottagono in issue was downplayed point of reference the only Almost the- the ideas of feminist to in relation their projects Reading architecture. tional half- the the idea of with them in dialogue placed Vidler Donna Haraway, orist by Scofidio and Diller of work the analyzed He cyborg. half-machine human, and inorganic the organic between the boundaries of engaging understandings 12 The transcript architecture. to approach about still her and remained Scofidio’s her between distance the continued evokes school the of archive the in preserved conver the of the end by Yet her. around design pedagogy the reigning and work the minds if even changes, noticeably tone confrontational the initially sation explanation rigorous responses, tough Diller’s not. had participants the of all of a bottle of with table the at (she sat humor and ironic methods, working of her Her and conviction. her seriousness about all doubts squelched Pepto-Bismol) without work student criticisms of devastating and often acute provide to ability of features central or personal opinions became moral judgments lapsing into practice. and architectural teaching her her own that and she the pushed when toward school taught, Diller the from hallways then traction gaining a approaches in with alignment broad cultural studies from excluded but still and elsewhere Princeton at humanities departments journal Italian the of issue an of Publication 13 architecture. of schools many with prostheses, to and devoted edited that Ponte 1990 Ottagono in September - archi to an approach introduced Vidler, and Teyssot, Wigley, by contributions with the soon associated 14 Diller that architects school. the and body tecture involving Machine” “Pretext entitled an investigation contributed + Scofidio textual by accompanied an escalator of and photographs in section drawings

chapter two 64 1990–1999 65

show held show Non Sequiturs Non towels (1993), Clean Body/ (1993), towels His/Hers This openness toward uncertainty uncertainty toward openness This 23 exhibited at the the at exhibited Diller and Scofidio met Koji Itakura, a Japanese Koji Itakura, met Scofidio and Diller Para-Site, was the first Diller + Scofidio project to employ liquid crystal liquid crystal to employ project Diller + Scofidio the first was ouse H inspired by the 1954 book of Michel Carrouges, Carrouges, Michel of 1954 book the by Machines, inspired Bachelor The low S While working on While working Diller Diller Plate, Hot His and Notary Rotary The or Glass, in Delay A in had they As Pleasure/Pain Pleasure/Pain is a 1927 work in which Duchamp positioned a single door positioned which Duchamp in work 1927 a is 11 rue Larrey Door, he he real estate investor. Steven Holl had designed two residential dwellings for Itakura, Itakura, for dwellings residential two had designed Holl Steven investor. estate real per- different a for Tsien Billie and Williams Tod architects approached later who visual permeability of new materials and their potential for displaying writing writing displaying for their potential and materials of new visual permeability 21 images. and 22 openness or closure. total a manner precluding a set of jambs in between ideas to alludes the medicine cabinet of D+S its undecidable character, Evoking in their explore that the architects matching (1997) and Vice/Virtue perfume (1997), No Means Yes Dirty Mind soap bars (1994), reconcile cannot one thinks, or looks one hard how matter No glasses. drinking and transcend hint Any overcome of a dialectic that would states. contradictory these meaning, of indeterminacy the tangible Making denied. is oppositions of a simple posit they neither do Yet skepticism. total do not embrace pieces paradox. of acceptance or opposites of unity upon its conflicts fasten to of space or occupant viewer the to and invitation house. single-family a for design bold a in itself manifest shortly would T Szeemann, Szeemann, - prob 17 This Duchampian architects. the of concerns the for precedent a key as the project, their next in resurfaced and opacity technology, the body, lematic of Pleasure/Pain, installation object-based February22, to 1991 29, November from Paris in Gallery Uzzan & Sadock the at 1992.18 Two technology. a novel with work of Duchamp the engaged and Scofidio bandage, Ace an brush, a shaving soap, a medicine cabinet supported of shelves A liquids. colored of bottles and prophylactics, of jar a wads, cotton plug, butt a on chains Suspended the center. them in door bisected mirrored single-hinged straight-edged a a sponge, a speculum, a rubber glove, shelf, the bottom from the on open is shelf the When menace. of hint a introduce tweezers and razor, on open when visible; becomes letters green in “Pleasure” word the side, right can be implements of one set Only legible. becomes “Pain” word the the left, time. a at viewed a material through current an electric of introduction the which in technology, - electrolu 19 It employed or opacity. transparency of states between can switch When so-called the mirror. in etched the letters behind material minescent 1990s the in market the on appeared oscillation this permitting glass smart the had they 20 Long before applications. its began investigating architects the the contemplate to began they utilize it in building projects, to opportunity 2.1 + Scofidio, Diller Pleasure/Pain, 1991. © Michael Photograph Reproduced Moran. by permission of the and Diller photographer Scofidio + Renfro. By emphasizing the kinship of of kinship the emphasizing By Gate. (Alain Resnais, 1961) were moving through a vacation vacation a through moving were 1961) (Alain Resnais, The footprint of the house is an arc shape the architects called called architects the shape arc an is the house of The footprint the at end opposite window the a and front door Only picture Written in a series of paragraphs suggestive of Duchamp’s Duchamp’s of suggestive paragraphs of series a in Written a “decelerating” curve and commentators have likened to a snail a snail to likened have and commentators curve a “decelerating” shape winding exterior The surfaces. planar the building form of the proposal introduces the design through a series of of a series through the design introduces the proposal Box, Green here and in a concerted play between binary oppositions such as as such binary oppositions between play a concerted and in here and high country/city, artifice/nature, home/vacation, work/leisure, culture. culture/low architects to woo a client. woo to architects degrees ten a rotation by accompanied Each cut is its name). (hence feet and eighteen wide feet four door a front Its facade, axis. off the to a adjacent portal hyberbolic is a theatrical gesture, high, the and evokes to a roof, become which deflects upward driveway, in form of handling ironic the and television, the windshield, automobile their the to design begins that architecture Diller and Scofidio suggest window, picture the of logic cultural and spatial the and building a enters one before visual practices. in other participates home inevitably single-family skeletal the evoking form organic an suggests initially the house of never its interior yet Calatrava, designs of Santiago architectural with alone reconciliation let precedents, that biomorphic intimates - architec as home vacation the of Writing its design. inform nature, a for stood “it somehow observe, and Scofidio Diller program, tural replay to home, the first upon improve to chance chance—a second Two for “House 27 Echoes of Diller’s a fantasy.” out live to a life, reverberate of doubles the logic with and its fascination Residents” spective. Rather than decline their services directly, Itakura asked asked Itakura directly, their services decline than Rather spective. then and Diller admired contacted they them which other architects to them invited Itakura he became friends. whom with and Scofidio, on Long Island. of North Haven town the in house vacation a design and Cooper, at a student Wong, Victor with weeks for worked They At the 24 end 1989. of their on January 30, a final design completed the silent asked Itakura the architects for presentation, two-hour-long causing words, beautiful for too it and he pronounced his reactions, tears. in out break to Diller controlled normally the a screenplay also evokes it Yet 25 space. domestic about propositions at of Last Year narrator anonymous the as if and sometimes reads Marienbad As advanced. more years thirty home with technology equipped to ability the Diller possesses has noted, H. Mayer Jürgen architect to dazzling here employed and Scofidio a skill she words, with draw as such the use of phrases through defamiliarizes text Their effect.26 by employed rarely zone” and “dining zone,” “cooking “apertures,” 2.2 Slow + Scofidio, Diller House model, 1989. + by Diller Photograph Reproduced Scofidio. by permission of Diller Scofidio + Renfro.

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- Diller and Scofidio remained remained Scofidio and Diller 30 but emerges in the the in but emerges Doppelgänger, building, to the Boston ICA, and and the ICA, to Boston Blur building, - sur to with minimal depth a space create they Located on a lot with a view of the Great Peconic Bay, a that site Scofidio Located on a Bay, Great lot with a view Peconic of the An unstated corollary of this emphasis upon second chances—that fantasy fantasy chances—that second upon emphasis this of corollary An unstated an houses, twin juxtaposition of a literal is not House the Slow in Doubling or The Glass, in than in A Delay strident more visual perspective a critique of In Juxtaposing a video image of the sound with a view through the window the window Juxtaposing a video through image of the with a view sound remains an integral component of architecture—is one the architects never never architects the one architecture—is of component an integral remains and of the its variant uncanny architectural helped Itakura to select, the house was designed with a programmable TV TV programmable a with designed was the house select, to helped Itakura Pure Mix. Pure the extends instrumentally eye “The electronic idea. to experience from vistas as if fusing Dziga write, architects the it,” and destabilizes vision limits of natural of a psychoanalysis with device prosthetic a as film of understanding Vertov’s - the quasi-draw after Immediately the inhabitant. of the body and engulf round the to leading in half, the interior divides wall a knife-shaped door, front bridge and living areas on the right and the and bedrooms bathrooms dining, kitchen, subject unified centered formerly the vision is bent, axis of the “As the left. on a sentence in Writing off balance.” center, off teased is world of his in control the of the hostage is eroticized, “Vision observe, they Robbe-Grillet, of worthy 29 eyes.’” ‘desiring a was this view displaying the television to Next at the water. camera directed architects few 1977, in been invented already VCR had the Although fireplace. view waterfront a alone conceptualized let their projects, it in had incorporated com a city, the to back transported being of capable and storable, portable, as as a and an sight experience. as well modity drives that invariably vistas the with to fascination shoreline sensitive acutely is it Indeed, voyeurism. to pander to architects forces and prices estate real up and their work as a persistent leitmotif throughout water to possible observe the deliberate trajectory organized around a frustration of waterfront trace the through the House, Slow from views, transforms as it just the house by provided visual pleasure the doubles ironically have denied. Well before the advent of digital avatars, a striking number of their their of number striking a avatars, digital of advent the before Well denied. have lives. second obtaining and institutions spaces of the possibility explore projects of possibility the in faith underlying its and practice their of optimism core This with fascination their than sensational less is environment built the remaking and in creating modifications of bodily the role and surgery, plastic prostheses, overlooked. be easily can yet identity stabilizing - an understand 28 It implies technology. by and is facilitated life of daily conduct by the summer homes designed from far removed architecture ing of leisure tradition and the of the villa and historical architects celebrity contemporary these rejected and Scofidio Diller architecture. leisure of domestic typologies a flattened with perspective of renaissance codes the replacing by precedents a single curving surface into the house of the interior transforms that space a axis. visual without direct Plate, Hot His and Notary Rotary

34 Long before the Internet and the webcam, the webcam, the and Long Internet before 5 Progressive Architecture the Progressive the jury of captivated House the Slow The design of the model of thinking specifically been have well might Santos Adele Juror Le Corbusier’s Beistegui Penthouse (1930) and Hejduk’s Wall House, both both House, Wall and Hejduk’s (1930) Penthouse Beistegui Corbusier’s Le If a picture window turns any view into a representation, collapsing depth onto the surface depth onto collapsing a representation, turns any view into window If a picture - than the “technolo “mediated” House is no less ocean view in the Slow the framed of glass, the question, as are thus put into of mediation are The terms view on its TVgized” screen. strives technology As advanced technology. to and “low”designations “high” in relation in fact, a window, its effects, is not the picture only leaving its hardware, dematerialize to set,economically and than the television in that its socially technology advanced more frame? a simple only leaving invisible, virtually mechanisms are driven when she wrote in the award citation, “It has an original sensibility; it doesn’t it doesn’t an original sensibility; “It has citation, award the in wrote when she equipped with periscopes, appear suggestive precedents, yet prior to the Slow the Slow to prior yet precedents, suggestive appear with periscopes, equipped Part architectural drawing, part part drawing, architectural 36 Part think of.” could else that we anything to refer and in elevation, plan, in section, elements presented and containing drawing, Images on the video monitor and actual horizon do not coincide, a denial of the a denial of horizon do not coincide, actual and video monitor the on Images of authority ultimate either while a as reminder both an agent of of television the a toward more benign attitude and a of source companionship, surveillance One within another, nests open window at medium than first be apparent. may and its of digital culture prefiguration if subtle, a powerful, creates the scene and 3 frames. multiple ubiquitous today of flow the Indeed, television. of effect the reassuring understood architects the their in ambience background a frequent formed Network) CNN (Cable News studio. Square Cooper a model of it embla- and 1990, Competition in Awards Annual Thirty-Eighth the of rotation of arc the Recalling 1991 issue. the January of the cover zoned with the monitor a television horizon it Room, withDrawing featured bed in the which appeared between line at at the and a one terminus mirror other, rearview spread on gesso drawn and plan in section house the of fan-shaped drawings a dangled like device, drawing architectural an arm of An sheet. a plywood over models of other designs Arresting it. from car protruded toy a and windshield, in renderings Slither) or in case instrument musical (a forms unexpected in of as masters D+S Jump Cuts) revealed for portfolio rubber (a unusual materials presentations. architectural imaginative architecture that asks what an architect, client, or occupant of a client, building desires architect, what an that asks architecture one was he not surprisingly and these concerns, 31 Hejduk shared a window. from the of the model and drawings showed whom they regularly to of the colleagues themto considerably. whose and house reactions mattered - the con question to technology electronic had employed architects few House idea of simula- the postmodern of an expression 32 Less of the window. vention - this juxtaposi them, derealizes of images the multiplication that the notion tion, the conventions reveals and playfully ironically views televisual and tion of real write, architects the As 33 house. single-family the of

chapter two 68 1990–1999 2.3 + Scofidio, Diller of television rendering in mounting bracket House. Reproduced Slow of Diller by permission Scofidio + Renfro. - - 2.4 Slow + Scofidio, Diller of House on cover 1991 issue of January Architecture Progressive magazine. Reproduced by permission of Diller Scofidio + Renfro. It has a beautiful and believable argument. . . . It’s not that easy to design a good house on not that easy to argument. . . . It’s It has a beautiful and believable - relation obvious the weakness of having an incredibly have Many architects a superb site. . It of mise-en-scène is that the house itself is a kind here and what I like ship with a view, and I think that’s exposes the view, and finally the view: house both blocks The manipulates and monotony boredom a way of avoiding and probably itself an experience, probably 37 in the house. once you live Itakura’s finances (he had invested heavily in contemporary art) prevented him art) prevented contemporary in heavily (he had invested finances Itakura’s construc to concept from directly went which House, the Slow completing from been actually the house Had of dwelling. stage with no intermediate ruin to tion three dimensions, it fused rigor with playfulness, specificity with allusiveness. allusiveness. with specificity playfulness, with rigor fused it dimensions, three - tech digital how suggests the model scarcely a computer, by on plastic Traced invoca its despite Paradoxically, practice. design transform later would nology like hand-made object, an exquisitely it is still views, electronic tion of mediated digital purely the unlike but mounting television the of drawing fastidious the Koolhaas, Rem architecture. the norm in become would that soon renderings - and recog in his praise, lavish uncommonly was the jury, another member of domesticity: suburban of critique a as design the nized the house, of skin structure the stressed bents formed vertical Twenty-seven of collapse An unexpected residence. a single-family than a boat to akin more

chapter two 70 1990–1999 71

- - s Tourisms’ Tourisms: suitCase suitCase Tourisms: tudies S ase to function as counterspectacle and database in one, and database in one, as counterspectacle function to Tourisms C The installation originated with the idea of Mildred Friedman, Friedman, Mildred of idea the with originated installation The 39 Architecture Tomorrow. Architecture Serial repetition never yields an encounter with the bare object of minimal the bare with an encounter yields never Serial repetition Comprising fifty identical Samsonite valises equipped with maps, postcards postcards maps, with equipped valises Samsonite identical fifty Comprising Perhaps precisely because it was unbuilt, the project soon became well known known well became soon the project unbuilt, was because it precisely Perhaps ourisms: suit ism and enables and the abstraction the between for suitcases appear in an that order hovers T the of concerns central and taking sightseeing were Picture and on in Minneapolis Center Art Walker the by commissioned (1991), Studies the to traveled it before 1991, 17, March through January 6 from there exhibit Center for and the Wexner the Art Henry Gallery, Arts Center, MIT Visual List Arts. Visual the in a emerging architects by series work to exhibit Walker, design at the curator entitled and tags, bar-coded destination texts, explanatory sights, travel of the fact to down installation, traveling the the idea of upon plays compactness the suitcase If container. a shipping as also doubles of luggage that each piece and its spatial sys the home” portable unit of edited, the “irreducibly represents United the fifty of order alphabetical in arrangement and its multiplication tem, to each bag connected Cords the nation.40 of the space evokes powerfully States all in tourism of the significance Rankings listed the ceiling. on a map of its state upon seized who observers, and critics by overlooked Frequently economies. fifty of tourism the about an argument geography the of the modularity suitcases, the 41 to installation. key was built, it might well have transformed the practice of Diller + Scofidio into one one into Scofidio + Diller of practice the transformed have well might it built, homes. vacation in specializing It and attentionfor thestudio. circles garnered architectural in avant-garde calls a Architecture, of Progressive editor then what Thomas Fisher, represented used always architects for that had not been represented, idea new “profoundly ask to was House Slow the of The breakthrough nature. to us connect to windows what 38 virtual?’” is real, ‘what’s 2.5 + Scofidio, Diller suitCase Tourisms: Art Studies, Walker Minneapolis, Center, Photograph 1991. Halvorson. by Glen Art of Walker Courtesy Minneapolis. Center, suggestion of a pattern. Architecture presents information in the installation, and, not unlike the multimedia installations of Charles and Ray Eames, the sensation of being overwhelmed is integral to its effect. Multiplied by a dizzying plethora of souvenirs, guided tours, reenactments, narrative descriptions, brochures, plaques, and instructional videos, the postcard of the tourist site is only one among many representations, whose authenticity competing attractions short circuit.42 The design of the suitcases, in which mirrors set into their upper and lower lids reflect the front (image) and back (inscription) of the postcards, elegantly telegraphs this concern. Significantly, the inscriptions we read are not those of the original postcard, and the very structure of the piece with each suitcase containing two cards, one inscribed at the top and the other illustrated at the bottom, dis- 2.6 Diller + Scofidio, photograph sociates text and image. Each card locates tourism in a rule-gener- of contents of suitcase in ated social practice and follows a formula: “The date, The salutation, Tourisms: suitCase Studies, 1991. Reproduced by the indecipherable statement. The description of sight. The travel permission of Diller Scofidio + Renfro. itinerary. The domestic inquiry. The remark to elicit envy. Meal comments. The closing. The Signature. Proper Name, Street Address, City and State, Zip Code.” Architect Robert McAnulty faxed many of the often quite hilarious messages to the architects. In Tourisms the fully mature prose style of Diller + Scofidio made its public debut, and the project is as significant for its employment of verbal language as architectural form.43 An impersonal tone, emphasis on descriptions and processes, and delineation of how component parts of a project interact, as if words compose an intellectual diagram, characterize texts by the studio. They evoke comparison to the “writing degree zero,” which Roland Barthes discerned in the literature of Robbe-Grillet, whose neutral language “describes objects quasi-geometrically . . . in order to release them from human signification, to correct them of metaphor and anthropomorphism.”44 Lacking emotion and withholding moral judgments, the texts of Diller and Scofidio often echo these traits, emphasize details and visual surface, and sometimes evoke an atmosphere of foreboding, like that of Robbe-Grillet, whose fiction included drawn architectural plans and continually described precise spatial environments.45 Lined with descriptive text from the attractions on the inside top of the suitcase and topographical maps on the bottom, each valise also contains a text from a tourist guide printed on a rubber mat in its lower half. The most iconic image of the suitcase that circulated around the exhibition is a mock x-ray photograph depicting how its components might appear disassembled in an airport metal detec- 72 tor. While exuding toughness, the image conceals that the elements 1990–1999 73

- The 4 5 By inviting visi- inviting 2 By Tourisms Tourisms 1 Indeed, 5 5 0 5 Recalling her work with Diller and Scofidio, Friedman Friedman Scofidio, and with Diller work her 3 Recalling 5 uchamp D t to to t I Installing the exhibition in Minneapolis required two weeks of nonstop of nonstop weeks two required in Minneapolis the exhibition Installing emphasize to as if tourists, of army absent an cases evoke of Samsonite Rows Although skeptical about the domestication of space, the exhibition refused refused exhibition the of space, domestication the about skeptical Although ticking obtain a viable afterlife as than andplans obtain a viable afterlife more models but less than a realized building at a moment when museum and gallery exhibitions of architecture traded increasingly drawings architectural and common more becoming were which opened May 20, 1992, at the Gallery at the 1992, which House, opened 20, the Slow May Reviewing Desiring Eye: Arc-en-rêve and Grenoble at Le Magasin in year the following and Ma in Tokyo as if and editing it splicing an installation, as the house Reworking in Bordeaux. con- already project a into reflexivity of another layer introduced a film, were it the It ease with which the demonstrated House Slow could with vision. cerned of each suitcase were quite fragile and consisted of many little pieces requiring requiring little pieces of many and consisted fragile quite were suitcase of each 46 recalls. collaborator one as cushioning, and packing careful - Diller docu the installation of days two final the 47 During labor. precise highly collaborators. sleep-deprived and her fellow herself video camera a with mented observed. she photograph,” to impossible show absolutely an be to “This is going in fact complex were suitcases the mechanical objects, standardized Ostensibly - prefabrica rendering, necessitated display whose effective artifacts handmade installation. site-specific and tion, explored and Scofidio 48 Diller warfare. and travel leisure the filiation between - posi the generally as crowds, pleased its irony travelers, fellow become to tors suggest. reviews tive deflects the hostility common among tourists, each in pursuit of an authentic authentic an in pursuit of each tourists, among common the hostility deflects that others inhibit. (the unspoiled photograph) experience - explo in many evident or uncritical celebration, air of superiority an adopt to “Operating it, As D+S phrased in museums. housed rations of popular culture the - instal can weapon be the and the same, under the assumption that the target attraction.” tourist as role its own out plays lation overtly the in are most they interested with, worked I’ve “Of all the architects observed, before.” seen had one no ideas with up coming and people challenging S an such a client is just by canceled commission architectural an Revisiting while halted project a to return willingly architects few for idea, uncommon in challenge this on took irreverently Scofidio + Diller construction. under 49 Yet Back to the Front. celebration, the D-day on their book at length in topic this fixations it docu- cultural the about funny wickedly is Studies suitCase Tourisms: a of portrait acute its recognizes States the United toured who has Anyone ments. forgettable. banal or how no matter of its history, topoi the with obsessed society and “sees it escapes condescension, or sentimentality, nostalgia avoiding While sight between semi-fictional pact a tacit, affirmatively—as but critically tourism architects. the of words the in and seers sightmakers,”

6 5 (1934), (1934), 55 Rather than consolidating the Slow House into a single (and saleable) object, object, saleable) a single (and into House the Slow than consolidating Rather a realize glass, of sheet a and panel film crystal liquid a panels, glazed Two complex layering of text and three-dimensional objects. No two panels are panels are No two and three-dimensional objects. of text layering complex - pho and Polaroid strips, comic the project, and models of Plans identical. strictly The Green Box Duchamp’s evoking lecterns, in individual appear tographs artworks. his earlier for and instructions included notes artist the which in on the art market, not that the architects seemed to have sold their work in this their work sold seemed to not that the architects have on the art market, manner. twenty- Eye deployed The Desiring its representations. multiplied the exhibition a gallery a raised floor in a grid on in and lecterns poles steel freestanding four top with its frame lectern steel a rectangular of consisted Each display space. At first it. suspended over lightbulb a halogen and horizontal segment removed of the impression the gallery conveyed and music stands, resembled they glance a at the floor from Extending and performers. the instruments minus a concert, chair in the vanity the the leg of terminating the mirror not unlike angle, slight position. standing a from seen best are displays the Room, withDrawing - - 2.7 The + Scofidio, Diller Desiring Eye: Reviewing House, instal the Slow Ma, at Gallery lation Japan, 1992. Tokyo, © Fujitsuka Photograph Mitsumasa, Supported MA. Gallery by Toto by permis Reproduced photographer, the of sion MA, Gallery and Toto Scofidio + Renfro. Diller

chapter two 74 1990–1999 75 - - - Case # Soft Sell, and Case # The Desiring and The Pleasure/Pain protruding on their right side, their right side, on protruding ycle C rystal C iquid L show the architects continuing to investigate how new new how investigate to continuing architects the show 8 5 he T exhibited from June from exhibited Falls, Niagara of Strategies Eight Opportunity: Foto To accommodate exhibitions and performances, the waiting room the waiting and exhibitions performances, accommodate 7 To 5 pace: S an installation sponsored by the Chicago Museum of of Museum Chicago the by sponsored an installation Loophole, underscore that liquid crystal film (enabling oscillation between transpar- (enabling oscillation between film crystal that liquid underscore In indicate that it was the that cramped within indicate - Opportunity of it was exhi Photographs Foto The Walter Phillips Gallery at the Banff Centre for the Arts in Canada com- Canada Arts in the for Centre the Banff at Gallery Phillips Walter The Designed the same year, the unrealized 1992 project for the headquarters of of the headquarters for 1992 project the unrealized year, the same Designed extin Art at the Armory: Occupied Occupied Armory: the at entitled Art exhibition an for Art (MCA) Contemporary the Second at 1993, January 23, to 1992, 13, September held from Territory, 12 to July 19, 1992. Eight liquid crystal film panels, mounted on vertical frames frames vertical on mounted panels, film crystal liquid Eight 1992. 19, July to 12 with small audio speakers wall, to the attached sub- the of theory Edmund Burke’s opportunities, photo about texts displayed Niagara of photographs Small intervals. six-second at Canal Love the and lime, narra- tour automobile an played Speakers visible. became intermittently Falls that recalled later the exhibition, who curated Baird, George tion of Niagara Falls. a it had Canada, of images ‘touristic’ a series of pre-constituted with “working - exqui the was the installation case back then, invariably And as was real charge. constructed.” sitely an of instances the last among was it perhaps which reason for bition space, Indeed, wall. a gallery of the flat space realized on and Scofidio Diller installation and through dimensions three in work realize effectively most they it suggests remained since have they exceptions, few With can move. viewer a which around pro audiovisual and graphics, drawings, striking often their exhibiting of wary objects. individual as ductions Eye of the in their work pivot functioned as a technological ency and translucency) torelocate it the1990s and their attempt from space of theto that gallery of the city. actual missioned Juxtaposing written statements, such as observations about waterfront real estate estate real waterfront about as observations such statements, written Juxtaposing plays the exhibition the house, of details architectural including with images other. each off reading and looking Charles and Walker Building (Richard Maritime the Battery in Time Creative wait and office, the to design of a this 1909) lobby, playfulness extended Morris, ing room. scissors lift, a on platform a film projection seating, units for foldable contained a and suggests space storage conserved that simultaneously a stage/screen and real- auditorium an for design the first As relations. viewing possible of fluidity use. of flexibility maximum proposing for notable is it D+S, by ized T Niagara Falls, of Eight Strategies Opportunity: Foto 00-17164/003841983 over frequently Although space. architectural engage could technology display after projects four these commentators, by looked - - - DO DO NOT FEEL, “ ” “DO NOT ” address the viewer in a the viewer ” address installed in the nearly identical identical the nearly in installed Loophole, 9 5 ,” and LICK “ DO NOT ,” FONDLE DO NOT ,” “ The decision to mount an exhibition in a decaying building slated for for slated building a decaying in an exhibition mount to The decision Scofidio describes the piece as follows: as piece the describes Scofidio mit observation. Implicitly, a loophole weakens one system of defense (the wall) to make make of defense (the wall) to one system weakens a loophole Implicitly, mit observation. substitution of walls eye). The ultimate or the defensive one (firearms way for a stronger rendered eye) has electronic and the firearms means of security (smarter effective by more an age in which conflict was thought of from over symbol of defense left the wall a vestigial of external boundaries and the threat defensible interiors, with vulnerable in spatial terms A legal of law. in the context a spatial force retains however, “loophole” The word invaders. of in the otherwise smooth, continuous surface identifies a small defect or rupture loophole intentional can be a skillfully A loophole escape its closure. opening in which to a law—an 60 the destruction of a logic. to omission or ambiguity which leads and undetectable were As the towers tower. in the opposite monitors sent their images to The video cameras of you be a view of what was in front to appeared symmetrical the image on the monitor was no but there might walk by in the monitor a person House)—however (like the Slow - exte hair on a particular window had a cross The view out the loophole in your view. person the window was On a panel adjacent to etc. a window, corner, a street balcony rior site—a , meaning to watch or peer, refers refers or peer, watch English loup, meaning to the Middle from derived “loophole,” The word to per or firearms to discharge used fortification opening in a medieval a small vertical to demolition appears prescient of the now common practice of displaying art art of displaying practice common the now of prescient appears demolition and military facili- hospitals, as schools, such abandoned civic structures in a museum exhibition propose To 1970s. the during that became common ties for idea, novel relatively a was basis, temporary a on only if site, a such occupy Two video cameras positioned in the stairways and directed outward to the sur- to outward and directed the stairways video cameras positioned in Two which interventions,” “window eight and monitors two into feed city rounding of state a between panel fluctuates window Each screens. into portals transform and a momenttrans- of a in which visible, textfictional becomes translucency, a liquid on drawn Crosshairs view. into comes outside the city which in parency, the ban onto Stenciled under surveillance. target the locate panel display crystal TOUCH, the injunctions “DO NOT letters, in uppercase ister CARESS NOT constriction. spatial this from escape Artillery Armory and curated by Beryl Wright, the architects engaged with a a with engaged architects the Wright, and Armory curated Beryl Artillery by transparency in their interest that connected environment architectural unique occu Armory Building the 1993, in Demolished surveillance. of dynamics the to architect German by Building designed the MCA houses today that the site pied 1996. in public the to opened which Kleihues, Paul Josef a had opened in an institution, paradigm of such the arguably 1, P.S. York’s New 1976. in school Queens elementary of wing eastern the in towers stair circular south and north again) once (doubles definitions in title: its two with engages armory, the that might offer affect sensation or any him or her of deprive to as manner so

chapter two 76 2.8 (left) a text describing a particular event that happened at the site captured in the cross hair and Diller + Scofidio, Loophole, installation the text on a liquid crystal film panel would become clear to show a matching photograph at Second Artillery showing the event that was described.61 Armory, Chicago, 1993. Photograph by Diller + Scofidio. Reproduced Cantilevered metal braces extend into the stairwell and support a fluorescent by permission of Diller Scofidio + Renfro. tube from which two video cameras slant downward. The tube provides both structural support and illumination. Evoking the work of minimalist sculptor 2.9 (right) Diller + Scofidio, Dan Flavin, best known for his use of fluorescent lights mounted on walls, it calls Loophole, installation at Second Artillery attention to the shape of the stairwell but also establishes a link between floors. Armory, Chicago, 1993. Eight images and texts present fictional narratives of an office worker, a doctor, a Photograph by the architects. Reproduced nurse, and a resident in an urban neighborhood. by permission of Diller Clearly responding to the logic of doubling through its installation in two Scofidio + Renfro. stairwells, Loophole aspired to employ “symmetry” “to destabilize its plan.” How successfully it realized this aim is difficult to gauge from surviving documentation of the installation. For Chicago architect Ellen Grimes, it memorably challenged its own material and conceptual status:

I adored this installation; it was the most subtle work in a really amazing show. It was hard to find, delicately made, ephemeral, but on the other hand, tough to warm up to. It was part of the building, it melted into a derelict stairwell, unframed, un-composed, almost like some eccentric form of graffiti. It was absolutely a kind of anti-object. It was the only project that really became part of the building; most of the other work, which was very good, was quite confident in its objecthood, but Loophole was not. It makes me think that the offhand, ironic quality to their installation work, which I can’t bear sometimes, might be about a simple stubborn commitment to being submerged in the mundane.62 77 - - - 2.10 Soft + Scofidio, Diller (Times Square), Sell City, 1993. New York Michael © Photograph Reproduced Moran. by permission of the and Diller photographer Scofidio + Renfro. The Notary Rotary, Soft Sell Rotary, is among the most Notary The Solicitation is the ambit, a cross between erotic come- erotic between a cross ambit, the is Solicitation 5 The projection screen is a door, actually a set of doors, but also a mirror, a mirror, also but a set of doors, actually a door, is screen The projection A subsequent indication of the interaction between an installation, its audi its an installation, between the interaction A subsequent indication of armor with the in body Together even more so. more even back upon the viewer the her moving or watching himself while which throws ence, and the urban environment the architects sought took place in the took place sought next and the the architects urban environment ence, installed Soft Sell was film displays. liquid crystal employed they which in project an abandoned house movie 1993 at the Cinema, Rialto from June to December 64 A Times Square. video York’s films in New pornographic screened that once reflective the on appears in close-up mouth female an enormous of projection ticket the from emanates voice Her seductive theater. the of doors mirrored signifi which, of none pleasures, of range wide a for passersby solicits and booth “shameless,” words the doors, the four to on Stenciled sex. involve directly cantly, apertures fluctuating Behind them, appear. and “scandalous” “savage,” “sinful,” additional which in boxes jeweler’s onto open valves” “light call architects the visible. become “innocent”) “virtuous,” (“discrete,” with desire associated words text. only display yet translucency and transparency between The panels oscillate female, and lips clearly voice its of Diller + Scofidio, projects gendered overtly Louis philosopher Marxist the What gratification. promise its seductive, tone its that so ideology by individuals of hailing the “interpellation,” called Althusser you” the “hey in an equivalent finds here addressed, as themselves recognize they 6 the to spectator. directed than rather Words, deferred. Satisfaction is infinitely pitch. advertising and on is language captivating, are lips the if for here, attraction the main are images, aged to produce a work that challenged definitions of conventional media and and media conventional of definitions that challenged work a produce to aged of the armory, trained the walls its sights on the beyond metropolis suggestively come. to projects of harbinger a - propo by investigations contemporaneous suggest to also be read can Loophole conven to relation tenuous its although architecture, nents of deconstructivist a of absence and clear spurning of objecthood, programs, architectural tional 63 D+S had man- design caution against too pushing this analogy far. signature

chapter two 78 1990–1999 79 - the status of an architectural docu the architectural an of status wrote what was in a- archi what was effect public to the wrote letter Times, York New To conflate the conflate 1966).66 To Morrissey, and Paul Warhol Chelsea Girls (Andy And that’s a problem. For while Diller and Scofidio have avoided being eaten alive by alive being eaten avoided have and Scofidio Diller while For a problem. And that’s visual forms is formi- truths into cultural translate The rigor with which these architects Herbert Muschamp, who by this time had emerged time had emerged this who by of Soft Sell, Herbert Muschamp, In his review Throughout the 1960s in nearby theaters, playwright Charles Ludlam staged Ludlam staged Charles playwright theaters, nearby 1960s in the Throughout pub- the role about ambivalence his recalls Wright Calvert member Studio In the field of architecture today, there are no higher brows than theirs. So elevated is their So elevated than theirs. no higher brows are today, there of architecture In the field at constantly that these two are they in academic circles, are esteemed thinking, so highly take to yet be said that they’ve Indeed, it could altogether. out of the field risk of floating . . . there. solid root The a burp. scarcely with up by the art world been gobbled they’ve practice, conventional at peep show: look a teasing an architectural risk now is that they may be turning into from indistinguishable because they are view of architecture anyone’s alter ideas that won’t . . . funny and strange. look the kind of art that is meant to to of desire reduction Sell’s” truth. “Soft is a partial and a somewhat chilly But theirs dable. by for those who might be driven no room leaves transaction commercial a self-deceptive tell the truth about to Scofidio themselves, and Diller like city or, a better make to a desire also dispiriting. but it’s may be democratic, among desires discriminate to it. Their refusal is a “Soft Sell” with a fine sense of humor, engages the life of the street Though the project 69 system. sealed lic art projects played in the gentrification of the neighborhood and suggests and suggests the neighborhood of the gentrification in played art projects lic the former site of the Rialto at the corner of Forty-Second Street and Seventh and Seventh Street of Forty-Second the corner at the Rialto of site the former Sell Soft granting unintentionally Avenue, its disap - before a building shortly in realized Loophole, like an installation, ment, pearance.68 architecture as role in his of Diller + Scofidio proponent articulate the most as critic the for higher: even sights their set to them urged that friends, his then by tects, lips. An exercise in window display and defamiliarization, the piece churned churned the piece and defamiliarization, display window in An exercise lips. mix, audiovisual a dynamic into urban crowd the of reactions the perplexed at display On Scofidio. + Diller by realized installation sound urban first the - entertain family an outdoor becoming was Square Times when the moment the seediness of the unmanicured for nostalgia creates today Soft Sell ment mall, neighborhood. - male mov with local drag queens; productions Company Theater his Ridiculous watch films to congregated Farber, film critic Manny as described by iegoers, Cinematheque the Filmmakers and Mann; Anthony or Fuller Samuel noir by screened subcultures to as home its history forget to is sanitized identity with its now area Creative the by existence called into this instance in avant-garde, an urban and project. art public Time was to hear) difficult as often element of Soft Sell (that he remembers the richest was the situationwhich in it imperfectly, however to acknowledge, attempt its occupies 2001) Fowle, and (Fox Tower Reuters thirty-story the Today, enmeshed.67 in which Diller and Scofidio com- and Scofidio which Diller in Photographs, graphics, video displays, and liquid crystal displays displays and liquid crystal video displays, graphics, Photographs, Case # 00-17164/003841983, # Case studies and labor-saving strategies had been to the discourses of of discourses the to had been strategies and labor-saving studies the and switch they which with ease could demonstrated modernity they options culture, and postmodern modern exploring between 70 exclusive. mutually as regarded never in the studio put the project and a crime, of the results explored DNA experts. technology and forensics with numerous contact tests polygraph analysis, fingerprint microscopy, electron sampling, - video surveil and blood sampling, reports, test ballistic results, interview by accompanied a grid, against unfolded footage lance A sub- a murder. committing of accused suspects of five transcripts laundering developed and money fraud computer involving plot of haunting a series produced Diller panels. crystal liquid five on In its fasci- film noir. that evoke in her notebooks drawings study a that of information quantity infinite the potentially with nation and mapping data with a concern Case shared generate, crime might urban in complex unfolding of events representation the graphic engaged and later Eames and Ray Charles that interested spaces - through Asymptote and MVDRV, Koolhaas, as Rem such architects out 1990s.71 the Muschamp hit upon the strengths and limitations in the work work the in limitations and strengths the upon hit Muschamp - over towere them making and challenged Diller and then Scofidio established not had they that claims his Yet insularity. their come the art being assimilated by and were in architecture themselves the studio that the projects In retrospect, overstated. are world digital toward turn a 1990s prefigured the throughout produced its works Today, and the visual arts. in technology both architecture 1993, did in they than these fields to central not less, more, appear - has gob that either discipline assertion the decades later two and workof his to the was as Attuned he bled them up is unconvincing. - disci their own creating how Muschamp did not perceive friends, would at theworking scale plinary of the and self-definition city system.” “sealed a beyond them move soon was and technology, crime, bined their in the interests metropolis, New The a gallery setting. in film project liquid crystal their last the commissioned City York Art in New Contemporary Museum of Frontier, entitled The Final exhibition a group part of as installation - tempo of modes proposed D+S 1993. 15, August to 7 May from held and as time to media as electronic motion are culture central rality 2.11 + Scofidio, Diller # of Case detail 00-17164/003841983, Final in The installation at exhibition Frontier the New Museum of Art, 1993. Contemporary + by Diller Photograph Reproduced Scofidio. by permission of Diller Scofidio + Renfro.

chapter two 80 1990–1999 81

abject in Feed uet D

LED he the realization of the project. the of realization the T was the urban environment to the gallery of the space from Moving - propos unrealized two of histories the as D+S, for process a slow and in Chicago Ventilator projects, text-display LED for als networks wireless of the benefit without Realized suggest. York, New both media-intensive widespread), yet and not 1991 in (invented wir- of expense the and budgets larger entailed have would works been a permanent to have was Ventilator level. ing beneath ground whose Kleihues museum, new the of steps the front on installation The upon its opening. reception a mixed encountered architecture thirty-two its of riser each of face the transforming proposed studio descrip- a later As surface. reading an electronic into steps front the Neo- thwart “to sought the project put it, architects the tion by whose Art Contemporary Museum of the new to Classical entrance the a art to domain above privileged podium steps elevate their after the steps up of ripping expense the great Yet street.”72 prevented them across six-inch-thick cables feed to construction - 2.13 + Scofidio with Diller 1993. Lewis, Feed, Paul by permis Reproduced Scofidio + sion of Diller Renfro. 2.12 Ventilator, + Scofidio, Diller at for installation rendering Museum of Contemporary Art, 1993. Chicago, by permission Reproduced Scofidio + Renfro. of Diller

- - - exhibition exhibition eries S ousework H exhibited from April 21 to June 23, 1993, under the title Dysfunctionalisme the under 1993, June 23, to 21 April from exhibited ress: P Diller + Scofidio suggest the task of ironing is governed by minimums: by governed is ironing of task the suggest Scofidio + Diller Bad Press: Housework Housework Bad Press: the installation was direction new this in step The first a rect of pocket a into tucked a sleeve shapes, in elaborate and ironed Folded (cropped a male body of a photograph included wall the gallery Although in 1993 with the help of studio collaborator Paul Lewis Lewis Paul collaborator studio the help of with 1993 in Feed developed D+S and codes, such as proper techniques of shirt ironing, the American fondness for for American fondness the of shirt ironing, techniques as proper such and codes, and localized simultaneously generalized. travel, air and airports and the lawn, Series, 18 to and from November France, Contemporain Castres, de at d’Art Centre the men’s Eighteen York. Gallery in New Anderson Richard the at 1993, 18, December the gal- in pattern a rectangular formed boards six ironing on shirts displayed 1950s text on shirt a an from posted excerpt the architects On the walls, lery. housework. and management scientific on them by statement a and ironing an and a triangular inside-out facade with a a of noose, bow irregular pleats, angle, sartorial everyday the shirts parodied sleeves, arranged asymmetrically with wedge the labor of the body, regulating around issues larger and suggested conventions and time and motion studies. women, performed by traditionally ironing pro exhibition the shirt, ironed folded “correctly” a wearing head) the below Wright) Calvert Its model (architect as ridiculous. propriety posed conventional abnormal the everyday rendered Press Bad shirt.” “stuffed a becomes literally yet not has which practice, ironing” “dissident a for manifesto a became and - exhib piece the of variations Later on.74 caught purposefully, least at or widely, Scanning 2003 the in Art American of Museum Whitney the at ited for permanent installation in the Park Avenue and Thirty-Third Street No. 6 IRT No. Street and Thirty-Third Avenue the Park in installation permanent for red of signboard LED an embedded have would It in Manhattan. station subway - broad continuously to platform southbound the of length foot 90 the in letters columns station from seats unfolded Individual weather. and sports, news, cast have would the floor in embedded texts Metal platform. the of side western the on and jux system transportation underground York the New of the history explored the Although chronology. a fixed with events the breaking of the delivery taposed killed by was project the feed, news supply to agreed had Bloomberg organization the in new chapter a realized, been Had it art. of subway in charge official a city 73 commenced. have might York New in reading public of history long Bad urban LED two their rejection of the by undeterred remained Scofidio and Diller perme- a theme that would standardization, to investigating and turned projects theto obstacles Recognizing activities their ate in the latter 1990s. half of the conventions spatial explore to began they cities, in works site-specific realizing Museum Francisco San the of collection permanent the in included today and on rotated wearer the of body the which in video a introduced Art Modern of platform. a

chapter two 82 1990–1999 83 - a com shirt to the returns shirt habitually of a man’s pattern ironing The standardized storage— of orthogonal systems into which fits economically form rectangular pressed, in the display reinforced of manufacture, the site from for delivery cartons into packed and shelves, closet and drawers at home in dresser space, sustained cases of retail - reconfig to is expended of labor A minimum home in suitcases. the from away perpetuated modular a two-dimensional into facets, unit which a minimum of flat the shirt, through ure of efficiency of orthogonal logic of space. When worn, the residue will consume a minimum of a corners and crisp square creases the body. The parallel on the surface of is registered of and distinction: the by-product refinement represent come to have shirt pressed clean, 75 object of desire. efficiency is now the 2.14 Bad Press: + Scofidio, Diller 1993. Series, Housework Michael © Photographs by Reproduced Moran. - permission of the photog Scofidio and Diller rapher + Renfro.

- 82 ’s first exhibition in first ’s Bad Press indow W appeared contemporaneously with the translation into with the translation into contemporaneously appeared ourth F depicted twelve offices, some occupied by active inhabitants, oth- inhabitants, active by occupied some offices, twelve depicted Overexposed The installation - architec the domain of tectonics, of a parody as compelling is most Bad Press verexposed/ English of a book by Gilles Deleuze on Leibniz and the baroque, just at the the at just the baroque, and Gilles Deleuze on Leibniz by a book English of To overlook ironing as an efficiency technique is to ignore the organization of the organization to ignore is technique efficiency an as ironing overlook To urban buildings, that compose the bricks to the box, to the shirt, from space, their claim never the architects Yet the and form of the ultimately city. grids, which constrict by practice a superior shirts represent ironed asymmetrically or merely everyday, the of form ideal An be circumvented. can codes spatial ing until not and project, the in found be to nowhere is ridiculous, not is that one initial an overcome and Scofidio do Diller the Brasserie renovation and Slither norms. proposing designing or comfortable become and suspicion of usefulness with an the to oppositional comfortable stance fold suggests Their approach a European as their loft that permeated starch the odor of if not indeterminacy, shirts. cheap of dozens ironed painstakingly corner a in intern articulation the with of concerned and joints 76 ture surfaces. accustomed Long Diller and in detailing, overindulged the to that their architecture criticism Diller some- 77 ludicrous. as it present and the norm upon heap irony Scofidio the how of a reminder in her lectures, instructions the ironing times recited in one case replacing it with lustrous female lips. Panning to the left, the camera the left, to Panning lips. female with lustrous it in one case replacing and floor one down pans then It minutes. two around for office each on holds moment when the fold was becoming a major issue of 1990s architectural the- a becoming major 1990s architectural moment when the was issue fold of the publication accompanying Significantly, ory.78 79 accordion. an of manner the in folded and bilingual is France O video Overexposed the in prominently figured standardization Architectural the for Center Getty the organized by a conference during that Diller premiered “Cine Institute), Research Getty the the Humanities (today and Art of History held in Santa Monica, 1895–1995,” of Urban Space, and Perceptions Film City: continuous-pan a twenty-four-minute 1994.80 It was 28, on March California, ABN-Amro the Building (now Pepsi-Cola former the in workers video of office Fifty-Ninth East Sixty-Two aka Avenue, Park Hundred at Five Bank Building) with Natalie de Blois Bunshaft Gordon and designed by 1958–60 built in Street, an in Diller read video played, the As Owings & Merrill (SOM).81 of Skidmore, that a text described the visible and their activities. people emotionless voice Privacy 3M/Viracon/Martin for video a promotional she played doing so, Before and cultural architectural the in interest Scofidio’s and her explained and Glass 83 material. new this of investigation slowly which frame, the in visible entirely is a time at office one Only empty. ers and the scene, upon freezing color, to white and black from in its center morphs projects of D+S often involved architecture as performance and text. and performance as architecture involved often D+S of projects

chapter two 84 1990–1999 85 (Jacques Tati, 1967), 1967), Tati, (Jacques Time Play evokes comparison comparison evokes Overexposed and its evocation of modern architecture in postwar French French postwar in architecture of modern and its evocation Time Play “Hyper-sightedness,” the valorization of transparency by twentieth-century twentieth-century by transparency of valorization the “Hyper-sightedness,” The standardized offices prove stubbornly resistant to explanation or compar- or explanation to resistant stubbornly prove offices The standardized What does capture attention is the curtain wall facade of the building, whose building, the of wall facade the curtain is attention capture What does the from comedy no extract and Scofidio Diller for the similarities end, Here In early modernism, glass was to liberate vision from the disciplinary confines of masonry. of masonry. confines the disciplinary vision from liberate was to modernism, glass In early the emerging And like an instrument of disclosure. of “truth,” a material It was considered space and information in a world democratize to it promised today, technologies electronic wall was becoming the the curtain While available. become transparent, to guaranteed that the it was becoming evident of the twentieth century, technology dominant building - observa itself to the outside also exposed vision to unlimited which permitted technology Glass was, all of a sudden, a two way system. same outside. The gaze that very tion from 85 and control. of surveillance was becoming an anxious material architects, the building they scrutinized was one of the few international style style international the few one of was scrutinized they the building architects, at SOM. architect a senior Blois, Natalie de woman, a by designed towers office land- a historical today her building, it in detail restores study to Their decision office workers, nor do they ever include any sound, interior or exterior, a key key a exterior, or interior sound, any ever include they nor do workers, office element of his camera often and angle, skewed a slightly films from Tati society. technocratic lens telephoto a utilize consistently and Scofidio Diller the scene. toward moves pan. neutral affectively more a and acknowledged: architects the as video, the of target the is architecture, inno- of possibility the denying as understood rewardingly is most Overexposed decisions set of formal any that the belief and architecture in materiality cent specific a historically from or dissociated clean of ideology can be stripped the if not recalcitrant, a particularly as transparency It presents visual culture. the to unbeknownst apparently and Ironically, of opacity. form recalcitrant, most moves six offices to the right, as if obeying the arbitrary logic of a crossword crossword a logic of arbitrary the if obeying as the right, to offices six moves a pigeon flies appear in windows, reflections their at desks, work People puzzle. filming. the notice to seems inside one No frame. the through lateral the clear make yet offices the demarcate mullions aluminum silver images, these Over a frame. as appears what initially beyond of space extension spe- with systems imaginary glass different advertising times, three floats text directs overlay This strength. and transparency of heightened cific properties (and seen-through making its normally the glass, to viewer the of attention the object. primary transparency unnoticed) as if taking a cue the title from ison, of the video. 1964) and Warhol, as Empire films such (Andy to Building), State (the Empire iconic one towers, office which represent both of - urban style international represent to constructed film set (a the other generic and Scofidio Diller Tati, 84 Like affect. of free style neutral a deliberately in ism), - architec cubes of modern the cell-like occupying the sight of people approached the ordinary. a as to estrange chance ture - - 2.15 + Scofidio, Diller Overexposed, 1994. photograph Composite Scofidio. by Ricardo by permission Reproduced Scofidio + Renfro. of Diller A parody of transparency was central to “The Fourth Window,” which Diller which Diller Window,” “The Fourth to central was transparency of A parody - work their clues into revealing provides of Overexposed making actual The ing methods. Paul Lewis, a former student of Diller’s at Princeton, who joined joined who Princeton, at of Diller’s student a former Lewis, Paul ing methods. a glass of in search Manhattan around walking spent days 1993, in the studio the quarterly publication publication the quarterly 1995 issue of Forum, the May realized in and Scofidio with In collaboration Amicitia. et Architecture Society Amsterdam-based the of mark, to well-deserved visibility, while suggesting that the video “notation” sys video the that while “notation” suggesting visibility, well-deserved to mark, themselves they even which of urban histories profile could employed they tem unaware. been had proportions the rectangular matched windows whose skyscraper curtain–walled - conse the is in fact surveillance effortless appears What of the video frame.86 a technology, image and moving architecture of matching a careful of quence window that begins with production architectural process selecting an existent on speed weighed in Diller After video. that of to identical ratio aspect an with (converted Delmonico the Hotel from filmed and Lewis Scofidio and sequence, in Their presence apartments). condominium Avenue Park Trump to in 2004 a with a video thestreet in theroom at across camera Disney offices directed a and employees from hours three or two after complaints elicited Company that (all day the of remainder the for continued Filming manager. the from visit professors were and afterLewis they Scofidio explained allow) the would budget labored Scofidio structures. wall documenting important curtain architecture of an early utilizing image, composite a in offices twelve reproduce to intensively hand craft in effect layering, for allow that did not Photoshop Adobe of version a ing a with rendering computer.

chapter two 86 1990–1999 87 - . Fourth . Fourth deals made deals made I eitgeist Z esterdays esterdays Y © gives back to glass Modernism’s Modernism’s glass back to © gives spurns the catchy aphorisms Flesh aphorisms the spurns catchy VIEW - VANITI © the first environmentally-correct neo-narcissistic reflective reflective neo-narcissistic environmentally-correct © the first VIEW - paceof Book” the S VANITI Although 1994.91 Although numerous Flesh: Architectural published in Probes, pecific S - ite - auto lyric poetic or color, vibrant printing, Flesh spurned fine letterpress S At once an engagement with the tradition At an with the tradition of artist once books engagement flourishing in the Titled with obvious reference to the interview with Paul Virilio, “The Third “The Third Virilio, with Paul the interview to reference with obvious Titled he of knowing that you can always see yourself. Enhance your glass. Enhance your glass. see yourself. always with the comfort of knowing that you can Perform Resurface it with so that twenty-four-hours-a-day night time reflection inner coating which simulates glass on. look as others yourself you can watch of doubt. with the postmodern assurance feeling of “mastery” for the New Humanism.90 Products Window™ Architectural possible through tomorrow’s technologies for today’s for today’s technologies possible through tomorrow’s T typographical parries of Kruger’s work, yet yet work, Kruger’s of parries typographical art. in her found pain often of bodily intimation and am”) I therefore (“I shop the sprawling anticipated imagery and found of design projects alternation Its “ of language the through filtered humanism” new “the of vision caustic This as a attractionfor the coming next and served glass technology advertising the single-authored but a building or installation not the studio, by project monograph, - lan many in appeared had architects the by projects treating reviews and articles the work with printed to them the firstopportunity offered this volume guages, call “the they what in or pamphlet, a magazine spread than a scale larger at page 92 book.” the of space specific site 1990s, of serial structures the repetitive or agitation, political expression, biographical association with any avoided it strenuously Designed hand, by art. conceptual com- cultural and art graphic commercial between line fine the trod and craft jux confrontational her in explored had Kruger Barbara artist that mentary and irony, barbed imagery, media of appropriations deft the appreciated Scofidio Lewis, they published three advertisements for fake brands of glass they termed termed they glass brands of fake for advertisements three published they Lewis, and Le as Loos such architects While earlier 87 and Recipro-View. Vanti-View - and concep with product endorsements, Corbusier themselves had associated placed had Kaltenbach and Stephen Lee Lozano, Graham, as Dan such artists tual of the promotion 1960s, the during in newspapers advertisements counterfeit previously been have to appear does not materials architectural nonexistent 88 architects. by explored ad the campaign - pro on the House, their work Slow in acknowledged Window,” and the window, form of a motes glass hyper-transparent the to subsequent door, - advertise 89 The first visual experience. of forms new and promotes the screen, reader: its implores ment and Diller 1990s. 1980s and and during the photographs tapositions of words - ), and ), Tourisms ( the eye ), Para-Site A Delay in Glass, or The Rotary Notary and Notary Rotary The or Glass, in Delay A Eschewing linear chronology or biography, biography, or chronology linear Eschewing 94 Before segmenting the body, they establish a set of establish they the body, segmenting Before 5 Diller and theScofidio designed the width crack of theto accommodate spine On its front cover, a photograph of Diller’s right buttock is photographed with photographed is right buttock of Diller’s a photograph cover, On its front The “Flesh.” word the to next appears type A superscript number one in green Omitting a table of contents and captions exacerbate what are likely to be Omitting a table and of what are likely contents captions exacerbate Architectural monographs typically serve as visual calling cards to introduce introduce to calling cards visual as serve typically monographs Architectural S,M,L,XL the published notably architects, by books 1990s of other inclusiveness 93 Koolhaas. Rem by year following cover. Turning to the title page, the superscript a at the leads to footnote bottom the title to page, Turning cover. relations in all bordering the of ‘body’ surface outermost a definition “the with - to human place corporeal the aspirations of the volume It announces ‘space.’” marks. quotation in space and ity - of experi the regions and parts a series of descriptions of body as Flesh unfolds of the spaces as well as and social levels, cultural, on somatic, promote they ence viewing television the the museum, the officepsychotherapist, of thethe bed, the and table. kitchen room, areas to other relation and its of its design rest the which from their buttocks, of 9 followed. anatomy of human and ordering ordered of critique a for axiom the as proportions of system a rules, vision and investigating A tension between and culture. in architecture systems ani matrix a conceptual presupposes that analysis such and recognizing space lets on. disorder apparent than its enterprise rationalist a more the book, mates the chest Flesh treats (Bad covers, and back the front on the buttocks with Starting a studio to prospective clients or to anchor its historical reputation. Flesh is reputation. its historical anchor to clients or prospective to a studio the definitive be well and may its creators work of the celebrating to indifferent century. twentieth the of the final quarter of book architecture table non–coffee professional little personal or contains program, aesthetic no It promulgates to challenge a is and buildings, completed of photographs lacks information, traditional respect to unwillingness Its obstinate end. to beginning from read it can plausibly where is visual imagery, of borrowing any than more categories, be artist an called book. buttock (hairier) left Scofidio’s letters. text in cut-out stamped “Flesh” word the the up way them runs half the crack between and the back cover on appears when Even a seamless montage. and hers in his joining the binding, spine of in this than more ironic a instance gesture their the world, rear ends to showing detailing. high-level to commitment their reveal Scofidio and Diller aggressive, at the top appear of the names and the authors’ Probes” subtitle “Architectural Photographs of the architects (presenting the Slow House at a public hearing) at House the Slow (presenting architects the of Photographs any circumventing out, blacked their faces with volume the in but once appear “The Mutant Body Teyssot, by essay An introductory function. possible publicity ), the torso torso the withDrawing (the room, ), Press figure (Overexposed, the walking His Hot Plate), of Diller + Scofidio the projects of taxonomy a It is (Soft Sell). the mouth finally one. in them of record historical a and work. this with familiar already not readers for transitions frustrating) abrupt (and

chapter two 88 1990–1999 89

- Pleasure/Pain, and a Para-Site; mock demonstrate the plurality of modes—archi of plurality the demonstrate A Delay in Glass, or The Rotary Notary and His Hot Plate. His and Notary Rotary The or Glass, in Delay A the withDrawing Room withDrawing the - aes an describes Armstrong Tim 1922, Waste published in Land, first The Laid then the out husband and wife by design team of Champ and Heather from stills page; a single on sections of installations and plans, Photographs, of Writing culture. media postmodern in clothed text a modernist Flesh is Brendan Cotter, the book utilizes multiple type fonts and sizes (sometimes as as and sizes (sometimes fonts type utilizes multiple book the Cotter, Brendan manual of typography a from examples suggests and a page) on five as many careen letters gray and black, white, italic, in bold, Words 97 avoid. to practices Its appropriation of appropriation Flesh. Its coinhabiting and narrative political, cultural, tectural, - of détourne the service at design employed the graphic recalls media imagery thetic credo, if not a distinct attitude toward the culture or waste and recycling, recycling, and waste or culture the toward attitude distinct a not if credo, thetic the to book D+S. by applicable equally 96 montage. of cultural practice their own by inspired a manner clearly duction in and Balzac Derrida Jacques citations from 102, On page directions. in multiple cinema Code of Hollywood the Hays of how an explanation alongside appear and the ends Room withDrawing suddenly, of the Presentation beds. represented the to shifts then discussion The 136. page to directed is reader on pages thirty-two after advertising articles, excerpts fromtelevision newspaper programs; films and and transcriptions to visitor slogans of images; reactions doc- with interspersed therapist their sex and married couple a between dialogue of umentation as the Xerox high-contrast as well internationale situationniste, the journal ment in on Tourisms text a D+S had published which in semiotext(e), of journal aesthetic 98 architecture. to 1992 issue the in devoted Eliot’s of Architecture,” links their projects to histories of architectural and visual and - pro their links to architectural of histories projects Architecture,” of Flesh: Architectural Flesh: Architectural 2.16 cover + Scofidio, Diller of published by Probes, Architectural Princeton 1994. New York, Press, by Diller Photograph Reproduced +Scofidio. by permission of Diller Scofidio + Renfro.

- - was irreducible to them. Architect Raphael Berkowitz, a a collabora Raphael Berkowitz, Architect them. to irreducible was Flesh ar W While many architects and scholars throughout the 1990s attempted to define 1990s attempted the and throughout scholars architects While many ings. Like a potlatch, it participates in a paradoxical order, destroying culture in order to to in order culture destroying order, in a paradoxical it participates a potlatch, ings. Like moment: it cannot its cultural into is knitted production of waste it. The process reinforce both the abject material; because it is waste out” waste, all the “edit cannot) (and Pound as it its own moment continue, creating to culture which enables surplus and a valuable 99 without waste. no production can be its abjection. There orders The materials of mass culture are crammed in. . . . The poem seems to revel in excess, excess, in revel seems to The poem in. . . . crammed are culture of mass The materials borrow cultural and eclectic piling of allusions in its gratuitous conspicuously consuming It must be clarified here that architects grapple with the socially constructed body more body more constructed with the socially grapple that architects here It must be clarified Modernism icons of High and Late plastic” admit. the “pure, to Even than they will care has rather, denial. The problem, of the body’s expression overwhelming with the resonate the body and regard to practice architectural of contemporary been in the reluctance shaped the constructs which have from constructs, inseparable space as interdependent it gets there— before constructed admit that space is already to refuses them. Architecture Space is nothing other than “contractual” and socially. morally politically, coded legally, a into enters architecture frequently, All too of architecture. in advance and is prescribed it. which employ with the systems in collusion 102 role, regulatory simple old allow architects and graphic artists to realize designs that are perfectly and to random artists realize that are designs perfectly graphic architects allow balanced. perfectly or - direc the opposite in moved Diller + Scofidio their discipline, of autonomy the of Flesh, sentence it.101 The first if not explode destabilize, to and sought tion Clearly in dialogue with a multitude of sources—earlier literary modernisms, modernisms, literary of sources—earlier a multitude with dialogue in Clearly - impro and Dada/surrealist performance, art, conceptual cinema, photomontage, priety— the final hand (among by it out spent laying the hours recalls volume, the on tor or The Glass, in A Delay of slides selecting and studio) the of projects predigital - that appear visual its suggests a recollection Notary and His Hot Plate, Rotary 100 Today decisions. of quick or haphazard the product but anything was ance take yet when designs did not House, the Slow that of like a moment, it evokes and of eye the interaction through and emerged screen the computer shape on or disorderly arbitrary Its seemingly algorithm. and than keyboard hand rather today that programs software computer the from era different a of are pages Diller and Scofidio negotiated the divide between producing immanent criti- producing the divide between negotiated Scofidio and Diller positive a realizing and projects their in environment built existing the of cism “Deviants, by definition, cross lines,” not only attacks the Florida statutes defin- statutes the Florida attacks not only lines,” cross definition, by “Deviants, the later, pages Several a self-definition. but offers public exposure ing indecent architecture. of critique their present architects C

chapter two 90 1990–1999 91 5 proposed in 1995 to to 1995 in proposed War, Cold An elongated male face, stretched in close-up to fit the hockey hockey the fit to in close-up stretched face, male elongated An the horizon line between relationship traditional the Altering Paradigmatic of this turn was was Paradigmatic of this turn - a per as Florida, Lauderdale, Commission of Fort Art the Public of home Arena, Civic County Broward the in installation manent A nontraditional screen was also central to the the to and set also projections central was A screen nontraditional + that Diller Phaedra of Racine’s production Maguire’s Matthew for - video projec grid of overhead a designed They screen. projection a captive of “the expectations foil would whose programming tors cul- “a instituting by a sporting event” witness to perched audience presentation extensive 103 Their most of ‘battle.’” framework tural with prepared and 1996, 9, October on submitted was the client to Harry and Inc. One, Wall Artsis of Mobile M. Steven consultants Spielberg 104 of Associates. Consentini hori- traditionally the rotating by possible the effects suggests field, blue Rippling axis. vertical a along 90 degrees zontal film screen the in projected “Host” word the with pool a swimming in waves over tipped being the pool video of a sample in appeared center although commission, art the captivated It water. of emptied and the cover to required number of projectors the large of the expense 10 project. the killed rink the of surface the film screen rectangle of the by presumed figure the human and chal- a not if effect, a defamiliarizing produced have well could have theories of cinematic identification film scholars the to lenge 106 Seated pictures. motion of the experience explain to posited flat traditional a of behind the rink instead around 360 degrees toward orientations distinct occupied have would viewers screen, space. the performance part of an integral their bodies the image, program with little evident discomfort. Indeed, their practice elides their practice Indeed, discomfort. evident with little program and objects new create to time came the When this distinction. their skills and with the to spaces establish potential cultural norms, build- numerous designed Having well. them served high standards as did his helped Scofidio, undoubtedly in his career ings earlier - andtechnol building automobiles, affectionfor machines, genuine form. architectural of sense refined an equally Diller possessed ogy. fond equally aesthetes modernist sophisticated are they Improbably, the mid-1990s they began to By of and technology. media culture and spectacle positions viewing the that confronted design projects culture. mass of - and rheto violence The League. Hockey Ice National the Panthers (which Scofidio sports events in professional ric of competition warfare as a to fan) and their institutionalized similarity well knew wide feet field (85 the immense ice So did architects. the intrigued video oriented a horizontally as and its potential long) 200 feet by - 2.17 render + Scofidio, Diller 1995. War, ing of Cold by permission Reproduced Scofidio + Renfro. of Diller - - Cuts also Jump to sought over Loophole, and Para-Site Adjacent to condominiums, shopping, and a repertory a and repertory shopping, to condominiums, Adjacent 108 concept. Screens projecting words suggestive of the mobil- of suggestive words projecting Screens Machine concept. Text uts it is analogous to watching live performers shift onto the screen. As people As people the screen. shift onto performers live watching to it is analogous through C a media installation that commenced as a public art commission for the Santhe for art commission a public as that commenced a media installation The San Jose Urban Design Review Board sought to differentiate the mar- differentiate to sought Board Urban Design Review The San Jose Risers on the escalator were to display single letters or words in loops, revisit in loops, words or single letters display to were the escalator Risers on the view of the activity in the lobby seen from the street with video views of those activities with video views the street seen from the view of the activity in the lobby - inside-out and back, flipping the building electroni within the building—thus, from taken and bodies the marquee onto between bodies projected this fluctuation Watching cally. seen - atten attract form of entertainment, will inevitably is the ultimate the marquee watching the publicness of the public space of thus adding to the theater, itself as well as to tion to 111 the Paseo. ity or stasis of the film-viewing experience made up the other text machines. An machines. text other the up made experience film-viewing the of stasis or ity ing their After having made a strong strong a made having After 1996.109 in and completed Architecture Poeschl finalistsfor the adjacent impression on members were of the when they board “a mar- to design commission the obtained Diller + Scofidio theater, repertory in a schematic proposal submitted 110 They century.” quee the twenty-first for in inherent of ‘spectacle’ atmosphere the “to contributing advocated they which exchanging proposed and program” the the aspirations of Evoking their initial proposal, In space. and exterior interior between distinctions come Translucent installations. several but one not was effect in what outlined D+S - trail movie displayed have would and glass plates machines,” “text video screens, to thanks in plan the escalators presented the street, to the lobby opened ers, projection the from filmed interiors theater to cut then and cameras, overhead booths. Scofidio designed that same year, in which a single-hinged wall was divided into into was divided wall a single-hinged which in year, same that designed Scofidio 107 projection. rear for segments four Jump with Jump architects the for a reality became the city of the space in Working Cuts, Redevelopment Jose San the 3, 1994, February On Affairs. Cultural of Office Jose land cinema on empty a multiplex of the construction approved Board Agency Streets and Second First between Antonio de San the Paseo side of the south on downtown. city’s the in within a and entertainment pedestrian envisioned the was house movie theater, American idiom for dominant now the and lobbies, with glass facades district San West 50 Developer mall. suburban the of age the in regeneration urban run to Inc. Circuits Theater Artists with United contracted Associates Fernando Cineplex. (UA) Artists United the and Robert and Partners Kenneth Rodrigues the cinema designed by quee from

chapter two 92 1990–1999 93 A change of ownership of the movie theater also cast the the also cast theater the movie of of ownership A change If the project sought not only “a technological revision for this transmission transmission this for revision technological “a not only sought the project If the passerby and allowed transparent the were screens During the day, the design commission concerned the installation of viability Long-term to view the interior of the theater through texts applied to the to surface of the applied texts the view interior through to of the theater distribution standard for movie trailers led to the deactivation of Jump Cuts for the deactivation to led trailers movie for standard distribution the platform. recent more accommodate to while retrofitted it was years many a trailers, movie only displayed video monitors its it in 2010, visited I When last advertisements as well. temporal and the designed Diller and order even Scofidio as well. advertisements displays the light do for would later they as just the media displays, of alternation Hall. Alice Tully of walls wood translucent the through visible such of realization the seduction,” urban of rethinking a but information of and had anticipated to than the architects turned out be goals more complex elimination the forced limitations Budget years. fifteen over out stretch would In halls. the movie inside from of images transmission and machines text the of that screens 5' × 6' 8" liquid crystal twelve comprised the design its final iteration, lobby. the inside projectors from images video received translucent when the esca- of views with alternated trailers of movie projections At night, screens. their in trailers the of the projection on insisted UA and elevation. in plan lator a - com by be controlled would with the views escalator which together entirety, puter.112 became part of backup hardware and purchase contract a service and on, early budget. the project of it purchased Cinemas, Camera owner, Its present in doubt. the project of future the laser disks on the commercials edit out to needed managers Theater in 2003. the as DVDs by laser disks of Replacement supplied. were trailers the which on electronic sign composed of LEDs was to present movie information, perhaps perhaps information, movie present to was of LEDs sign composed electronic 2.18 Jump + Scofidio, Diller © Photograph Cuts, 1996. Reproduced César Rubio. of the by permission and Diller photographer Scofidio + Renfro. by D+S, D+S, by albeit in a gallery a gallery albeit in Moving through a a through Moving 5 Its dialogue, intended to to intended dialogue, Its 113 Jump Cuts. Jump through a touch screen menu that allows the touch screen a allows that menu through Indigestion Diller and Scofidio videotaped couples whose mannerisms evoke distinct distinct evoke mannerisms whose couples videotaped and Scofidio Diller space, information” “multi-layered a produce to was intent the Case, in As ndigestion These bad dates culminate in one person being poisoned. being poisoned. in one person culminate social milieus.114 These bad dates themes. common a set of on variation each characterize pattern and Cliché - a critique of “reduc call architects the what realizing of additional goal the with and fact/fiction, class, high class/low as masculine/feminine, binaries such tive remain subject must apparent was this effect Whether or not 116 virtual.” real Cooper, voice-directed by Marianne Weems, and produced in 1995 at the Banff Banff the at 1995 in produced and Weems, Marianne by voice-directed Cooper, environment virtual and video interactive it employed Media, New for Centre options. installation flexible more with technology of silence the with contrasts noir, film evoke into enters Interactivity between switch to and the characters and class of the gender specify to viewer the film It evokes the narrative. in the same place at remaining while them 11 a combinatory. of logic the structuralist if not remake, which organized visually a became version the of dining table, magnified room possible adjoining an in was room. database, art projects continue to raise. to continue projects art I War, Cold the unrealized of atmosphere The conflict-fraught project the next defined arena, hockey an ice than intimate more space Douglas by table called Indigestion. Scripted a horizontal onto video projection a reminder of the technical complications and maintenance issues public media issues public media and maintenance complications technical the of reminder 2.19 + Scofidio, Diller Indigestion, 1995. by Photograph the architects. by Reproduced Diller permission of Scofidio + Renfro.

chapter two 94 1990–1999 95

- suggested that the relation of D+S to the productions productions the to D+S of relation the that suggested rogram . . . P his T Indigestion and and nterrupt I deals with the false promise of interactivity. The audience has the illusion of has the illusion The audience of interactivity. Indigestion deals with the false promise by making of the story, the direction control to be able seem to power—they narrative subject only unyielding, ultimately proves yet each narrative meaningful choices—and is narrative interacting the case: a complex And this is generally the will of the author. to is process the narrative to sense of contributing and the audience’s scripted, invariably a preconceived through take path they wish to choosing which At best,illusory. they’re and it was interlocutors, combination of various possible deal with every I had to structure. art is like interactive that “creating warned in advance had been a serious headache. We the truth of this when we’d realized fully but we only brush” with a tooth your loft cleaning bits mesh.118 all the narrative make to trying spent some weeks e and postmodernism. Their most significant attempt to work in the media and and media the in work to attempt significant most Their postmodernism. and Interrupt We proposal, Center CNN 1997 unrealized the was sector information Atlanta of the with Stuart Romm, on which they collaborated . . . This Program noir, and full of bad acting. Cooper offered an instructive assessment in an inter an in assessment instructive an offered Cooper acting. bad of full and noir, later: years four published view W Cuts Jump novel admitted and and formulaic simple never were industry the culture of modernism among that unsettled distinctions possibilities of engagement to conjecture, for the published reviews offer praise but not much detail.117 praise offer the published reviews for conjecture, to than film witty less pedestrian, is often of dialogue the recitation Lamentably, 2.20 + Scofidio with Diller WeStuart Romm, . . . Program Interrupt This by permission Reproduced Scofidio + Renfro. of Diller - - - - and in which a prere media also alternated lived screen Diller, Scofidio, and Romm acknowledged this fascination withtrans media Romm acknowledged and Scofidio, Diller, a 96' × 30' clock,” A “satellite ambitious. more was architects the of The project This design sought to give spatial form to the experience of liveness and and liveness of experience the to form spatial give to sought design This acsimile Center located at the intersection of Howard and Fourth Streets in the downtown downtown the in Streets Fourth and Howard of intersection the at located Center Buena Yerba the larger in complex a shopping and a park by Surrounded center. gather and professional fairs trade private hosts Center the Moscone Gardens, - been comple have to was the earth, of an image projecting display liquid crystal half-hour at building the on down and up climbing cab” “video a by mented in panels LCD A grid of smaller the entrance. at video marquee a and intervals - and trans news programming between alternated have would atrium the central tamer media a commissioned later CNN management Regrettably, phases. parent the next of elements the key the design inspired Yet atrium. the in installation D+S, by major project of the facade around but horizontally, vertically not and rotated, footage corded the ones like that, cameras by complemented Center, Moscone San Francisco’s 120 views. exterior and interior broadcast Center, CNN the for planned F - their proj cinematic of the most As 1996. in on Facsimile work D+S commenced environment, studio a in of scenes hours twenty-four filmed they which for ects, architecture among relations the of their understanding illuminates richly it agency (SFAC)—an Commission Art Francisco San The images. moving and which funds Art ordinance, for Percent art enrichment the city’s by supported or of new budget the construction of percent two to up art for of public the costs the won Diller + Scofidio Facsimile. civic structures—commissioned renovated Convention Center Moscone R. George the in their project install to competition - an inves as commenced project The + Pearsall. Romm of studio architectural Georgia of taught at that Institute Romm studio tigation in an architecture Technology. the addition to an and involved trademark the of the network temporality, Park Centennial from across designed complex Center Omni fourteen-story - prop the acquired Turner Ted Stainback. and Ventulett Thompson, by 1976 in Omni the began as an Revealingly, and Center. CNN renamed it the 1987 in erty fail financial a be to proved but complex entertainment and shopping indoor a second acquired until it suburban residents spurned by city the central in ure a as life center. broadcasting under- here screens, around it organizing by their design proposal mission in Dara Birnbaum had artist 1989, In city. the contemporary the heart of as stood video Atlanta monitors in an a proposed similar of twenty-five idea a wall for images. manipulated with digitally footage live that combined mall atrium change a and installed was it which in mall shopping the of fortunes Declining 119 operation. its derailed later developer the by mind of

chapter two 96 1990–1999 97 Hellmuth, Obata, and Kassabaum designed Moscone South, which opened in South, Moscone and Kassabaum designed Obata, Hellmuth, of sixty-two candidates (which included Jenny Holzer, Anish Kapoor, and Nam Nam and Kapoor, Anish Holzer, Jenny included (which candidates sixty-two of the selection panel teams, six of a short list to this and narrowing June Paik) on the commission them awarded and 2007, 14, D+S on January interviewed ings, and the paradox of realizing public art in a setting with little public access access with little public a setting art in public of realizing the paradox and ings, architects. the captivated space public or (the West and Moscone North Moscone additions, two Gensler designed 1981. which Architecture), Henmi Kwan and Architects Willis latterwith Michael - qualifica for a request circulated the SFAC 1996, In and 2003. 1992 opened in the of visibility the client is the for major consideration a “a stated that tions was it since Complex” the Moscone as part of and its identification building a national pool screening After 121 structures. the older from away a block located 2.21 + Scofidio, Diller sketchbook Facsimile, nd. Reproduced entry, of Diller by permission Scofidio + Renfro. - - In the Request for Proposals Proposals for the Request In 5 This scheme is modified again in the proposal submitted by the architects on architects the by submitted the proposal again in This scheme is modified sent Alan Burden engineer structural Scofidio, a query from to Responding Early ideas appear in a series of renderings dated April 10, 1997, produced produced 1997, 10, April dated renderings of a series in appear ideas Early single a on settle 1998, 24, February dated series of renderings The next a fax on December 8, 1998, that explores the possibility of a triangle-shaped triangle-shaped a of the possibility that explores 1998, 8, a fax on December by Lyn Rice, his first project in the studio. The Moscone management and the the and management Moscone The studio. the in project his first Rice, Lyn by three the to parallel the street on in strips text embedding LED rejected city of Pol-X West, an engineering company specializing in aerial tramways and and tramways aerial specializing in an engineering company West, of Pol-X York the New at coaster the roller included work whose amusement park rides it. build could he said who and Vegas, Las in Hotel York New 123 interventions.” text and video the section of curtain of skin in front a new layer “to which plans 1998, 27, May subdivided video system, LED wall thin a of composed . . . Street on Fourth wall 124 It drops surface.” the display as will serve that screens discrete a grid of into and - pre live and alternation the emphasizes between text display to reference any Second Skin.12 project the calls and images recorded and this description is retained, 1998, 21, October on architects the by completed 6 approximately individual panels each as sixteen specified hardware the display the one outside space, the prefunction cameras in Three wide. 8 feet by high feet views. transmit different would the along escalators, fixed and several building, the side around the and display track on a top bottomassembly guide that moves of design- The possibility Streets. and Howard Fourth between the building of a TV to because of its resemblance dropped was Y shape a in armature the ing monitor a moving of installing challenges technical the 2001, By antenna.126 mag a new of complexity introduced Center the Moscone facade of the along - com the most prove would a mobile screen and engineering Designing nitude. which in and existed which no precedent one for element of Facsimile, plicated and video the monitors exterior earlier ones, two to project third a added effect Okreglak Les discovered Scofidio scenes. and prerecorded the live the filming of January 22. On June 15, the architects the art with a signed architects the commission contract 15, On June January 22. project. the implement and design to to elevator special a in and handrail, escalator lobby the in buildings, Moscone video with oriented screens 122 vertically Stand-alone complex. the of the roof vitrines and goers, convention welcome to greeters” “meeter of images projected together concepts, the other preliminary among were screens with banks of five and main safety, traffic, Zoning, the street. above a ribbon of LED displays with architects the ideas separate twenty reject to the city led considerations tenance install to grounds adjacent or the interior in Lacking significant space proposed. facade. building the on it realize to opted D+S project, their below line, the roof above units mounted projection twenty a bank of design for and views scenes of theinterior alternate between which a pan-tilt would camera sidewalk the to slowly descending view panorama “the that noted Scofidio city. will be integrated views The external fall. a free to a slow will build in speed from both for use to like would we . . . escalators the at specifically ones, internal with

chapter two 98 1990–1999 99 127 Facsimile. which selected text for display through real-time data feeds from from data feeds real-time through display for text which selected Retelling, On May 22, 2002, Diller presented storyboard concepts to the Visual Arts Arts Visual the to concepts storyboard Diller presented 2002, 22, On May Working with Pol-X, the architects changed the display technology the on technology the display changed architects the with Pol-X, Working one a complicated albeit process, working smooth a relatively What had been cameras Two earlier design iterations. and refine synthesize Its features - entailed distinguish of Facsimile operation the daily a schedule for Devising Committee of the SFAC, and met with enthusiastic approval. A representative representative A approval. enthusiastic with met and SFAC, the of Committee mounted on the screen would be suspended from the 100-foot-high vertical vertical 100-foot-high the from be suspended would the screen on mounted of the Moscone Center particularly taken with project requested that its staff be that its staff requested with project taken particularly Center the Moscone of to pursue because of an option impossible sequences, the prerecorded filmed in ing between category A normative uses in which thirty or more schedules of of schedules or more thirty which uses in normative A category ing between which fif- B in and category and matched mixed were images and staged live the real- replace could views and skylines images schedules of prerecorded teen the clients of for the cameras turning off in effect the building, of time images the build- on displayed be publically to their events wishing not Center Moscone convention the project, the of support their in unwavering While exterior. ing the on trained cameras control to the right of groups upon did insist facility as 2001, 11, September after security about concerns growing cited and inside events. and promotional rollouts product of many nature the proprietary as well p.m. 11 and a.m. 7 between be would operation of hours Normal armature held at the parapet and soffit. One would be positioned at the rear of rear the at would be positioned One and soffit. the parapet at held armature A space. prefunction second-floor the of interior the on directed and sign the the horizon of on trained be would armature, the of top on mounted second, room a in pan/tilt controller The record. and could skyline Francisco the San adjustment and position camera in changes for allow would floor first the on for source third a constitute would footage video Prerecorded the zoom lens. of for allow system, the motion control data from receive server, a by processing staged and live between effects and dissolve fade, wipe, and generate updates, - skepti regarded and Scofidio which Diller the notion of liveness, Indeed, images. installation. the by undermined systematically is cally, moving video armature to a single 15' × 25' panel, rather than sixteen individual sixteen than rather panel, × 25' 15' single a to armature video moving text) LED an alphanumeric screen (scrolling feature whose would rear monitors, the EAR Ben Rubin of artist D+S hired the building. of the interior visible from this component on collaborate to of UCLA Mark Hansen and statistician Studio called Google. on found stories news online the Moscone with and schedules design standards coordinate to need the given in down slow to began and subcontractors, contractors and multiple architects unable proved after it fired was LED manufacturer The first the summer of 2001. a than rather installation, the of needs the to customized product a deliver to - tech for requests to fashion timely a in respond to and screen stadium standard the job obtained Multimedia, vendor, a new 2002, April By nical information. May a memo of In cost. lower a at the screen to fabricate a bid submitting after leader Matthew project of Multimedia, president Pappas, George to 2002, 31, as time first the for installation the to refers D+S of Johnson chapter two 100 1990–1999 101 - - to the work of virtuoso of virtuoso work the to Facsimile would be up and running by late October or early early or October late and running by be up would Facsimile A custom dolly was fabricated to travel between five and ten miles per hour per hour miles ten and five between travel to fabricated was dolly custom A - pre the for video the all of filmed Johnson leader Matthew and project Diller Each of the primary foreground scenes will be filmed using the same set which will be foreground of the primary Each needed for each character. based on the spatial arrangement takes between reconfigured scenes A, from B, running seamlessly in post [-production] Continuity will be established each scene its circuit C, B, A; As the video makes C, D and back to 4 times. up to looping the amount of time spanned-in of that scene reflects time; the development in real develops 2 per day) running the days (or possibly scene will be filmed on separate between. Each for continu- established the timeline and storyboard to back and forth according camera ity in post. Scene A will be filmed, the set will be changed out and then scene B will be filmed.129 past the sets of the hotel rooms and office cubicles arranged in a row. The The row. a in arranged cubicles and office rooms the hotel of the sets past employment of the tracking shot as a device to convey a single continuous space space a single continuous convey to a device as shot tracking the of employment a thatsignificant aesthetic choice links was Michelangelo Welles, Orson as such directors technique, this of practitioners - of film the intricacy conveys Johnson by A note and Miklós Jancsó. Antonioni, scenarios: office the ing selected architects the and calls, casting during auditioned individuals 250 Over a crew with daily, 10 p.m. to a.m. 10 from place took Filming actors. one hundred Dan Cinematographer present. usually forty to thirty of cast a and twenty of 250 the shoot, of the end At and Diller directed. Johnson and Gillham filmed, over Averaged result. the were footage of hours twenty-four constituting shots was film, feature long a of equivalent the footage, of minutes 130 days, eleven in Times a billboard on viewed later were the scenes Rushes of daily. recorded time constraints but one that the architect noted could be realized in the future. the future. in be realized could noted architect the that one but constraints time that Diller predicted postpone a request to July in her led preproduction in Challenges November. the an upgrade of D+S requested 2003.128 until March the opening ment of - a pros display, 12-millimeter higher resolution a to 18-millimeter from screen the after final armature cost track consider the only of pect that would Moscone known. was October from Jersey, New Bloomfield, building in an office in scenes recorded inde became de facto they half of 2002 second the during and 2002, 25, to 14 of the video the recording Like at mullions Moscone. within the width between the aspect ratio needed in Overexposed, the offices of camera and architecture the the with timed the of tracking although coordination camera to coincide, the of the facade around the monitor by trip movement round forty-five-minute preproduction. elaborate more even necessitated Center Moscone pendent film producers. They outlined the “impostor videos,” which included which included videos,” the “impostor outlined They pendent film producers. hotel twenty-three and night scenes, twenty-one vignettes, office twenty-one a nighttime janitor of and scenes close-ups, with night scenes, along vignettes wall to built the sets wall Avery Production designer Paul washer. and window 2.22 + Scofidio, Diller nd. renderings, Facsimile by permission Reproduced Scofidio + Renfro. of Diller was over budget, a problem exacerbated by a bill for for bill a by exacerbated problem a budget, over was Facsimile - archi and it is not a part of the Moscone Center’s material, is not a raw screen Facsimile’s than the wall behind it. . . . a painting like acts more , the screen In Facsimile tecture. . . . of the final work, contemplation effectuating the artist’s has no use apart from This screen find that it is likely a court would As a result, which is conceptual, in purpose. not utilitarian art.131 filming in New Jersey proceeded, SFAC public art program director Jill Manton Jill Manton director art program public SFAC proceeded, Jersey filming in New that discovered of Board the State from had received the commission that tax $80,000 in sales works Although Multimedia. by the monitor the fabrication of Equalization for the initial position of tax, sales state from exempt are the city by art purchased of Manton this definition. did not meet the screen that was tax board California the was submitted advice and for a request Attorney, City Office the of the to turned that argued she which in Varah Adine K. Attorney City Deputy by the whom to clients corporate large from Center the Moscone by faced pressure the facility. of their rental medium during advertising an ideal appeared screen - exclu retained commission art the that Varah underscored Attorney City Deputy 133 After the ruling charter. the city by as mandated work the jurisdiction of sive While 130 While Gillham recalls. as cinematographer a unique experience Square, from the equalization board arrived, Manton wrote a statement in June summa- a statement wrote Manton arrived, the equalization board from first with technologies Working . of Facsimile character noncommercial the rizing a new had created + Scofidio Diller signage, and stadium advertising in employed On May 30, 2003, the State Board of Equalization accepted this argument and and argument this accepted of Equalization Board the State 2003, 30, On May 132 While the screen. of the purchase for tax liability any of the SFAC relieved the growing of aware became Manton tax issue, the clarification of awaiting (below) (above) 2.23 still + Scofidio, Diller of Facsimile frames 2002.video, Reproduced by permission of Diller Scofidio + Renfro. 2.24 still + Scofidio, Diller of Facsimile frames 2002.video, Reproduced by permission of Diller Scofidio + Renfro.

chapter two 102 1990–1999 103 - On the evenings of Monday, March March of Monday, the evenings On 5 - the LED sys and components and motion system armature the of Installation arm the an of construction elevated necessitated armature the to Damage 29, and Tuesday, March 30, it proved overly functional, as she discovered after after discovered as she functional, overly proved it 30, March Tuesday, and 29, were standing on the sidewalk near me were mesmerized by the screen” and that and the screen” mesmerized by were near me the sidewalk on standing were functional.13 fully was January 2004 it by category of public media space for artistic expression whose legal protection was was legal protection whose expression artistic for media space of public category cli - whether Moscone and in practice, extend would this far How guaranteed.134 ents the turn off theretain right to transmission second-floor public video lobby unclear. remain still project, the of component art public the violating without Company Drayage Sheedy the while 8, July On 2003. 11, June on place took tem logs wooden and unbraced unsecured bogie, a roof of the bushings replacing was - and moni the carriage of pounds the forty-thousand causing and slipped, failed the build throughout vibrations to and and noise crash the tor into produce roof now mis- demonstrated when first flawlessly worked that video display The ing. Multimedia between a legal conflict caught in themselves D+S found functioned. the remanufacturing $100,000 for the estimated pay would who over and Sheedy diodes. broken its replacing and screen LED that required leakage water also It produced travel. would the which along screen who “people test a during that noted Manton supply. power new a of installation 2.25 Facsimile Jill Manton, public art description, 2003. Reproduced of by permission Arts San Francisco Commission. - - - was being designed, constructed, and and constructed, being designed, was would with the need to operate screen would Facsimile Facsimile Facsimile and its exploration of the boundaries between liveness and liveness between the boundaries of and its exploration even more timely as an urban art project in a city ever more saturated saturated more ever city a in project art urban an as timely more even Accustomed to viewing telephone, text, and e-mail messages on small text, screens telephone, viewing to Accustomed on architects the with collaborate eventually staff Center the Moscone Should By November 2005, the bogie affected during the accident still produced a produced still accident the during affected the bogie 2005, November By Visual the SFAC engineers, city and outside by evaluations additional After During the years fourteen Facsimile meaning of Facsimile and Scofidio Diller again. yet shift to is likely and public, private performance, aspiration the of and urban environment attainarchitectural an in well might media projects must await the completion of the retrofit and full functionality. If and full functionality. the retrofit of the completion await must media projects which of none for challenges, technical and unanticipated accidents of a string it is use- Facsimile, jinxed to have seem responsibility, bear and Scofidio Diller whose the ambitions ful to recall of and transmission, its screen image moving have which since media facades, digital that of contemporary dwarfs complexity 140 ubiquitous. become to react doubtless will San Franciscans devices, handheld ubiquitous their on render well time may of the passage and with curiosity, public screen a large Facsimile and live-motion webcams of age an In media. private) largely with personal (and con architects the and distortion, jitteriness with minimal video conferencing - condi as general and undecidability opacity revealing a machine for structed the when definition ofand age an in images media architecture tions viewing of the screen on views what one of status the Not knowing shifting. is rapidly knowledge. toward the step first virtue, a becomes positive inside the as actors appear to enabling those who work building programming, the images, at other moments in recorded time, sometimes in real on its exterior, receiving an emergency telephone message that the screen had turned itself on itself turned had screen the that message telephone an emergency receiving Woolf the in senior citizens living disturbed and the night of the middle during 136 the across street. Apartments House Scofidio Diller + activated. was system the motion time each sound banging loud that the possibility confronted portion curved the repairing recommended Okreglak position.137 fixed a in in Early that at 2006 the and it appeared of the frame. track straightening roof original the in flaws by been caused might have the noise problem some of least wasa as proposed plate which a for installing Teflon construction, wall curtain solution.138 February agreed inCommittee 2008 thatArts andredesigning the wheel bogie by designed components new reinstalling and system motion the of elements crane provide to agreed Sheedy solutions. promising the most were Okreglak ret the help finance to its fee and D+S returned at no cost, and rigging services 2010. by completion specified West Pol-X with contract The rofit.139 repaired, it was widely published and regarded by many observers of the work work the of observers many by and regarded published widely was it repaired, ren the between chasm the of reminder telling a operational, as studio the of derings of its screen in Photoshop and actual construction and operation. A A and operation. construction actual and Photoshop in derings of its screen with this ambitious and most of aesthetic reckoning culturalDS+R definitive

chapter two 104 1990–1999 105 - - The Changing Changing “helping people people “helping Yet the fusion of indi- Yet 5 series at the Palais de the Palais at series Investments was a counterspectacle whose whose a Monkey counterspectacle Class was Business and of Bad Press a hybrid also included Investments ediated Diller + Scofidio realized an installation, a per- an installation, realized Diller + Scofidio Facsimile, M ive and and ive Maguire writing characters based on photographs of male and female female and male of on photographs based characters writing Maguire L

an installation held in 1996 as part of the of part as 1996 held in installation an a theater work realized in collaboration with Hotel Pro Pro with Hotel in collaboration realized work theater Monkey a Business Class, scale. of a sudden change close-up of legs presented a a screen, on Projected Beaux Arts in Brussels and realized as a collaboration with Matthew Maguire. It Maguire. with Matthew a collaboration as and realized Arts in Brussels Beaux Vertical Wipe, Wipe, his Vertical 1969 of in spoke who Ira Schneider, artist video outside from themselves seeing . . . experience the objectifying realize better to actors— all are we that the to lead realization could which potentially themselves, 141 potential.” our realizing not are we that or playfulness and basis in popular culture dissembled its critique of fetishism and its critique of fetishism dissembled and basis in popular culture playfulness 146 aesthetics. mass gesting the piece as a collage of issues around the collar and sartorial identity identity sartorial and collar the around issues of a collage as the piece gesting 142 Bad Press. raised by House. Slow the of models for substituted text and shirts with folded Desiring Eye Musical the Malmö at premiered Kyoto, Type, and Dumb Copenhagen, Forma, movie the of conventions Cultural 1996.143 10, August on Sweden in Theatre defined Brothers, the Marx and Berkeley Busby of work the especially musical, a four-part of consisting space performance stacked vertically A its structure. a with tilted mirror together video, and prerecorded live video screen displaying His and Hot Notary Rotary or The Glass, in Delay of A angle (evocative a 45-degree at and section.144 plan in of scenes representation the simultaneous allowed Plate) narra minimally The double. body video a had chorus the of member Every Pageant. in employed logos corporate the of some displaying machines their bodies rendering the performers, above hovered and plan in section views 14 and organic life. machines between hovering as forms - a collec of absence the and transpires, never social body and larger vidual body a skepticism suggests of Siegfried Kracauer, words the in “mass ornament” tive movement. choreographed through identities of group the production toward asso- engulfment of fantasies the erotic and aesthetics both machine Rejecting with the ciated surrealists, Bodies: Bodies: on While working media electronic more were They Europe. in pieces dance two and formance, and more bodies), of immobile (even choreography emphasized intensive, was this tendency to One exception of accepting than spectacle earlier projects. Skin, involved Maguire video monitors. on then displayed waist, to head from taken characters the cul about dialogue “A architects: the him by given the charge recalled later and be generated should the uniform of implications architectural and tural thus sug- the into narrative,” of those versions ideas woven character-subsumed and slot songs included country-and-western performance the of quality tive - was a 1996 dance work realized in collaboration with Frédéric Frédéric with collaboration in realized work 1996 dance a was Target Moving ruffs, dancers move against the pattern of electronic snow on blue video screens. video screens. on blue snow of electronic pattern the against move dancers ruffs, Names of body trailing blue dress. a woman in a magnifies mirror An overhead Flamand, choreographer and then artistic director of Charleroi Danses, Belgium, Belgium, Danses, Charleroi of director artistic then and choreographer Flamand, swim- as such spaces nontraditional in performances setting dance for known Zaha including architects, with collaborating and factories and pools ming - and choreog the diaries of dancer part on 147 Based in Nouvel. and Jean Hadid video and narration, music, dance, combined piece the Nijinsky, Vaslav rapher (writ the human foot on video excursus a with It commences projection.148 a times five to up sustaining of capable structure a as Cooper) Douglas by ten in x-ray Presented of shoes. beauty the on a meditation and weight person’s soon structures anatomical on a lecture as begins what initially graphics, plan that a tongue can suggestion the narrator’s through erotic turns festishistically on the foot depicts next tone, in surrealist juxtaposition, This the foot. explore screen a mirror/projection from underneath.149 Utilizing a glass floor filmed - which they called an “intersce the stage, at a angle above mounted 45-degree the dancers’ depicting by stage proscenium traditional the D+S opposed nium,” or doubles with electronic a pas de deux realize Dancers in plan. movements and written Advertisements the against of their background bodies. projected to products pharmaceutical an imaginary line of “Normal” Cooper for by spoken cartwheel Wearing action. the up break and desires libido, self-esteem, regulate 2.26 + Scofidio and Diller Flamand/ Frédéric Danses, Belgium, Charleroi 1996. Target, Moving de © Fabien Photograph d’Image. Cugnac–Atelier by permission Reproduced and of the photographer Scofidio + Renfro. Diller

chapter two 106 1990–1999 107 - 2.28 render + Scofidio, Diller for screen ing of moving EJM, 1998. Reproduced by permission of Diller Scofidio + Renfro. 2.27 + Scofidio, Diller for entry sketchbook of conceptualization EJM, 1998. Reproduced by permission of Diller Scofidio + Renfro. - - 0 5 EJM 1: Man Walking EJM 1: Man Walking Today, their work their work 2 Today, 5 These pieces explored explored pieces 1 These 5 Given the concerns of of the concerns Given 3 1 5 a video installation in which corporate ageant realized with Charleroi Charleroi Danses and the Inertia 2: EJM with Balletrealized P otel / H Pageant, Pageant, informed Similar concerns Diller and Scofidio spent considerable time studying and comparing the work andcomparing the Diller and Scofidio spentconsiderable timestudying Two years later, D+S and Flamande collaborated again on on again collaborated Flamande and D+S later, years Two nterclone logos continually morphed into one another, another frightening suggestion suggestion another frightening another, one into morphed continually logos is commonly presented in relation to tensions between art and science in the the in and science art between tensions to in relation presented is commonly media.1 visual of and forms of cinema development keting points and meaningless gestures. meaningless and points keting Diller and Scofidio with architectural notation, representations of the body the body of representations notation, architectural with and Scofidio Diller and Marey objectivity, to media audiovisual the claims of and in motion, and the performance in “liveness” explore to sought they on stage, actually those a dancer images, arresting most In the piece’s time.” of video to the ability “store stage mobile lightweight screen, moving a onto projected body own his pushes beams construction carried Dancers architects. the by designed architecture of instance an effective was EJM 2: Inertia in French. texts with LED emblazoned The weightless. which appear here in space, manipulating words the architects lin- across words lifted now the body machine D+S had designed for antigravity borders. national and guistic I the subject mat abroad, partners more with collaborated and Scofidio As Diller cul commodity global toward turned performances and installations their of ter themes of Interclone the became and standardization discourse Advertising ture. Biennial from the Istanbul for Turkey Airport in Attatürk the at Hotel, presented and airports in installations of several the first 1997, 9, November to 5 October campaign for promotion A fake undertake. would they travel air of explorations City, Minh Chi Ho Bangelore, chain in six locations (Baku, an imaginary hotel - envi built the in of uniformity raises issues Tijuana), and Ljublana, Kampala, “motif,” for selections with combinatory, own its around Organized ronment. both mar- are values that such it intimates advisory,” and “traveler’s “labor/class,” at OrdinarySpeed and 1998. 16–19, September performed and Lyon of Opera nineteenth- two and Étienne-Jules Marey, Muybridge of Eadweard work the photographic the use of still 1880s in and 1870s the in active pioneers century to Muybridge of research the in famously most motion, represent to images 1 ground. the off feet with four galloped a horse that prove subjects. obvious were Muybridge and video in recorded dancers between exchange a fluid Realizing of each figure. parts run in vertical bands across the stage. The piece ends with Nijinky’s words words Nijinky’s with ends piece The stage. the across bands vertical run in parts Writing of stage. the across in LED horizontally projected and infinity on reason conception their described Flamande + Scofidio, with Diller his collaboration between done or made be can that “everything encompassing as architecture of 1 this.” to akin is Dance person. another of skin the and person one of skin the

chapter two 108 1990–1999 109 - If its argument, an analogy between the visual of flow analogy an between 4 If its argument, 5 IBM, Shell, McDonald’s, and Nike on the floor of the gallery space, as well on its as the gallery space, floor of the on and Nike McDonald’s, Shell, IBM, - trance Its hypnotic sneaker. a high-top on version, and in one facade, external was noted soundtrack, a droning by version the gallery in increased effect, like stron the among it thought biennial the in participants several and critic, one by 1 display. on pieces gest of a multinational economy in which consumers possess little real choice. The The choice. real little possess which consumers in economy multinational a of Art Biennial held in South Johannesburg the Second it for realized architects African inde- South after years two 1997, 12, December to 12 October Africa from of Disney, trademarks the it presented white, and black austere In pendence. 2.30 Pageant + Scofidio, Diller on sneaker. projected (1997) by permission Reproduced Scofidio + Renfro. of Diller 2.29 Interclone + Scofidio, Diller at Hotel, installation Airport for Attatürk Art Biennial, Istanbul by Diller Photograph 1997. Reproduced + Scofidio. by permission of Diller Scofidio + Renfro.

Subtopia Resembling a subway network, network, a subway 6 Resembling 5 55 by critic Naomi Klein, around which an international discussion discussion an international which around critic Naomi Klein, by Logo No was a multimedia installation in a Kobe pachinko parlor commissioned parlor commissioned pachinko a Kobe in a multimedia installation X,Ywas In 1997, Diller and Scofidio traveled to Japan to realize two projects. projects. two to torealize Japan traveled Diller and Scofidio 1997, In ground level, which would remain inaccessible to authorities. to remain inaccessible would which level, ground vertical and horizontal employed It House. Slow the of client the Itakura, by corporate logos and the logic of global mergers and acquisitions, remained more more remained acquisitions, and mergers global of logic the and logos corporate culture the image addressed nonetheless Diller + Scofidio explicit, than implicit the of advance in years two and architects other many of global capitalism before book 1 developed. later culture branding of Mirage in The and exhibited model a large as constructed an urban plan was at the International Center City: Another 1997, Utopia 19 to April 13, from July in Company) the NTT (Japanese Telephone Gallery of Communications for - island uto an Arata Isozaki for by devised plan a master to Responding Tokyo. System Industry “1) Sex of subtopia, systems three proposed the couple pia city, Pleasure Chemical 3) Zone), (Gambling System ‘Game’ 2) Zone), (Streetwalker’s and sought elements and conflicting risk that emphasized (Drug Zone),” System 1 utopias. traditional of the dualism overcome to below infrastructure existing into systems three these the design integrated 2.31 + Scofidio, Diller at Subtopia, installation City: Mirage The Another Utopia NTT exhibition, Center International for Communications 1997. Tokyo. Gallery, + by Diller Photograph Reproduced Scofidio. by permission of Diller Scofidio + Renfro.

chapter two 110 1990–1999 111 ), entered a entered Lag), Jet It premiered in the United States on May 30, 1999, at the opening of the opening at 1999, 30, on May States the United in 7 It premiered 5 ag L video cameras, and alternated views in section and plan on a video display wall, views in and alternated wall, and section plan video on a video display cameras, scanning of a sustained than as in Overexposed such a cinematic sampling less architects the of the fascination cameras reflecting moving by space an interior surveillance. and vision mechanical disembodied with Jet and the Association, Chalmers Builders Jessica Lag with playwright Jet D+S realized Weems Marianne by founded and media company performance an experimental in 1994.1 con- a into converted a fabric mill Massachusetts, Adams, MassMoca in North and London, Rotterdam, Brussels, Paris, Århus, in toured and art space, temporary their treats it media, news the by reported widely stories two on Based Budapest. a British electrician Crowhurst, Donald as circulation much as the tales themselves. in Dearborn Roger as (known passion by sailor a and trade by yacht. a in Times of the the world London to circle by sponsored 1969 competition to he began voyage, the long solo for and psychologically nautically Ill equipped his intended from course sailed far off of his experiences, taped diary a fabricate 2.32 Marianne Weems/The Association/ Builders Jet Lag, + Scofidio, Diller © Tina 1999. Photograph Reproduced Barney. by permission of the and photographer Scofidio + Renfro. Diller of courtesy Photograph Inc. Janet Borden, - 8 5 present themselves. Both treat travelers who who their flee are and past travelers treat Both themselves. present Jet Lag Jet Dearborn records himself with video technology provided by the BBC. the BBC. by provided technology video with himself Dearborn records involve the performance visual moments in effective the most of Many Sarah Krasnoff, a seventy-four-year-old Cleveland resident (named Doris (named Doris resident Cleveland a seventy-four-year-old Sarah Krasnoff, and second first the up making stories two the parallels between Obvious the simulation of motion, such as the projection of an airport curtain wall on on wall airport curtain an of the projection as such the simulation of motion, walk they which a Initially against Doris and screen the enter Lincoln frame. Schwartz in the performance) flew at least 167 times (and perhaps as many as as many as perhaps (and times 167 least at flew performance) the in Schwartz background moves while the characters remain in one place, a powerful meta- a powerful in one place, remain the characters while moves background compulsion syndrome—the aviation calls “chronic what one narrator for phor that “in suggested and Scofidio Diller immobility. real despite going” keep to Networks of people on the ground—the British media and Dearborn’s wife in in wife and Dearborn’s British media the ground—the on of people Networks leaves father Lincoln’s the messages and attendants KLM flight case, the former times to that than other characters two the airport the at the in latter—connect the in technology of electronic state the reflect Both stories their journeys. of be impos would coordinates actual his about ruse elaborate Dearborn’s 1970s. the evasive as just global positioning systems, of instantaneous age the sible in teenagers many when today less plausible appears Schwartz itinerary of Lincoln telephones. cellular have self-image controlled a carefully fashion to him allow re-taping and Rewinding descent his occludes that webcam) the of age contemporary the in unlikely (more - the surveil of the mercy at more are Schwartz and Lincoln Doris madness. into fascination (a airport corridors through them passing that capture cameras lance Indeed, of them). to 1990s when theyresearch Diller and began Scofidio in the the to waves ocean himself juxtaposes introduces Roger which in scene the first - pro video image and his magnified a storm) as if caught in right (soon pitching and its disappears which solitude in world a Lag presents Jet the screen. on jected cameras. the for play always characters the realizes viewer the A moment later, sidewalk. a moving the right on toward route, and sent erroneous radio reports of his travel speed and location. Authorities and location. speed travel of his reports radio sent erroneous and route, seen again, was never Crowhurst and found his Azores, boat abandoned the off and drowned.1 mad gone having presumably Howard grandson with her fourteen-year-old Amsterdam to York New 180) from the by apprehension avoid to the piece) in Schwartz Gelfand (named Lincoln through Walking evaluation. psychiatric receive to wished him who father boy’s and engaging in minimal dialogue lounges, airport in sleeping airports, deserted airport), an in set play Beckett Samuel a (suggesting schedules flight their about Amsterdam. in attack a heart dies of Sarah after their journey end eventually they Krasnoff died of jetlag, which he claimed Window”—in “The Third essay Virilio’s in “deferred her living and proposed age, the modern of a “heroine” her called the as temporality—was emblematic to the of time” relationship contemporary the about learned architects case. the which from source of parts stasis. into motion constant transforms which of mobility, the fantasy by seduced postponed. is infinitely a final destination at arrival yet is conquered, Distance

chapter two 112 1990–1999 113 - - awn L Throughout the piece, the employment of fades, dissolves, and sound and sound dissolves, of fades, the employment the piece, 9 Throughout 5 merican A Dbox produced a computer animation sequence of the plane from wire frame wire from the plane of animation sequence a computer produced Dbox he Centre for Architecture (CCA) in Montreal from June 16 to November 8, 1998. 1998. 8, November to 16 June from in Montreal (CCA) Architecture for Centre where Center Cincinnati, Arts in Contemporary the to traveled It subsequently exhibition that premiered at the Canadian at the Life that exhibition premiered Everyday of Surface American Lawn: domestic space—in constant motion, while the male fictionalizes motion—fro fictionalizes male the while motion, constant space—in domestic - of move the bravado and of masculinity trappings the by confined zen in space, ment.”1 notably most distanciated, yet familiar eerily at once than masterful, less is never - liquid crys to thanks visibility in panel (oscillating the control the use of by produce at one point even and speak the commentators which tal panels) from effects. sound Foley It Lag. is the arrest most of Jet part the second that begins surfaces rendered to in a D+S project in instance the first the piece, of sequence ing motion graphics - tem a in as stages unfolds and detailing of built form the construction which As whole. a in combination their represents image final the and process poral a on seats elevated airplane on and Lincoln of Doris in section view a frontal prosthetic as airplane the suggests the image 360 degrees, rotates scissors lift tripodlike wood, and the metal A similar idea informs the body. of extension the metal which evokes that designed Crutch Lamp that the architects year, same Eye. Desiring of The stands T the idea of The conceived Teyssot Georges historian and landscape Architectural an interesting exchange of gender stereotypes, the female reproduces a static static a reproduces female the stereotypes, gender of exchange interesting an 2.33 with + Scofidio Diller Dbox, still of motion sequence from graphics 1999. Reproduced Jet Lag, by permission of Diller Scofidio + Renfro. - - - - - ”165 American American Diller and Scofidio spelled out their role in the proposal of February 25, 1994, 1994, 25, February of proposal the in role their out spelled and Scofidio Diller Lambert invited Teyssot to submit a proposal for an exhibition related to his to related an exhibition for a proposal submit to Teyssot Lambert invited Three constituent and distinct parts: a publication, an exhibition, and an installation and an installation constituent and distinct parts: a publication, an exhibition, Three for the conception and be responsible will collectively committee The curatorial project. sys and Scofidio will design the display Diller and catalogue. of the exhibition realization tem, supervise the book design, and produce an installation for the exterior of the CCA. . . . for the exterior an installation supervise the book design, and produce tem, will guide the exhibition. . . . displays of liquid crystal a system on printed text A curatorial by D+S. of the CCA building grounds on the exterior will be constructed A living exhibition - the proj “artifice” and of “nature” the categories which subvert of materials Using a variety of the “institutional building. device the framing as the authority of lawn ect will address - way the by fell Friedman with Mildred curate to planned Teyssot that pieces tion the lawn of spatial identity and visual the and of objects The presentation side. contained design of D+S eventually the exhibition and prominent, became more pretation.164 Teyssot: with together they drafted Nor did Diller materialized. never texts of curatorial displays Liquid crystal the respects, In other publication. book accompanying the design and Scofidio this script.166 That it had followed significantly later years held four exhibition the ini at hints later years two 1996 but opened nearly July been scheduled for had located Teyssot and organization. its content surrounding tial uncertainty Congress. of Library the in history landscape American about texts fascinating the for a challenge proved an exhibition of visual form the them into Translating - gallery installa commissioned newly two and oil paintings Historical team.167 it appeared from April 4 to June 7, 1999, and to the Fort Lauderdale Museum of of Museum Lauderdale the Fort to and 1999, 7, June to 4 April from appeared it belonged Scofidio and Diller 2000. 2, January to 1999, 3, September from Art, Ponte, Alessandra of and consisting Teyssot by selected team curatorial the to the design to D+S hired CCA the 160 Initially, and Mark Wigley. Beatriz Colomina, sub roles their although of its displays, the fabrication and supervise exhibition a of The American Century, the final installment as Realized increased. sequently - found Lambert, by Phyllis 1998 organized to 1995 from program five-exhibition the on States the United of the influence to devoted CCA, the of ing director the Princeton at teaching curators of its five three modern built environment, again never and other universities to move would shortly Architecture of School 161 intricacy. similar of project a on collaborate that com topic a he selected and gardens, and domesticity interests, research the as part of topic as exhibition the lawn He suggested bined both. 1993.162 “The principal 3, January dated to Lambert, a letter series in Century of practices textual and visual the interrogate to is project the proposed aim of literary, artistic, within its of democracy, an institution as American lawn the Colomina, Vidler, with 163 Together contexts.” everyday and religious political, a as Princeton establish to much had done already Teyssot and Ponte, Wigley, inter textual and cultural through the built environment studying for center

chapter two 114 1990–1999 115 - - - Entering the first room, the visitor steps onto a video projected on the floor the floor on video projected a onto steps visitor the room, the first Entering - a pho shows archive CCA the gallery in the exhibition of drawing An early Alluding to this transformation, Nicholas Olsberg, chief curator at the CCA, CCA, chief at the curator Olsberg, Nicholas transformation, this to Alluding the suggests and the show work on and Scofidio’s her recalled Diller later As the exhibition was conceptualized, the team took on different perspectives and roles. roles. and perspectives on different took the team was conceptualized, As the exhibition and basing theories on the archives by researching the lawn approached The historians of the development to readily itself more lent they found. This analysis material historical substantiate theories, which in turn we had to possible the book. we proposed In contrast, work example, artifacts. If the artifacts did not exist, them. For fabricate we had to through several off that played was devised cultivar theme, a grass ing with the “nature/artifice” and then freeze-dried acquired, of sod were Patches turf. species of artificial and natural and assembled. sourced of artificial turf were “species” the various while hand-painted, with the generated in tandem was considered layout The physical design of the exhibition artifacts and multi-media components.170objects, historical tograph of a tograph suburban as the terminus house of the the point through of view suspended media displays exhibition, the final In the gallery. of arch rounded telling a this clear sightline, galleries blocked autonomous in and protruding blurring of responsibilities and roles that transpired during the course of its of its course the during transpired that and roles blurring of responsibilities - it relo as disorienting, triply is This experience mat. welcome turf green a of the to horizontal floor andcon- wall vertical the the cates from image projected Speculation, research, design, fabrication, and installation formed inseparable inseparable formed and installation fabrication, design, research, Speculation, mowers of lawn renderings Early process. architectural a single moments of that clear make file the exhibition in and plan and blades of grass in section and Teyssot ordinary. the of perceptions transforming emphasized studio the and Scofidio Diller materials. rich source assembled colleagues their Princeton the with as sometimes, form, spatial in order visual and conceptual imposed 171 process. the in techniques new developing samples, grass freeze-dried that the exhibition the eight parts of its ideas in that D+S had realized indication CCA. the of rotunda the and spaces gallery seven to corresponded only two elements (the Museum of the Lawn and the book display) Teyssot had had Teyssot display) book the and the Lawn of (the Museum elements two only proposed. first the of framework the historical “since that 1995, 8, August memo of a in wrote will primar exhibition the publication, the in discussed thoroughly will be lawn time to this its around 168 From andcontemporary culture.” to the lawn attend ily increased steadily and codesigners as cocurators of D+S the initial role opening, - con and inventing proposing to visual identity providing beyond and moved been “developed” as having the exhibition describes Teyssot the catalog, In tent. not by this produced the friction to alludes Lambert and Diller. himself by benefit collaborations here, as best, their at But easy. is collaboration “No ing, could that no one person approaches of a layering and of ideas a diversity from achieve.”169 development: 2.34 The + Scofidio, Diller Lawn: Surface American Life,of Everyday view 1 in exhibition of room at Canadian Centre 1998. for Architecture, by Michel Photograph © Centre Legendre. Canadien d’Architecture/ for Canadian Centre Montreal. Architecture,

chapter two 116 1990–1999 117 The second room, entitled “Democratic Surface,” explored the lawn as a a as the lawn explored entitled “Democratic Surface,” room, The second liminal space between the urban region and the countryside. Nine light boxes boxes light Nine countryside. the and region urban the between space liminal by made transparencies aerial infrared floor displayed the to close mounted Celebration, and Illinois, as Riverside, of cities such Survey Geological the U.S. to built surface. Next to them, the architects mounted three-dimensional three-dimensional models mounted the architects them, to Next to built surface. - predeter no implied these displays Significantly, forms. of specific suburban - mov required boxes light the and models the both view to Yet sequence. mined founds social codes of not stepping on the grass and not touching the objects in a in the objects touching and not grass the on stepping of not codes social founds a the shape of in implements care lawn plastic of colored display wall A museum. anthropomorphization threatening a up “homo lawnicus,” makes human figure and of suburbia that reeks store supply garden any in found tools of ordinary metonymy. for D+S of predilection the brio expressive with conveys of lawn the relationship of graspable overviews instantly and provided Florida, 2.35 The + Scofidio, Diller Lawn: Surface American Life,of Everyday view of 2 in in room light boxes at Canadian exhibition for Architecture, Centre 1998. Photograph by Michel Legendre. Canadien © Centre d’Architecture/Canadian for Architecture, Centre Montreal. - - The fourth room devoted to “The Competitive Lawn” explored the relation the relation explored Lawn” Competitive “The to devoted room The fourth At the four corner walls of the gallery, book displays mounted flush with the the with flush mounted displays book the gallery, of walls corner the four At In the third room, “Decoding the Lawn,” projections of textual excerpts from from excerpts textual of projections the Lawn,” “Decoding room, third the In between the lawn and sports through photographs of artificial turf by Skeet by Skeet turf artificial of photographs through and sports the lawn between pher Robert Sansone on the wall evoked a peep show, if not the Duchampian Duchampian the if not show, peep a evoked wall the on Sansone Robert pher of an image opposite corridor, the at one end of wall the occupied ing patterns displayed room the strikingly, Most MacLean. Alex by course golf miniature a rack glass and metal a in sports diverse for shoes athletic of pairs thirty-two cases a mirror pointed upward and through a second mirror reflected the spines reflected mirror a second through and upward pointed a mirror cases a both judge to reader a allowing thus effectively volume, each and back panels of Gregory by the Olsberg thought photographs at the same time. and book its cover on retaining but Diller insisted the room, of the focus from detracted Crewdson objections. his over them dis to the right liability, weed, and mow to the obligations legal suits involving pro- were office the post by access and guaranteed burning, cross signage, play for the other the prosecution, for column one divided into floor, the on jected photogra series by a “Neighbors” from photographs Stereoscopic the defense. but upon close content salacious promised They voyeur. as viewer art the of logic the by primarily differentiated houses similar suburban inspection revealed depth, in heightened viewer the upon Grass burst their lawns. of characteristics and with epics of 3-D cinema association the historical given a joke something of in gallery entire the assimilate not could Visitors violence. and battles of scenes on commentary a sly time, a at one pair of images view to and needed one glance that had by installations projection gallery wall and full monitors multiple the art.173 media of clichés become then - mow stadium Mellor’s of David display A slide dissolve and Jim Dow. McAuley ing off center, or completely walking around them. With their electrical cords cords their electrical With them. around walking completely or center, ing off the organic, models appeared the dangling and across ceiling, from spreading studied. yet Helen Malkin and curator Olsberg called its “argument” what instantiated walls 172 and periphery.” “center between in each gallery a counterpoint as to referred the Below a specific passage. on trained was a magnifying glass each book Above (above) (below) 2.36 The + Scofidio, Diller Lawn: Surface American Life,of Everyday view of 2 in book case in room at Canadian exhibition for Architecture, Centre 1998. Photograph by Michel Legendre. Canadien © Centre d’Architecture/Canadian for Architecture, Centre Montreal. 2.37 The + Scofidio, Diller Lawn: Surface American Life,of Everyday view viewers of stereoscope 3 in exhibition in room at Canadian Centre 1998. for Architecture, by Michel Photograph © Centre Legendre. Canadien d’Architecture/ for Canadian Centre Montreal. Architecture,

chapter two 118 1990–1999 119 - 2.38 The + Scofidio, Diller Lawn: Surface American Life,of Everyday view of 4 shoes in room athletic at Canadian in exhibition for Architecture, Centre by 1998. Photograph © Centre Michel Legendre. Canadien d’Architecture/ for Canadian Centre Architecture. Photographs on wall by Jim Dow, of by courtesy reproduced Inc. Janet Borden, The seventh gallery devoted to the themes of “Idyll and Anxiety” juxtaposed juxtaposed Anxiety” and themes of “Idyll the to gallery devoted The seventh “Engineering the Lawn” was the subject of the fifth room. Along one long wall Along one long room. the fifth the subject of was the Lawn” “Engineering In the sixth gallery, devoted to “The Power Lawn” (Olsberg proposed titling it titling (Olsberg proposed Lawn” Power “The to devoted gallery, the sixth In allow a visitor to to see visitor a a than more at single allow time. one image with clips 1930s and 1920s the America from Club of Garden the glass slides of located at the center of the gallery, suggesting the application of a rigorous, if if a rigorous, of application the suggesting the gallery, of the center at located taxonomic order. inscrutable, that grass seed had evidence a series, hung in grass patents turf of photographs - pho gallery, the of side opposite the On agribusiness. for staple major a become ever Without ailments. skin on text medical a evoked diseases lawn of tographs pal was this room in its omnipresence the human body, mentioning explicitly - anthropo and culture into nature transforms lawn the of how a reminder pable, a freestanding At the of the center gallery, and landscape. architecture morphizes an provided below samples Astroturf and above cultivars of grass species display text in a at a mirror mounted to display technology LED to employ opportunity the glass. above angle 45-degree IBM Research Saarinen’s of Eero photographs of Democracy”), “The Backdrop by Ezra Stoller, and images Bank, City National First Bunshaft’s Gordon Building, footage Video the gallery. of walls the lined and Balthazar Korab Julius Shulman, the ceiling suspended from monitors on four played lawn House White the of did the not display again, Once the walls. and at oriented right angles toward - Olsberg Olsberg 174 specu - the inter in reviews enthusiastic many The American received Lawn Although Although of lawn scenes from films selected by Diller + Scofidio, including the open- including by Diller + Scofidio, films selected from scenes of lawn the of in The Invasion Ira Uncle crazy 1986), Lynch, (David Velvet Blue of ing Maximum 1991), Egoyan, The Adjuster (Atom 1956), Snatchers (Don Siegel, Body (John Carpenter, 1978). They were were They 1978). Carpenter, (John and Halloween 1986), King, (Stephen Overdrive mowers lawn Three the ceiling. suspended from screen a Plexiglas onto projected - the exhibi leaving visitors greeted CCA of the rotunda in platforms on rotating pub- considerable generated installations two lawn, CCA the of the front On tion. actual a number in Concern presented Growing Ziegler’s Mel Artist attention. lic the of course the over grew that grass of blades of quantity the estimating turf - pass to spoke lawn the which in piece sound a realized Scofidio + Diller summer. and dominate. caress, trample, to them exhorting and French, in English ers by it. loved Children by the work national and press previous than any garnered far attention more Lauderdale. Fort and Cincinnati to traveled only it architects, The American” Lawn titled “Diller + Scofidio’s had been the exhibition that if lates venues. additional obtained have it well might 2.39 The + Scofidio, Diller Lawn: Surface American Life,of Everyday view of 5 in room cultivars grass at Canadian in exhibition for Architecture, Centre 1998. Photograph by Michel Legendre. Canadien © Centre d’Architecture/Canadian for Architecture, Centre Montreal.

chapter two 120 1990–1999 121 - - - oom 120 Nostalgia and sentimentality might well have weighed weighed have well might and sentimentality Nostalgia 5 R and employed nearly two dozen toy robots from the collection of of the collection from robots toy dozen two nearly employed lave S Master/Slave Indeed, the architecture of the display evokes the corporate the modernism that corporate evokes of the display the architecture Indeed, aster/ cally satisfying toys, akin to the trains and the trains that akin to spinning tops so the fascinated satisfying toys, cally detailed bodies. They suggested fantasies of mechanization and the replacement the replacement and fantasies of mechanization suggested They detailed bodies. fic- of science a staple that became technology a subservient of human labor by - intro Joseph) the help of his brother Čapek (with Karel writer Czech tion since a 35' belt in conveyor a 300-foot along 1921.176 Moving in the term “robot” duced and surveillance x-ray undergo the robots pilotis, by supported vitrine × 35' glass the of wall the glass below located monitors television a bank of onto projection the monotony mimic to the robots of the pace intended architects The vitrine. the doubtless associated viewers although many of an office, unemployment checkpoint, security airport an with inspection their of spectacle humiliating as one commonplace that has become surveillance ubiquitous the more if not any public nearly in short in store, or office, government a bank, at in line waits society. industrial advanced in space the Second after States the United and in Europe style the preferred became which blind spots in without machine a surveillance is vitrine The War. World - transpar Nouvel’s Jean to visitors not unlike visible, constantly are the robots it.177 Yetwedged provocatively architects the whose corner ent building into alle veiled At a once lightly engulfs them. far too the toys, large for this space, sepa- spatially are robots society—the in contemporary visual relations of gory in viewed and distance physical a not inconsiderable by viewer the from rated a dozen and case the display beneath the 42-inch monitor detail on greatest - its dys tempers the museum—Master/Slave façade of the glass against monitors an affectionfor the with robots topian world commentary on the contemporary - aestheti yet popular as genuinely them It regards designed objects. as “quality” M 19, November through June 30 from Master/Slave exhibited Diller + Scofidio com Cartier The Art in Paris. Contemporary for Cartier Foundation the at 1999, title, whose 1 monde réel, French exhibition the group for the project missioned or “First World,” Real “A World,” Real as “One translated can be words, on a play in of whether the and the ambiguity global actuality ques- retains Real” World and Dean, Tacita Chris Burden, by works It included multiple. tion is singular or explored and Tarkovsky Andrei and Ujica, Andrei Kubrick, Stanley filmmakers and unknown known action, and imaginary between relationships “dialectical Within and fiction.” the real of experience and dream the present territories, that surprise things “rekindling emphasized the exhibition scope, this capacious and amaze us that life the maintain throughout escape time and which liveliness 17 childhood.” of one’s glib circumvented successfully they yet context, this in and Scofidio Diller down that wonder. elicited work a emotional to create responses 1960s German Japanese and 1950s and models with and boxy elaborately sive) Vitra furniture company executive Rolf Fehlbaum, including rare (and expen (and rare including Fehlbaum, Rolf executive company furniture Vitra 2.40 Diller + Scofidio, Master/ Slave, installation in 1 monde réel exhibition, Cartier Foundation, Paris, 1999. Photograph © Valérie Belin and © Collection Rolf Fehlbaum, Basel. Reproduced by permission of Diller Scofidio + Renfro. 1990–1999 123 - - trans and the criticism of surveillance note invariably While commentators look the materials DS+R employ. Coordination of x-ray technology and lighting, and lighting, technology of x-ray Coordination employ. DS+R the materials look the of product components, audiovisual and woodwork, transport, structural, whom of few critics, also eluded has contractors, outside with five collaboration Eameses and to which they devoted films. Charles thata Eames “in observed films. which they devoted Eameses and to materi of use the about self-conscious nothing be to apt there’s toy old good It cast. is beautifully What is cast tin. is tin is What wood. is wood is What als. climate the creative what sets to a clue this is all in that somewhere is possible 178 If this to seems too describe the saccharine own.” including our time, any of Master/ the effect on one might reflect the installation, of irony coruscating men- to not shoddier robots, utilized the studio had produced have would Slave tion the choice assumes of at a increasingly robots moment when technology forms. disembodied complicate crafted, carefully and unique each robots, the piece, the in parency - to a tendency over to frequent a this useful dimension and corrective provide - 2.41 of detail + Scofidio, Diller in Master/Slave, robots in 1 monde installation exhibition,réel Cartier 1999. Paris, Foundation, © Valérie Photograph © Collection and Belin Basel. Rolf Fehlbaum, by permis Reproduced Scofidio + sion of Diller Renfro.

chapter two 124 1990–1999 125

- explored tensions between stan between tensions explored

was a small building. was Master/Slave It was another instance in which D+S refused to choose between cultural cultural choose between to refused which D+S in another instance was It the Third as part of Inn Motel the Budget at D+S installed 120 Room Abstract and generally indecipherable images picked up by the camera the camera by up picked images indecipherable and generally Abstract commentary and carefully detailed architecture and managed to deliver to deliver and managed architecture detailed and carefully commentary curi- was “I and recalls, a success as the installation regarded Fehlbaum both. the whether help with ous discussion what me and Liz would Ric understand to 10 July held from Mexico in New Biennial of SITE Santa Fe International appeared on the television set in the room. Playing upon films such as Psycho upon films such Playing the room. set in television the on appeared 180 age. postmodern a in sublimity for quest tems, tems, of the possibility and relationship The master/slave robots. the to me attracted opportunity a great was The installation me some clues. gave dialectical reversal that the fact and their lives) of most for in boxes are (they robots my seeing for 179 He important result.” the most was me and Ric for with Liz I became friends a more what proved for relief some financial and provided it, purchased later envisioned. been had than project expensive Cooper and Douglas the studio Deane Simpson of year. that same 31 December which installation, the on extensively worked introduced It space. opulent less and smaller a in and budget smaller far a with - toi the inside space, room motel the generic in cameras television closed-circuit the nightstand, bibles on between the bed, underneath the bathtub, and tank let as the project Cooper recalls the ceiling. and on a lampshade, and closet a within New vast the of a parody at once sublime,” the “microscopic of an investigation a and O’Keeffe Georgia as such modernists for important so landscape Mexico - sys control climate and of plumbing absence the apart from that acknowledge albeit Master/Slave, by those evoked to similar and individuality dardization 2.42 + Scofidio, Diller Budget Inn 120, Room at Motel, installation International Third Santa Biennial of Site 1999. New Mexico, Fe, + by Diller Photograph Reproduced Scofidio. by permission of Diller Scofidio + Renfro. ------exhi Lawn American strings award citing their their citing award strings ‑ (Francis Coppola, 1974,) whose 1974,) Coppola, Conversation The (Francis Living and working simultaneously in the Cooper Square loft had become loft had become Cooper Square the in simultaneously working and Living In 1999 the John D. and Catherine T. MacArthur Foundation awarded Diller Diller awarded MacArthur Foundation Catherine T. and D. John the 1999 In Diller and Scofidio evoke the disturbing sensation of entering your room and finding its room your entering sensation of the disturbing evoke and Scofidio Diller rattle still toilet? Do the hangers the amiss. Why is the TV Who just flushed contents on? that the river’s you discover his coat? In the bathroom just grabbed because the criminal to station and a way is both placeless room IV . . . the anonymous motel is a dripping source 181 some place. impossible, tight the the and for number of collaborators impossible, Diller After shop. twenty-four-hour a it into transformed bition deadline had continued generation of complex designs became a central challenge for Diller for challenge a central designs became of complex generation continued activity. of decade third its for possibility of condition the Scofidio, + work that “explores how space functions in our culture and illustrates that that and illustrates culture functions in our space how that “explores work of social relation manifestation the physical as when understood architecture, the toreceive As the architects 182 first in buildings.” not just is everywhere, ships, stuck has nonetheless that foundation the by loathed phrase a award,” “genius a distinguished joined they public, and general the media among members of and activists social and scholars, scientists, musicians, artists, creative of group to Princeton at teaching her reduced Diller notice. public heightened obtained con produced award the anticipated, have might and Scofidio As she half-time. and further than Hejduk, so none more their colleagues, among siderable envy that demonstrating by profession the architectural their to relation complicated could recognition critical and accomplishment, creative practice, nontraditional coexist. a separation of realized they to sleep, hotel a began checking into and Scofidio was architects The number of necessary. had become spaces working and living the studio in infrastructure technology the information than faster increasing support. upgraded in 2002) could fully and only networked completely yet (not and architecture in ubiquitous had become design programs Computer-assisted to How worked. architects all the and manner they which in transforming were and the and creativity collaboration that fostered a environment studio create (Alfred Hitchcock, 1960) 1960) and (Alfred Hitchcock, experi the sublime,” paranoid “the call architects the what evoke scenes motel unsettling: noted, critic one as was, room the visiting of ence visual clues a series of and provides with language 120 dispenses entirely Room over the to a to whose establish single contributes failure pattern traces, and an impulse, some cognitive to claim lay could Para-Site all disquieting effect. the its with a museumtotowhich map with patron navigate attempt provide absur ad a reductio the but here loss abstraction, of visual a scale space, produces that nonetheless does not relin surveillance to dum of subjecting hidden spaces meaning. some yield may wall the on stains of pattern a hope quish a no years, for five of $375,000 fellowship a + Scofidio

chapter two 126 2000–2008 three

From 2000 to 2008 the most significant projects realized by Diller Scofidio + Renfro include the Eyebeam competition entry; Slither public housing; the Brasserie renovation; Blur; the Institute of Contemporary Art; the codesign of the High Line; and the first two components of the Lincoln Center redevelopment, the School of American Ballet and Alice Tully Hall. Realizing new forms of public space, larger platforms for visual and spatial investigation, as stand-alone buildings or parks, became increasingly central to the studio and its activities. Its skill at designing complex projects and deftly fitting them within the existing urban fabric was now fully evident. A rich cross-fertilization of issues and genres from earlier work is also noticeable in the projects of this period, which include many unrealized designs and new technologies, materials, and media forms. Preparations for The American Lawn transformed Diller + Scofidio from a husband and wife partnership in 1997 to a studio with about forty people by 2008, after long having on staff a dozen employees. Projects such as the Brasserie, the ICA, Lincoln Center, and the High Line led to more hires and the introduction of a design-team working structure involving more del- egation of work and frequent group meetings. Until 1997, only two people previously had worked in the loft. Victor Wong was the first full-time employee, from 1989 to 1992. Paul Lewis arrived in the summer of 1993. 127 - a moving tree. Lyn tree. a moving Growth, Rapid Even those early employees who who employees those early Even Rice recommended Charles Charles recommended Rice Facsimile. a website, and a website, Refresh, ulture C That the architects initially lived and worked in the Cooper same Square and worked lived initially That the architects Renfro studied architecture at Rice University and later at Columbia, where where and Columbia, at later at Rice University architecture studied Renfro With Diller’s mother sitting in a corner and the frequent lunch of sausage lunch of sausage the frequent and corner a mother sitting in Diller’s With tudio tudio his teachers included Mary McLeod and art historian Rosalind Krauss. In the the In Krauss. Rosalind art historian and included Mary McLeod teachers his - archi York a small New + Hawkinson, Smith Miller for worked 1990s he early architecture student who made the mistake of dropping off a resume without an without resume a off of dropping the mistake who made student architecture 4 other. any like studio what at architecture an appointment he or was thought she Mark Wasiuta and Gwynne Keathley were present for much of 1997 and 1998 to to 1998 and 1997 of much for present were Keathley Gwynne and Wasiuta Mark the same around began De Monchaux Nicholas exhibition. the lawn on work to time and contributed on collaborated and 1997 in started Rice a and became the Brasserie of construction the of who supervised much Renfro, name. current its adopted studio the point which at 2004, in partner detailed and elegantly conceptualized for finely reputation a with firm tectural Applebaum he joined Ralph architect, aAfter stint as a freelance design work. from own loft He built his firm. museum design the interpretive Associates, and and the body about in questions interest His Canal Street. on parts he purchased details architectural for appreciation and irony, for predilection visual culture, with relationship working comfortable a established project a of scales all at studio the in of projects complexity and volume the as just and Scofidio, Diller increased.1 purchased at a local Polish butcher, the loft at Cooper Square began as part fam- began Cooper Square at the loft butcher, a local Polish at purchased it likened Scofidio school. architecture part and atelier, artists’ part dwelling, ily S collabora round-the-clock the charette, design the of culture architecture The became and studios, in schools typical stamina, physical tests that frequently tion A sense of deadline- Street. Twenty-Sixth West and on Cooper Square at the norm and as it has grown produces DS+R work the inform to continues urgency driven demanding employers, are Renfro and Scofidio, Diller, quarters. larger to moved are they Yet in their of intolerant criticisms. and vocal shoddiness workaholics than responsibility more) often as much (and architects young give to willing after not long Center on Lincoln worked who as Ben Mickus, can manage, they 2 recalls. school, architecture graduating from arriving each morning that concede other opportunities pursue to departed later and the to be do that sheer amount expected would day what they not knowing them for working made and Scofidio with Diller interacting learned from they the decision-making process has sometimes described the couple While unique. one-sided.3 seems this family, dysfunctional a of that as studio their in space inevitably led to their being protective of it, and early collaborators such collaborators and early of it, their being protective to led inevitably space could Scofidio and Diller which in environment an recall Rice and Wasiuta as the hapless toward but acquaintances chilly toward and be solicitous friendly

chapter three 128 2000–2008 129 - - - - Like Like 5 Public housing in Japan since 1995 had been under the the under been had 1995 since Japan in housing Public 8 As architect Christine Hawley recalls, Isozaki was likely offered the the offered likely was Isozaki recalls, Hawley Christine architect As In selecting female architects, his intention was to thwart the the imposition thwart to was his intention In architects, selecting female Japanese architect Arata Isozaki was the major force behind the Kitagata Kitagata the behind force major the was Isozaki Arata architect Japanese of governor female the incoming around the public interest Capitalizing on lither of what he called “the masculinist principle” by which structural engineering engineering which structural by principle” called “the masculinist what he of Public Housing Project, which he recommended to Governor Taku Kajiwara Kajiwara Taku Governor to he recommended which Project, Public Housing apartment of crumbling postwar a complex replace to Gifu Prefecture the of blocks.7 a among be divided that it should decided eventually and commission entire architects. of group the site. the tings, as their next project demonstrated. project next their as tings, 6 themselves. to true the toward oriented heavily and Corporation Housing Japan the of jurisdiction typically buildings, large in of dwellings number maximum the of construction unreal the with associated scale overbearing the evoked that slabs of form the in Japanese critics Hilberseimer. Ludwig architect Weimar-period ized designs by 9 as them to “rabbit hutches.” referred contemptuously - team com of architects Isozaki that an all-women proposed international Gifu, with collaborate Takahashi Akiko and Sejima, Kazuyo Diller, Hawley, prising Aiko artist and Fukuzawa, Emi designer Schwartz, Martha designer landscape architect Each a landscaped courtyard. and buildings design four to Miyawaki with assigned a local and and was Japanese provided contractor partner architect with worked and Scofidio Diller project. a public housing for budget a standard brain a preliminary At Gifu. in Architects and of Misaki Design Imanishi Koji of part a different architects of team assigned each Isozaki workshop, storming to the legendary California “Skunk Works” aircraft plant in which engineers and engineers which plant in aircraft Works” “Skunk California the legendary to fabrication. and design between the dichotomies down broke workers shop and Scofidio Diller Himmelblau, Coop and Daniel Libeskind, Eisenman, Peter If not work. driven conceptually realize to which in a small studio for had opted in new had pushed it they practice, this mode of realize to architects the first set in diverse types building of variety an uncommon on working by directions S Gifu, in tower housing public a on Slither, work commenced Scofidio and Diller its 2000, in March Completed 1994. in Tokyo, of west miles eighty-six Japan, projects their of any of gestation the longest entailed and construction design and installa performances on concentrating a decade After point. that to up - reno for commissions subsequent obtaining for project pivotal a was it tions, reservations” had “real they If previously buildings. and freestanding vations back to Cooper to to “go a wish and Douglas about expressed being architects finished they time the by while immersed in mundane details, the fun stuff,” to balance designing a with building remaining Slither they a way had found - - Family Family (garden passage), the D+S design design D+S the passage), (garden iniwa iniwa (Yasujiro Ozu, 1953) and Ozu, Story (Yasujiro Tokyo Seven units are assembled vertically into a stack. Each stack interlocks with the next with the next a stack. interlocks into stack Each vertically assembled units are Seven at the joint. of this slight of 1.5 The accumulation degrees stack, wedging an increment and the curve to convex curve, in a shallow results 15 stacks the building’s along angle faced with diaphanous are elevations The long the communal courtyard. to concave of privacy that modulate the degree screening metal of perforated “scales” overlapping corridor and the balconies. at the circulation be door to entry every unit, the next thus freeing from unit slips 1.4Each in plan metres door is metaphorically each front on axis. On the north side of the building, approached on the south side. balcony a privatized facade. The slippage also produces a private next unit.from the The circulation vertically of each unit is offset 200 mm slab The floor a subtle all the units, creating strings together continuous ramps of shallow system As the address. the same elevational in which no two units share topography artificial offset by and the highest unit at the east are unit at the west end of the building lowest 13 grade. to tip up from appears the building the dimension of one full floor,

(wooden traditional adapted Japaneseforms (wooden of the engawa two If the latter was determined by what the architects term term “three what the architects determined by of Slither was form The exterior - archi the Whether “feminine” solutions of alternative an team each realized 1 2 3 maximized apartment units and sacrificed traditional Japanese-style residential residential Japanese-style traditional sacrificed and units apartment maximized design he sought forms, older to a return than Rather housing. in public space of nature changing the to sensitivity a and flexibility of realizing capable ers the - to “penetra an alternative represent that would kinship and domesticity unit.10 As the dwelling details of the slightest to planning of upper-level tion” do the architects would planning women that “I thought having he observed, the reverse to wanted I the nuclear family. of the collapse clearer make to help 11 wings.” housing individual the of design the with starting by process planning he rec structure, national family the to the non-Japanese designers introduce To the films watch ommended that they design schemes and exterior of interior variety the Yet theory. than feminist and theirteams by the of thinking introduction typi- what new into offered is a duplex employed Hawley undertaking is evident. formulaic a highly cally a equal parts of four apartment into divided each Takahashi in her designs. form 12 corridor. a along apartment each of rooms the organized Sejima square. (Yoshimitsu Morita, 1983). Morita, (Yoshimitsu Game Diller with conversations her recalls Hawley Indeed, debatable. remains tecture for building rather needed comparing information upon centered and Scofidio strip flooring adjacent to a window) and and window) a to adjacent flooring strip loft design of open flexible the principle to according apartment interiors the of deployment the through reconfigured spatially be could room Each striking. is traditional lofts, York of New the space that evoked approach an of sliding panels, Gerrit plan of interior the flexible and perhaps architecture, Japanese domestic (1924). House Schroeder Rietveld’s the inevitable to resistance a modest as section and in plan small disturbances length: at quoting worth is that housing” mass of anonymity

chapter three 130 2000–2008 131 - - recalls the design of Slither recalls - copy no inspiration from The building derives than generative. Described by the architects as “reptilian,” the arc the arc of as “reptilian,” the architects Described by resonates with Isozaki’s stated goal of countering top-down approaches to design to approaches top-down countering of goal stated with Isozaki’s resonates the to “need not lead that social housing insistence and Scofidio’s and Diller 14 dwelling.” individual of erasure This description is akin to a performance score, a set of instructions, for disrupt for a set of instructions, score, a performance to akin This description is ele- and plan in deviations standardized realizing by block housing a linear ing surprising More not. are its results is formulaic, the procedure Although vation. the toward that raises it the building of the elevation tip in the is than its curve from Viewed the south. from when it is photographed evident and is most west the open by created the balconies of levels the irregular one notices angle, this occupants many escapes that probably A subtlety facade. wire-mesh the in spaces - it power renderings, its studied not first who have the building of viewers and pro design process incremental a regularized following how underscores fully variable. thatduces effects appear nonetheless appears as with that the although project biomorphic reference the House, Slow facto post more it metaphor the organic and its name disjunction between the and ing nature, Each individual block is striking. instantiate to refuses but ultimately promises that a to unimpeded verticality challenge the arc, realizes of apartment dwellings 3.1 + Scofidio, Diller of Slither interior apartment, 2000. + by Diller Photograph Reproduced Scofidio. by permission of Diller Scofidio + Renfro. 3.2 Diller + Scofidio, Diller with Slither model, 1994. Photograph © Michael Moran. Reproduced by permission of the photographer and Diller Scofidio + Renfro.

3.3 Diller + Scofidio, exterior of Slither, 2000. Photograph © Michael Moran. Reproduced by permission of the photographer and Diller 132 Scofidio + Renfro. 2000–2008 133 - The architects also their - lost The architects con 5 Earlier models and renderings confirm that the architects alternately con- alternately Earlier and models the architects that renderings confirm ceived the wire-mesh screens as adjustable and capable of covering the entire and as adjustable the wire-mesh capable screens of covering ceived and a for visual modulating world device the with contact external facade, the authorities altered Gifu construction when obtaining desired. privacy tinuous-road drive-through garage that would have gradually descended under- descended gradually have would that garage drive-through tinuous-road frus- was officials building Japanese with collaboration Design, Misaki partner, that all them to and changes did realize of their trating not allow forced origi 16 intentions. nal 1 concerns. hazard fire to design in response worktheir of architect local the admired and Although Diller Scofidio ground. in plan, section, in plan, Slither 3.4 rendering + Scofidio, Diller of 1994.and elevation, by permission Reproduced Scofidio + Renfro. of Diller - praised it. A female office worker in her forties, a single forties, in her worker office A female of Slither praised it. residents Yet mother with two children, ages nine and seven, noted, “Other apartment build apartment “Other noted, and seven, nine ages children, two with mother I felt stairs, no internal apartments have Diller’s Since stairs. internal ings have a house I’m living in like it feels Also, older. when I get for be safer would it due the same level at not are the entrances since apartment housing, of instead the feel you apartment, the into come you When sloped corridors. slightly to 17 widen.” gradually walls the since spacious more is room main 3.5 exterior + Scofidio, Diller of Slither. landing © Michael Photograph Reproduced Moran. of the by permission and Diller photographer Scofidio + Renfro.

chapter three 134 3.6 Rapid Growth Diller + Scofidio, rendering of Rapid Growth. Reproduced by permission of Diller Designs for public spaces continued to engage Diller and Scofidio in the year Scofidio + Renfro. 2000 with an ambitious set of proposals submitted in June for the centenary installation celebrating the 125th anniversary of the Philadelphia Museum of Art. The best known of these was Rapid Growth, a series of thirteen motorized grass mounds with live trees, proposed for installation in front of the neo- classical museum building designed by the firms of Horace Trumbauer and Zantzinger, Borie, and Medary and completed in 1928. Each vegetation-laden island was closer to a slow-moving amusement park bumper car than to a conventional landscape form. By approaching trees and grass as figures in motion against a stable spatial ground, Diller and Scofidio defamiliarized them. An elaborate mechanical apparatus in each mound, equipped with a motor and motion-sensing equipment, would have moved it in random patterns, creating a real time–based media landscape architecture of potentially infinite variations.18

135

- Like the tra the 23 Like Eating at the Brasserie (restaurant critic Mimi Sheraton once dismissed its dismissed its once critic Mimi Sheraton the Brasserie (restaurant at Eating the design to Mies hired Samuel Bronfman, whose father Lambert, Phyllis On the other side of the building, at 100 East Fifty-Third Street, was its twin twin was its Street, Fifty-Third 100 East at the building, the other side of On he Brasserie he food as “reminiscent of airline cooking,” although since the renovation it has it has the renovation since although airline cooking,” of as “reminiscent food watching. for a people pretext always was improved) noticeably sold the family When the commission. in role a key played Seagram Building, it Association, Annuity and Insurance the Teachers to 1979 the building in York studios for the job. She also requested that he make the final choice himself, himself, the final choice that he make also requested She the job. for studios York the that the event in landing on her shoulders blame from any prevent to as so 24 unsuccessful. proved architecture 22 recalled. the Brasserie, of operator Associates, CEO of Restaurant the Valenti, night owls, media personalities, socializers, of high society generations Several the on plates Picasso with this setting dined in travelers and hungry jet-lagged than elegant more by glass dividers, separated leather banquettes and green wall then serving onion restaurants than most formal shop but less coffee average the soup. American an find not would that institution an coffeehouse, European ditional - which ordi in venue a was it 1987, of Starbucks in the expansion until analogue whom knew and one never at odd hours, mingled celebrities and nary people newspaper. the over lingering there see might one in and founder architect an herself Lambert, granted that a clause upon insisted the right and control” “aesthetic Architecture, for Centre Canadian the 1979 of minor Even and public spaces. the exterior in design changes for approval of had planned Valenti approval. her required and lobby the signage in alterations 1995 fire. the after 45, and Naples Centro Café of architect Brush, on hiring Fred New three interview Valenti that and insisted design Brush’s Lambert rejected T the in restaurant Brasserie the of renovation the for compete to invitation The with Philip der Rohe van Mies designed by Building, the Seagram of basement and Fifty-Third Fifty-Second between Avenue at 375 Park and located Johnson never who architects for opportunity an unexpected was in Manhattan, Streets was date to building largest whose and a restaurant designed previously had an remains tower office the 1958, Opened in January Slither. the little-visited Seasons designed the Four 1959 19 In July the skyscraper. of the history in icon for paradigm new a established entrance Street Fifty-Second the at Johnson by space modernist and consciously austere an elegantly eateries: contemporary over Lippold Richard by sculpture metal abstract suspended a with decorated 20 bar. the tandem in and opened Johnson also designed by the Brasserie, at birth, separated and even area an exhibition as use for proposed Initially Seasons. the Four with twenty-four-hour expensive and opulent a less was it room, show automobile an restaurant all-night the had been 1995, in fire by until its destruction that, eatery Nick door,” the front to a key had never Manhattan.21 “We in midtown of record

chapter three 136 2000–2008 137

- 5 - Diller and Scofidio decided against against decided Scofidio and Diller ANY. Each of the firms had vastly different profiles and backgrounds, and shared and shared and backgrounds, profiles different vastly firms had the Each of Lambert recalls that she most likely first met Diller at one of the conferences conferences the at one of met Diller first likely that she most Lambert recalls emerging possibilities of digital design technology. design digital of possibilities emerging journal the architecture sponsored by little more than the fact that they had never designed a restaurant and impressed and impressed restaurant a designed had never they that the fact than little more the largest and Berg, Stolzman, Klein, Pasanella, acumen. their design Lambert by proj commercial and religious, civic, academic, realized many had the offices, of certifying work their Lambert through them knew of area. York ects the in New 2 Places. of Historic the National Register on listing the Seagram Building for pro projects, residential of a portfolio with a smaller office + Umemoto, Reiser the that reflected in a vein formalist duced architecture more experimental 3.7 interior + Scofidio, Diller restaurant, of Brasserie Photograph 2000. © Michael Moran. by permission Reproduced and of the photographer Scofidio + Renfro. Diller - Being food afi food Being Slither. here realized in a three- a in realized here Although Lambert exerted no direct pressure on his decision and and decision his on pressure direct no exerted Lambert Although 26 The aspiration of the studio to “use both architecture and theater, merged merged theater, and The aspiration to the of “use studio architecture both get yet and modern be to “was Seasons Four the asserted himself Johnson Working with a budget of $5 million, a medium-high sum for a 7,000-square- for a medium-high sum of $5 million, a budget with Working with aspects of performance and art, to celebrate the to aspects social celebrate of dining” aspects with art, and of performance many in and Style,” International the of sterility, the austerity, the from away the opposition the that the also Brasserie redesigned studio overcomes ways of language the structural this case between in earlier modernisms, between whichat theatrical excelled. Johnsoneffects and the two-dimensional Mies an creates successfully that architecture of work contemporary rare the is It and elements tectonic of the deployment through space interior evocative white Saarinen chairs are the most conspicuous exception), for which reason which reason for exception), conspicuous the most are Saarinen chairs white self-indulgence, than breed Rather other restaurants. few like and feels it looks worked who latter (the Renfro and Scofidio, Diller, enabled preconditions these as on the a to lead architect realize design project) with in which their concerns the that goal Valenti’s and advanced public space theatricality, technology, media closely worked He a dramatic entrance. a sense of making promote renovation and the clientele data on and shared and small on details large the studio with business architects. the with patterns Indigestion, in explored meal ritualized highly the evokes the Brasserie and Seasons the Four designs for 27 Johnson’s dimensional space. the problem again Diller confronted and once points, reference key provided the to joined (actually Seasons Four luxurious more the Describing twins. of singular that “one wrote Interiors magazine area), service a common Brasserie by and richness of its materials the exceptional despite that the design is of paradox setting; a stage It is not and unobtrusive. colorless it is essentially workmanship, 28 rather audience.” the tire it nor that theater a is is to not date, submitting a formal design proposal and during their interview with Valenti in Valenti with interview their during and proposal design formal a submitting and projects installation earlier their of slides showed 1997 he observed the selection process, Recalling Valenti. win over to helped cionados the cutting edge, represent They the bunch. of the best far by were that “they we in, people pull will that in midtown restaurant a do To downtown. they’re that.” need did not stools the bar of palette the color on consultation some later apart from on her the couple including that by it is clear the design process, in intervene attract to was Brasserie the new If the deck. stacked she had effectively short list sub- They architects. as its choice the obvious were and Scofidio Diller notice, The 1997. 3, on November Associates Restaurant to their design proposal mitted 2000. in opened restaurant renovated were Renfro and Scofidio, Diller, and 213 seats, kitchen a new with restaurant foot been not had that degree a to detailing and finishes, materials, explore to able the the restaurant—from in and surface object Every possible on earlier projects. with adequate the realized desk to mirrors in the bathrooms—was reservations in role its to respect with and designed conceptualized and resources financial (the items catalog standard are the Brasserie elements in Few ensemble. total the

chapter three 138 2000–2008 139 - - Diller, Socofidio, and Renfro understood its role in orient in role its understood Renfro and Socofidio, Diller, 30 A defining feature of the Brasserie renovation is its engagement with the base- the with is its engagement renovation the Brasserie of feature A defining up is picked a patron the Brasserie, door of the revolving through Entering Removing all traces of Johnson’s design in the shell of the restaurant, the the restaurant, the of the shell in design of Johnson’s traces all Removing skins into the around and wrap seating at the wood descend from ceiling Pear with Ben Rubin of EAR Studio and Marty Chafkin of Perfection Electronics, Electronics, Perfection Chafkin of and Marty Studio with Ben Rubin of EAR the enters, patron a new time Each sensor system. the electric-eye who designed the are images here Para-Site, Unlike the right. to one monitor racked is image dling materials extends to the mattresses upholstered in Naugahyde (a material (a material in Naugahyde upholstered the mattresses to extends dling materials sub- gleefully the architects philistinism whose association with petit-bourgeois booths. seating private twelve create to ground the from up tilt which and vert), designer a DePasquale, Enno which lights cone nose the conceived studio The aluminum. of out hammered cars, racing classic rebuilds who fabricator and modernist a in vistas or windows without space a Building, Seagram the of ment the House Slow had a Even with monument associated glass and transparency. Seasons the Four and if a foil, as or engaged mediated, be denied, that could view the of side north the on counterpart spectacular less its light, with awash was street. the with contact and direct illumination natural lacked always tower office to to itscall attention most this a view was fundamental into space introduce To space exterior and connecting interior of the impossibility Recognizing deficit. a solution media technological the employed studio architecture, traditional by an added also that element the of to project. address public trans seconds a of a camera that after television delay several closed-circuit by Valenti the bar. over monitors a bank of fifteen to image mits his or her blurred of fashion, out had gone counter a restaurant at that eating breakfast realized value obtain better to as so the renovation to a bar adding on and he insisted the space. from a collaboration was The “bar bank” access. a separate and designed ing patrons three-dimensional forms while simultaneously incorporating two-dimensional two-dimensional incorporating while simultaneously forms three-dimensional displays. media that they a process and glass, tile, terrazzo, applied new skins of wood, architects new of introduction the through coat” old an of restoration as “the characterize and func- spatial, structural, to become their surfaces from lift that “often liners the implies relined coat an old of the metaphor Although 29 tional components.” of style and preservation wearer) the by experienced (only comfort of retention the new here structure, an invisible of the manipulation through public) (fully of elements many Like modifications. visible highly realize liners skin wooden and exterior interior between distinctions complicate they the Brasserie design, a in large volume and of the treatment surface richest announcing while space realized. yet had studio the that room public specific functionally and floor the from up peel that skins madrone by met are They rear. and front this Warm but not cloying, the banquettes. them beneath meet (but do not join) but Eames, or Aalto of designs wood molded the suggests initially architecture chal- and far more its unique shape of recognizing fall short such comparisons han- in pleasure Obvious folds. and curves through space of treatment lenging - - One critic expressed expressed critic One Facsimile. and which Diller and Scofidio completed in 2001 for the new Terminal Terminal new the for 2001 in completed Scofidio and Diller which - whose con stories three panels narrate backlit lenticular image Thirty-three Theatricality is emphasized by the staircase emerging from the small recep small the from emerging staircase the by emphasized is Theatricality being broadcast their images to object would that people the fear Interestingly, Travelogues, ravelogues disappointment that the images were not available over the Internet, and and it the Internet, over available not were the that images disappointment 32 noticed. not is camera surveillance the that noted have Renfro + Diller Scofidio by architecture of the history trace to be possible would their record to cameras allowing people of comfort growing the to relation in as a activities.33 As the traditional notion with Para-Site, of surveillance everyday without images video closed-circuit these describe to fails relations power of set the of architecture the opening in 2000, After that can be rewatched. recordings 34 reviews. positive uniformly received Brasserie renovated T In Skidmore, designed by York Airport in New International Kennedy F. 4 of John their their informed tourism fascination with Owings design & of an art Merrill, a domain of limbo between and B, A Concourses of corridors the sterile in work immigra- and customs clearing before States the United in arrival and traveling the as thing the first installation experience would passengers Incoming tion. the intrigued doubtless that perception of structuring a York, New in see they architects. from range whose contents of suitcases, images in x-ray revealed are clusions woman deliberately A Tower. the Eiffel models of souvenir to limbs prosthetic off her throws Another the shirt of her companion. wine on of a glass spills poses An Indian family Tower. the Eiffel of platform the observation wig from still, rather than moving, taken in full profile rather than overhead or in section. section. in or overhead than rather profile full in taken moving, than rather still, a blurry of suggestive image, a single door, the revolving presses visitor the As at Located its spin. by triggered is paparazzi, star-stalking by taken photograph closed-circuit typical than lower is camera the restaurant, the of door front the downward canted and overhead mounted usually systems, surveillance video them proposes of images the sequentiality If cash register. or a doorway toward the bar recalls the above of monitors the row on their display as quasi-cinematic, Cuts of Jump displays horizontal of “making the goal promotes transparency whose area the dining into tion foyer architects a the that more efficient spatial than thesolution catwalk an entrance,” the floor here split-level, was Brasserie Johnson’s Whereas proposed. had initially result uncommon the with level single a on treated is room dining main the in glass translucent a the Behind are no bar, there that tables bad the in restaurant. sculptor, a Todd, Carroll Its fabricator, a blur. with the bottles wine rack displays with medicinal gels, injected were The bar stools work. the metal also produced 31 resin. in cast tables green the and patrons a few than and more an issue, become have to the bar does not seem over

chapter three 140 2000–2008 141 - the images the images Facsimile, calls “a portable edited unit” of the home, the product the product home, the of unit” portable edited calls “a Tourisms Mysteries and short vignettes are presented, and as and in and are presented, vignettes short Mysteries Each screen holds one second of action, animated by the speed of the moving viewer. The viewer. the moving by the speed of one second of action, animated holds screen Each form the spaces between screens of micro-movies; a sequence builds succession of screens engage corridor will inadvertently walking down the sterile Thus, the traveler time-lapses. a short set of panels tells Each in tiny installments. narrative picture moving a real-time and x-rayed The cases are they carry. via the suitcase fiction about an anonymous traveler 35 experience. of a travel trigger a flashback to materialize contents in front of the Taj Mahal. Evoking the rayograms of Man Ray, in which objects objects which in Ray, Man of rayograms the Evoking Mahal. Taj the of front in of con images the x-ray paper, shape on photographic their imprinted directly extensions and bodily and hose, scuba mask limb, prosthetic of suitcases—a tents the imagery wittiest the some of another—constitute in statuettes tourist in one; realized. have architects Dillerwhat a synecdoche, The suitcase is narrative. a complex into congeal never to in reference of equivalent architectural the form, ideal to down winnowing a cinematic of change that with lenses surfaces plastic ribbed Lenticular screens, the film shot. to lend themselves viewed, scenes depending are angle on the they which from on later a description posted in noted architects the As organization. sequential website: their 3.8 + Scofidio, Diller public art Travelogues, in Terminal installation & Owings 4 (Skidmore, Kennedy Merrill) of John F. Airport,International 2001. City, New York by Joshua Photograph Reproduced Bolchover. by permission of the and Diller photographer Scofidio + Renfro. - - that the studio completed for the Vitra Vitra the for the that completed studio The Virtual Office, Virtual The project, little-known A a minimal office and confronted looping footage on large vertically oriented oriented vertically on large footage looping confronted and a minimal office the Multitasker, was the viewer to the Perhaps most rewarding plasma screens. a sub- an intimation of the other, to one screen from alternated activities whose architecture. media kinetic of work sequent Wendy Feuer of the Department of Transportation praised Diller and Scofidio Scofidio and Diller praised Transportation of Department the of Feuer Wendy rela creating of challenge” the to response creative box the of “out their for inhabitants, diverse and ethnically of racially photographs life-sized the city of be construed could of fear the climate in . . . gestures “ambiguous which within 37 suspicious.” as fair interior commercial the 2001 Neocon at and exhibited company, furniture the charge Here characters. at developing adeptness its confirmed Chicago, in the this, accomplish To Chair. Ypsilon the product, Vitra a to recent promote was the Mole, the Drone, the Multitasker, dubbed they characters created architects through wandered display Vitra the to Visitors Workaholic. and the the Slacker, tively low-maintenance public art without the use of electronics in an air an in the use of electronics without art public low-maintenance tively in returned screens Lenticular 36 priority. a not is art where environment port Been Ever You with Mira Nair on Have and Scofidio of Diller the collaboration the streets on that displayed France, in Lille, a 2006 installation For?, Mistaken 3.9 - story + Scofidio, Diller for Travelogues board 2001. sketchbook, from by permission Reproduced Scofidio + Renfro. of Diller

chapter three 142 2000–2008 143 installation in the Thirty-Third Street subway station, here gives gives here station, subway Street the Thirty-Third in installation Feed eam b In his letter of March 8, 2002, informing the studio of its receipt of the com- the of receipt of its studio the informing 2002, 8, of March In his letter the and folds, of single surfaces, architecture the with associated Frequently John S. Johnson, an heir to the company best known as a manufacturer of of a manufacturer as known best the company to an heir Johnson, S. John ye rejection of angularity emerging in the 1990s and often related to the ideas the ideas to related and often 1990s the in emerging angularity of rejection the Eyebeam the bent ribbon shape of Gilles Deleuze, philosopher of French as buildings such Contemporary of its design. feature iconic most the became internal and external spaces undoubtedly provided key points of reference. D+S points of reference. key provided undoubtedly spaces and external internal employed typically at the time, a common transformed fairly design convention - a rigor to it subjected and rationale, overarching with little device aesthetic an as employment programmatic for standard a new set whose end result analysis ous form the 40 form building take. should source open the with cooperation of “spirit its out singled Johnson mission, had the studio anything unlike was This $90 million commission process.”41 it type building the new been given have that it could not designed, previously structure Its exposed technologies. evolving still for invent to asked being was Vierendeel by spanned cores frame steel the by enabled were plan and flexible allows that bracing joints but no diagonal with fixed frames rectangular trusses, within 42 Activity columns. of free an open space as the floor the disposition of its interleaving through a section cut visible in been have would the building the to and mute as a understood radical alternative which the architects curves, museums.43 York New most of facades noncommunicative and Koolhaas/OMA Rem by and Jussieu Library (1992) (1997) the Educatorium of interweaving and looping folds their with (1997) MVDRV by VPRO Villa the Reiser + Umemoto, were included on the long list. After making it onto the short it onto making After the long list. included on were + Umemoto, Reiser with together finalists, three the as one of D+S emerged designers, fifteen of list minutely twenty-four-page The 39 MVDRV. firm Dutch the and Leeser Thomas architectural the hint of little offered the project of 3 phase for brief detailed E Eyebeam the 2001 for in developed the studio that entry The competition Chelsea West York’s New in constructed be to Technology, and Art of Museum and fused work of its reception for terms the shifted more once neighborhood, were Its surfaces performance. time-based and with media a building design for and provided visitors with strolling interacted that displays be programmable to the of the premise in public, Reading the Internet. and art to conduits multiple unrealized the of visual and to reception images sounds and an in a urban performance way culture. digital for promenade a one, into rolled space a garage purchased He later 1996. in foundation the Eyebeam began bandages, a 90,000-square-foot house to Street, Twenty-First West at 540 of land a plot and - com and would presentation theater, art production, in which facility education, to invited were firms thirty-four 2000, In September with public spaces. mingle to develop requested be would them of Fifteen a building. for submit proposals 38 Young be selected. would finalists three which from proposals, conceptual and Lynn, Greg as Neil Denari, such in digital media, an interest with designers 3.10 Eyebeam + Scofidio, Diller 2001. rendering, by permission Reproduced Scofidio + Renfro. of Diller

chapter three 144 2000–2008 145 - - In their proposal, the architects assume assume the architects In their proposal, 5 - architec folding of theorist and an influential designer Lynn, Greg Architect Accepting the rapid obsolescence of new technologies, the building is conceived as a supple as a supple is conceived the building of new technologies, obsolescence Accepting the rapid unpredict artistic and technological that can accommodate organism and spontaneous A smooth zone. interstitial by an ability. The ribbon is composed of two plies separated panels cast fiberglass resin-coated, of a ply while levels lines the exhibition ply concrete the and mechanical systems, the structural Aside from levels. line the production/education a variety carry Open conduit system. nervous troughs houses the building’s zone interstitial of folded shapes. The blue “production” side and the “gray” presentation side side presentation the “gray” and side The blue “production” shapes. of folded one popula thus making it possible for ends, at opposite a core each possessed communicating and other each acknowledging other, the through pass “to tion 44 physically.” sometimes and visually every in noodle like a folded “is Eyebeam the that claimed archly somewhat ture, architectural more contained it that but conceded in Europe” airport lounge buildings.4 other than most research newness”: “perpetual a for designing of challenge the 3.11 Eyebeam + Scofidio, Diller Reproduced model, 2001. of Diller by permission Scofidio + Renfro. 3.12 of data and power lines to a grid of jacks at ceilings and floors throughout the building. Diller + Scofidio, Eyebeam rendering, These jacks are like “skin pores”—a system of miniature punctures in the building’s smooth 2001. Reproduced by surfaces that pass feeds from its innards to serve external equipment. The open infrastruc- permission of Diller Scofidio + Renfro. ture allows for continual adaptation of the building to changing technologies. The interstitial zone widens at upturned ribbon ends to become technical control rooms. To advance an awareness of the intelligent systems that drive new media art works, these spaces are visually accessible to the public.46

Having commenced their careers suspicious of the metaphor of architecture as a body, Diller and Scofidio cautiously adopt a vocabulary of organicism that allows them to describe the Eyebeam as an organism with a nervous system and skin pores but not, significantly, as human. A heat-seeking and camera-equipped robot in a spiderlike shape would cling to socket points on the exterior of the building, evoking the parasite much beloved by the architects, here ready to stalk 146 twelve floors of culture-consuming prey.47 From signage and display integrated 2000–2008 147 ------0 5 Renderings of the Eyebeam design are among the most persuasive D+S have D+S have persuasive the most among are design the Eyebeam of Renderings If the “nervous system” of the Eyebeam was only partially revealed between its between revealed partially only was the Eyebeam of system” the “nervous If more a later, from perhaps naively architects, the that an openness Exuding jaundiced perspective, understood as “keeping with ethos of information tech ethos of information with as “keeping understood perspective, jaundiced channel to that sought the Pompidou of version an updated it suggests nology,” and grand hotel, of library, a synthesis its mediatheque, into directly public space Envisioned plaza. exterior an with altogether dispensed that destination cultural then prev a upon traded the design “digerati,” York’s New a gathering spot for as and Teens West the neighborhood in alley” “silicon York’s that New alent belief vibrant a as economic force. emerge would Twenties (fea studio Dbox with animation a digital designed Johnson Matthew produced. the design of Reviews the genre. a model of that remains Cooper) Douglas turing Johnson prevented 2001, 11, September after 49 Financial problems glowing. were sub the studio 2003, 24, October On scheme. the competition developing from the phase of concept/programming the for schemes new entirely three mitted Street Twenty-First existing the to construction adding involved that project building the existing or combining construction, with new it replacing building, public space Each included generous Street. Twentieth fronting a garage with located be flexibly that could activity creative for and “mobile units” provisions the of construction forgo to decided subsequently Johnson space. the within - a smaller-scale renova to of his foundation the resources and commit museum field. emerging an for setback a and studio the for disappointment a tion, in the floors to smart cards enabling the visitor and building to communicate, in the tofloors smart and cardsto the visitor enabling communicate, building structure between distinctions complicate to design sought the of all elements call what the architects so as to promote and form program, and infrastructure, functions. and media of contamination” “controlled buildings, separate two approximating as regarded which Scofidio folds, two-ply movement. indeed necessitated, that facilitated, a space announced the design the from extended that floor lobby the ground ramp bar on tubular its With and out elevator and escalator, stairs, ramps, by linked was the building street, as the of social and as activi- lined a circulation and varied cultural rich system of bodies the movement with Updating concerns house. to intended was ties it the (1976), Rogers Richard and Piano of Renzo Pompidou Centre the to central and institutional public every Henceforth, peers. contemporary design had few of circula patterns traditional and disrupt challenge would the studio by project the as that park, such of themuseum, typology, with a tion associated specific the for synonymous an effort building, classroom the university or the library, and expanding modes of perception recalcitrant down with breaking architects possibilities.48 cultural - - 1 5 lan P aster aster M

AM latform,and B P iewing V

Although the architects studied memorials such as Maya as Maya memorials such studied architects the Although 2 5 WTC otel, H ay ay W Kennon was at the time teaching at Princeton, where where he and Diller had at lunch at the time teaching Princeton, Kennon was It possible. as as much restraint exercise to tried “We Kennon observed, As D+S collaborated with architects David Rockwell and Kevin Kennon to realize realize to Kennon and Kevin Rockwell David architects with D+S collaborated At a moment when developers and real estate interests in the city had begun the city in interests estate real and when developers a moment At wo- was important that there be no ornament whatsoever. We thought that would that would thought We that there important be was no whatsoever. ornament be inappropriate.” Lin’s Vietnam Veterans Memorial, their project was explicitly designed to be be to designed explicitly was their project Memorial, Veterans Vietnam Lin’s noted, “We were shocked that it was happening so soon. People needed time to to time needed People so soon. happening was that it shocked were “We noted, - contrac from obtained in-kind contributions and donors raised $500,000 from archi The the to be municipal project any without built funding. allowed that tors act as so that to quickly needed team” swat a as “design themselves tects envisioned than be there necessary.” longer to “not would that something create would solution that aarchitectural 11 and agreed dignified soon after September the crowds of control police improvised and the chaos over an improvement be by NYC was approached Rockwell At the same time, Zero. Ground to flocking about designing the tourismpromotion arm official of the city, Company, & with He soon joined forces visit. to and dignitaries families a memorial for that platform a viewing proposed and the architects and Scofidio, Diller, Kennon, platforms, four proposed they Originally, public. the general to be open would a single one next settled on they the site, and logistics involving reasons and for of Office the of Sheirer the supervision of Richard built under Paul’s, Saint to effort. recovery and rescue the of charge in Management, Emergency full become had they when replaced be could panels plywood Its antimemorial. the to riposte an implicit and a bulletin board of the quality lending it writing, of Giuliani. Rudolph Mayor of administration the of stance antigraffiti Scofidio public debate, any of advance in well the site, of the future for planning T other three on worked the studio competition, the Eyebeam as year That same An modalities. different albeit each in components, with public space projects on Jiulong luxury facility a 220-room Hotel, the Two-Way for design unrealized inde an as function to room each allowed have would Harbor, Kong Hong in the harbor. of views provide to back to front from that penetrated pendent unit units liberated as independent designed its rooms the studio strikingly, Most honeycomb. a of cells disaggregated to akin building, a central of the matrix from each building mass, from room the hotel uncoupling yet Maintaining privacy, in voyeurism unrestrained hold to if as display, on capsule viewing a is suite the and outside, inside and private, public between distinctions Evoking check. doors. of out sleeping for allow to opened be could rooms to that opened City York in New Platform Viewing Site Center Trade World the and metal scaffolding, of plywood Constructed 2001. 30, the public on December Chapel Paul’s Saint past snaked and long feet 300 was platform 30-foot-wide the was It Zero. Ground at the ruins of view 180-degree a offer to 13 feet a height of to Rockwell agencies. of city cooperation unprecedented to thanks weeks, two built in

chapter three 148 2000–2008 149 Having explored explored 4 Having 5 As Kennon recalls, the major contribution of of the major contribution As Kennon recalls, 3 5 - in col realized of Music (BAM) Academy the Brooklyn for plan The master laboration with Rem Koolhaas/OMA was commissioned by the BAM Local Local BAM the by commissioned was Koolhaas/OMA Rem with laboration Corporation as a means of an arts with artist lofts, creating Development district tourism, war, and temporary structures in their architecture, the couple was was the couple in their architecture, and temporary structures war, tourism, that promoted architecture work of public a realize to help qualified uniquely theby and the and wasgenerated site occasion yet whose meaning reflection, day. a people thousand forty received process intelligently what had happened. Our comment to a reporter at the time a Our to reporter comment what had happened. intelligently process the erasure.’” erase ‘Don’t was, that awas “moral andphilosophical the position” to Diller and platform Scofidio the to and idea dignity of the void. weight preserving granted 3.13 Architects, Kennon Kevin Diller Rockwell Group, viewing + Scofidio, Zero, Ground platform, City, 2001. New York © Blandon Photograph Group. Belushin/Rockwell by permission Reproduced and of the photographer the architects.

- - Blur was designed to highlight and was would have tapped every medium in which medium in every tapped have would Gesamtkunstwerk, It was to be, as they suggest, a media event, a time-based work of - a time-based work continu a media event, as they suggest, to be, 6 It was 5 Lenticular images embedded in buses, trains, waiting areas, and electronic and electronic areas, waiting trains, embedded in buses, Lenticular images The media event is integrated with the enveloping fog. Our objective is to weave together together weave is to fog. Our objective with the enveloping is integrated The media event of each for the other. the properties yet exchange technologies, and electronic architecture would ephemeral, media, normally and electronic dematerialize would Thus, architecture be that would technologies sophisticated require in space. Both would become palpable their effects.55 only leaving invisible, entirely ally changing manifestations that interacted with its immediate surroundings. immediate its with interacted that manifestations changing ally nar literary landscape, video, architecture, including worked, ever architects the of a concept was their ideas Uniting media. and interactive art, sound rative, position or single viewing admitting no preferred set of experiences an open as of videos or films onto the fog during the evening hours, which suggests it as a as it suggests which hours, evening the during fog the onto films or videos of - archi the by in earlier projects employed forms the multiple-screen of variant tects. and information conveyed have would in sidewalks implanted LED signboards along their travel whose visitors follow installments could a serialized novella a into grounds the expo transformed have well might which These plans, routes. twenty-first-century Bains, was intended as an antidote to “visually obsessed, high resolution/high to obsessed, as an antidote “visually intended was Bains, outline Scofidio + Diller statement, programmatic early an In culture. definition” project: the of conception broad initial the Blur with images, dispense than entirely Rather the projecting with beginning of unusual contexts, a myriad them in present arts administration offices, and production facilities. At the to solution once a andproduction facilities. offices, arts administration it organizations, arts Manhattan of situations space and precarious rents high District Historic Greene Fort the in to intervene attempt an also represented gritty sacrificing its without public spaces and parks creating by neighborhood - produc phases of cultural of different display and In its combination character. of and educational projects cultural later adumbrates Chamber Mixing the tion, upon retaining is its emphasis the plan of suggestive most Perhaps the studio. rejection of “tabula the which prefigures the neighborhood, of features existing the at the public spaces of redesign DS+R the later in urbanism modernist rasa” emerged completely yet had not the city to approach a unique If Center. Lincoln their push explora would next project architects’ the the of studio, work the in direction radical more even an in and ground figure between tions of relations atmosphere. the from architecture constructing by Blur the to nationalistic spectacles and dis- commodity as an alternative Conceived the artifi- the Blur building, exhibitions, world dominate traditionally that plays Yverdon-les- Swiss Expo 2002 in the for realized Diller + Scofidio that cial cloud

chapter three 150 2000–2008 151 - - Language art art Language 7 5 Facsimile. a collaboration with Douglas Cooper (writer) (writer) Cooper Douglas with collaboration a Media Cut, Landscape in the surrounding expo was to have emitted sounds and smells smells and sounds emitted have to was expo the surrounding in Landscape - the com in recorded copiously of Blur, the initial conceptions to According intended to overcome distinctions between the “natural” and the “artificial.” the “artificial.” and the “natural” between distinctions overcome to intended ancillary one realize only to Diller + Scofidio allowed in budget Reductions project Yverdon, at tunnel walkway a in Installed Esperanto). into Mariani (translator and Diego male projected the piece the cloud, with axis on a hill directly beneath located of amalgam imaginary an in argument heated a in engaged lips female and and the water nozzles), auditory stimuli disappeared from the cloud. Video pon- Video the cloud. from disappeared stimuli auditory nozzles), water the and the struc around cruised have to were screens projection with rear boats toon message, a vision clearly indebted to the complex circulation of the Eyebeam the Eyebeam of circulation the complex to indebted clearly vision a message, the and design indeterminacy of of its subter virtue organic by Palpably called “Europanto.” languages European cellar” root this “linguistic in the dialogue walls, and curvilinear ranean location the to relationship turns as the altercation the arena of enters quickly culture the wittiest dialogue Arguably and the social contract. shopping, of the couple, at was orphaned the installation Diller + Scofidio, for wrote Cooper ever that eluded most probably artificial cloud the to and its relationship the exhibition, visitors. - comple its after published architects the that and diary bination of scrapbook participate to visitors allowed have would the cloud inside LED signboards tion, software. speech-to-text using room chat three-dimensional a in by installation the sound apart from and constraints, budgetary to victim fell of pumps sounds actual the inaudible beneath (frequently Marclay Christian 3.14 Media + Scofidio, Diller Cut, at Swiss installation Yverdon-les-Bains, Expo, 2002. © Photograph Reproduced André. Yves of the by permission and Diller photographer Scofidio + Renfro. for for Target Moving a leveler: everyone wears the same coat and is barely visible in the fog, promoting in the fog, promoting visible the same coat and is barely wears everyone a leveler: anonymity58 artificial weather Through a series of focus groups with media artists and meetings with spon- meetings and artists with media groups series of focus a Through to five primary components that they shared in an e-mail to Ben Rubin Rubin Ben to e-mail an in shared they that components primary five to Blur » “spectacle” of the the conventions » an effect that limits vision and challenges difficulty in navigation produces that » a visual interruption than congregation rather dispersion crowd that promotes » an environment » ture to display individual or linked images, updating EJM and images, individual or linked display to ture architects the orientations, perceptual further reshuffle to And aquatic staging. the dining of level the eye which in sushi restaurant a submerged proposed the in lake to diners observe allowing of the water, match the level public would cross-section. the definition narrowed eventually Diller + Scofidio management, expo and sors of 2000: 29, October on - Reproduced Reproduced Blur. 3.15 render + Scofidio, Diller ing of sushi restaurant at by permission of Diller Scofidio + Renfro.

chapter three 152 2000–2008 153 9 In ways 5 and chronicles the invaluable collaboration of of collaboration invaluable the chronicles and Technique, Direction The tensegrity architecture, inspired by Buckminster Fuller, was almost as as almost was Fuller, Buckminster by inspired architecture, tensegrity The challenging as the fog system it supported, and in perhaps their most nerve- their most and in perhaps it supported, system the fog as challenging what they quit after nearly architects the wracking a with interaction client, perceived as the unwillingness of the expo management to adhere to to as the necessary of the adhere unwillingness to expo management perceived - manage expo the with fights narrates their book of Much standards. technical the ment, ute fluctuations of the global information economy in a new Europe. Exploring Exploring Europe. a new in economy the global information of fluctuations ute effect the exploit “to opted finally Scofidio and Diller possibilities, media many and popu- the critical that Blur became given choice ironic an of nothingness,” one the only if not image, iconic and furnished its most the expo of lar success theevent. after remembered registered the min- Blur registered for the funding predicted, have could no one possibly Diller and Scofidio reluctantly abandoned the blushing “brain coat,” which which the blushing coat,” abandoned “brain reluctantly and Scofidio Diller upon losing spon- color, by changing visitors compatible identified have would win to failed it after Sunshine group telecommunications Swiss the by sorship Danish firm. a rival by over taken was and license service a cellular Photograph © Photograph Blur. 3.16 + Scofidio, Diller construction photograph of Ennio Bettinelli/Cighélio. by permission Reproduced and of the photographer Scofidio + Renfro. Diller

nonetheless was a visceral, corporeal (and wet) wet) (and corporeal a visceral, nonetheless was Widely photographed, Blur photographed, Widely experience poorly conveyed by photographs. In the end, as Diller often noted, noted, as Diller often the end, In photographs. by conveyed poorly experience of logical culmination a was it and Scofidio, For her to see. nothing it offered has Blur by D+S realized the projects all and of artificial cloud, this of antecedents was its the cloud of dimension visual the to significance but of equal Less noted Fujiko Nakaya, who first built an artificial cloud at the 1970 Osaka World’s Fair, Fair, World’s who Osaka 1970 first built an artificial at the cloud Nakaya, Fujiko - the experi back on 60 Looking Mee Industries. the nozzle manufacturer, and man- project team the four one of Dirk Hebel, collaborator later, years six ence the and entailed project the risk enormous the recognizes office, the in agers man- the expo of the reluctance overcome to obtained eventually was that trust that technology francs on fog-generating million Swiss twelve spend to agement thousand times as nozzles—ten nozzles as many Nakaya’s thirty-four contained and 61 Structure work. that guarantee any it would cloud contained—without - tec being to claim could which the project, joined in inseparably atmosphere equal and event—in enclosure and medium, and scenographic—building tonic measure. Étant Duchamp’s of seeing like investigation a probing decades of research, three donnés, an elaborate specta- mechanism to and allow frame the viewing situation the romanticist noted Commentators expectations. own their perceive to tors 62 interpretations. new inspire to and continues discussion the most generated 3.17 aerial + Scofidio, Diller Swiss Expo, view of Blur, 2002. Yverdon-les-Bains, © Beat Photograph Reproduced Widmer. by permission of the and Diller photographer Scofidio + Renfro.

chapter three 154 2000–2008 155 People were so excited to see see to excited so were People With such a backhanded compliment the the compliment backhanded a such With 5 remains a potent analogy for the flexible the flexible for analogy a potent Blur remains the cloud could easily be relegated to postmodern media spectacle media spectacle postmodern to be relegated easily could the cloud D+S had realized a project whose thoughtfulness and playfulness countered countered and playfulness thoughtfulness whose a project D+S had realized It pushed architecture architecture It pushed Blur. to sticks or explanation metaphor No single acceptance an or control toarchitectural maximize attempt an the project Was canning News about the work of Diller + Scofidio reached New York throughout the 1980s the throughout York New reached Scofidio + Diller of work the about News were those decades during the studio activities of the of as most even 1990s, and The Scanning: their 2003 retrospective with This changed elsewhere. realized could not be bought, sold, appropriated, or interpreted with certainty. with interpreted or appropriated, sold, bought, be not could any received have to appear Blur does not for cost, including its objections, most visibility of global degree a new with the studio It provided 64 reviews. negative technological adroit commentators, as cultural its reputation and consolidated used to be work to “Their indecipherable designers. and tenacious innovators, Blur. with changed that all but crowd in the but all architect space,” outer from visited been they’d if as it before stand it—they’d 6 Vogue. in wrote later Coates Nigel sell-outs. label of populist the accepting or recondite was earlier had produced - architec of intellectual highly most the as Renfro + Scofidio Diller of trope The work, its to long cling may the cusp of popular recognition on just studios ture vapor. water than slowly more dissipate media narratives digestible easily for Scofidio and Diller artificial cloud, an of sketches their earliest after years Four way the along and obstacles the setbacks given feat a remarkable had built one, a possessed architecture in their contemporaries of that few a reminder and set. skill similar S functioning as a water purification device evocative of the systems theoretical theoretical systems the of evocative purificationdevice water a as functioning art.63 conceptual 1960s of aspirations - tun and the adjustment the for building constant required performance, toward identical. ever the were visits to cloud ing of a and musical two no instrument - depen system technological time-based complex a had built Diller + Scofidio the water Yet human control. factors beyond wind, and dent temperature upon drinkable) with taps architecture so as to make bar Angels Deck (complete on the to promote itself fog the of the capability And sense of humor. their confirmed had the architects not among visitors their suggests lost atmosphere a buoyant space. public vibrant a creating in finesse fundamen- more a and agency of cessation a implied that unpredictability of the world? tal toward openness specific to responding quickly of capable studio the of structure organizational Emblazoned on sugar walls. without a building and constructing opportunities and newspapers of countless the cover published on and umbrellas, packets magazines, that and a work an permeated Ambiguity experience architecture. or avant-garde architects confronted the double bind of having to admit that everything they they that everything admit to bind of having the double confronted architects - - - - Some Some 68 never entirely entirely never and the stereo the and stereo Scanning Master/Slave, Master/Slave,

capably filled the Whitney galleries, the the galleries, Whitney the filled capably and the Slow House did little justice to to did little justice House the Slow and Blur the most compelling legacy of Scanning was compelling the most Flesh, the robotic drill evoked a cross between a a between a cross drill evoked the robotic Master/Slave, demonstrated, perhaps more than even the architects had antici- the architects perhaps than more even demonstrated, Located across across from Located Organized by Aaron Betsky, then curator of design at the San Francisco Francisco San the at design of curator then Betsky, Aaron by Organized substantive the first catalog, exhibition striking visually the with Together Scanning trospective and frustrate a cohesive narrative of development about the “body” the “body” about of development narrative a cohesive and frustrate trospective pleased the architects. Scofidio later conceded that “the only certainty I felt was felt I certainty that “the only conceded later Scofidio architects. the pleased exposure.” needed work new the and mummified felt work old the that the architects of this the tension between disappointment stemmed from clearly in a clear discomfort and projects their own and curating designing previously in the show to Reactions others. by curated work their with having this instance build a number of critics suggested although positive, generally were the press shrift.69 short received studio the by ings any of its other projects at the time, the Mars space probe included. probe space Mars the time, the at projects other its of any Although noise and it introduced spectacle the into and a woodpecker. robot Museum of Modern Art, and K. Michael Hays, adjunct curator of architecture at architecture of adjunct curator Hays, Michael and K. Art, Museum of Modern at Harvard, and a Whitney of architecture professor the since their work of overview the major on track a that followed drill electric controlled a robotically Mural, allowed Having gallery. every out of and in floor, the subdivided fourth of walls then studio the practice, elements of its different the separate to the museum of its auto-critique an provide to as so full of holes, walls the gallery pierced re the Museum of from taken wall a of patch a rectangular for 70 Except of its work. it where and Duchamp had been exhibited, by work a which Art behind Modern at the drill cut one-half-inch holes rows, straight of pattern an orderly drilled in subcontrac engineering the Robotics, Honeybee walls. the along points random that of than complicated more was the design Mural, claimed for responsible tor where a painting by Marcel Duchamp once rested against it.67 against rested once Duchamp Marcel by painting a where held from March 1 through May 25, 2003, 2003, 25, May through 1 March from held + Scofidio, Diller of Architectures Aberrant comprehensive a time, first the For Art. American of Museum Whitney the at dis- on appeared videotapes and models, renderings, of photographs, selection - exhibi the and Scofidio, Diller of sorts for A homecoming 66 in Manhattan. play over an public general the and students, clients, friends, colleagues, offered tion the specificengaged minimally spatial and architectural yet view of their work, galleries. Whitney the of features exhi Architectural a museum. projects in their exhibiting of the difficulty pated, even since disappoint and often organize to challenging notoriously are bitions for poor substitutes are and models photographs, renderings, evocative the most site-dependent, and conceptual is work the When environment. built actual the Travelogues, While impossible. be well may task the American The from Lawn photographs and videos of renderings, models, were and Scofidio when Diller at its liveliest was The exhibit work. this earlier had architects the wall dry of section the as such projects, new initiate to able Art the Museum of Modern from Whitney the smuggled into clandestinely

chapter three 156 3.18 Diller + Scofidio, Mural, installation at Scanning: The Aberrant Architectures of Diller + Scofidio exhibition at Whitney Museum of American Art, New York City, 2003. Photograph © Michael Moran. Reproduced by permission of the photographer and Diller Scofidio + Renfro. - Like Like was exhibited for too short a period to fully pulverize the walls walls the too short a for exhibited to period was Mural pulverize fully ix M also explores architecture as destruction profiled by Mural. by profiled destruction as architecture explores also Mix Pure Picking up on the idea of architecture as regulation of climate investigated in in investigated climate of regulation as architecture of idea the on up Picking Technically three dimensional, the project of Roloff/Diller+Scofidio the project extended dimensional, three Technically The installation . . . is sited across from an active paper mill in the dead of winter. A mosaic the dead of winter. paper mill in an active from across . . . is sited The installation the sea ice . . . 81 is cast into sources international from implants designer water of frozen in the sea until the spring thaw when they entombed temporarily are waters international connoisseur of water on the absurdity takes The installation nature. back to returned are are Brooms specimen. the surface of each frozen into routed are logos Commercial ship. 73 view the brands. to sweep away snow accumulation to for viewers available ure - an explora as and developed piece, LED another in fact art, Mix is media Pure One properties of and as a tion ice light transmissive medium. of the visibility . . . screen ice aggressive with Theater a “Drive-In was ideas earliest the studio’s of the spec- [and] video projection headlights create synchronized which] [within appear Cars do not 74 automobiles.” in the tacle of well-heated comfort is viewed does. screen ice an through projection yet version, final the in Blur, April. in thaw the spring by exist to cease would it Show, in The Snow all projects gallery, gallery, 71 Labor had desired. and Scofidio Diller effect Peckinpah” the “Sam and realize Whitney, the after it did not travel was, as Scanning intensive and hardware works and preparing reconstructing the studio by spent year a nearly despite of pattern a that established financial loss a major was It exhibition. the for It featured signage that would melt and whose commingling of waters ironically ironically waters of whose commingling and melt would that signage It featured the purity the idea of with fascinated particularly was Diller critiques branding. could move. Only a few, such as Kiki Smith and Lebbeus Woods, who realized a a who realized Woods, and Lebbeus as Kiki Smith such a few, Only move. could ice. with worked below, from illuminated rink skating an ice-cube a flat surface, as be experienced only and could the sea ice into down it: described later architects the As loose. pry never could visitors that tray spending design fees for temporary installations on fabrication and research, and research, on fabrication installations temporary for spending design fees repeated. be to soon P a major chal- proved northern Lapland to Museum Whitney the Jumping from Finland. Mix in Kemi, called Pure a project realized the studio as in 2004 lenge an - instal Show, Snow at The installed Roloff John sculptor with A collaboration Zaha Hadid, Anish Kapoor, including architects and artists by works lation of returned it Weiner, Lawrence and Kiki Smith, Ando, Tadao Whiteread, Rachel artist/architect the of most 72 Predictably, a to familiar theme water. in its work: architecture: of snow structures realized Fung Lance curator by assembled teams which visitors and around through and tunnels, blobs, walls, blocks, labyrinths,

chapter three 158 2000–2008 159 - - - Geopolitical considerations and fantasies determined the the and fantasies determined considerations Geopolitical 5 Each one-meter block constructed out of 170 liters of water “cyclically trans “cyclically water of 170 liters of out block constructed Each one-meter of bottled water and the contamination entailed by introducing foreign fluids fluids foreign introducing by entailed contamination the and water bottled of sea. the of surface the from out cut reservoirs the into subli and ethos by organized commerce, by ‘purified’ water natural formed: flowed the Middle East those from example, For water. positions of each national Johnson Matthew members studio with closely worked Roloff each other. into and financial technical a lighting proved the Installing Libedinsky. Gaspar and the requisite purchase to honorarium in order its donated The studio challenge. the to in response color change to began they installed, Once number of LEDs. fad slowly before effect and unanticipated a serendipitous water, the of pressure to ing black.76 7 nature.” by mated - Pure Mix, instal Pure 3.19 + Scofidio and John Diller Roloff, Show, Snow at The lation 2004. Finland, Kemi, © John Roloff. Photograph by permission Reproduced and of the photographer Scofidio + Renfro. Diller - - esort R ouse, phantom house, and Boulders and house, phantom ouse, H The open disposition of the plan and its division into four programmatically programmatically four and its division into the plan The open disposition of Quadrant was a single-family house commissioned by Carl Kopp and Janis and Janis Carl Kopp by commissioned house single-family a was Quadrant uadrant uadrant equal components—living room, pool, lawn, and bedroom—functions as both as both and bedroom—functions lawn, pool, room, equal components—living jux and provocative space indoor/outdoor a contiguous a means of producing a on a design located to an element of parody introduces A lawn tapositions. CCA the in treated domesticity suburban the from removed far site desert hilly the up from that sweeps the house of S-shaped curve The continuous exhibition. of vocabulary the recalls the living room over a cantilever form to room guest res- the in like For here, different. altogether is not the intent and the Brasserie, Q of ability the about doubts possible any rest to Finland put in northern Working environ outside of urban climates extreme design in to Renfro + Diller Scofidio in 2005 changed this cities, had involved projects their earlier of If most ments. for landscape a in years four next the over commissions two of receipt the with Beginning Southwest. American the designed: never had they then which until of build- the challenge faced architects the in 2005, Quadrant House the with their landscape in arid mountainous an and engaging ing in desert conditions architecture. of both its urban views with of Phoenix, the outskirts on be located to Leonard, the crossroads at Its location Camelback Mountains. the surrounding and grid the house, of the program an inspiration for provided and nature of culture the to back that hearkens domesticity of treatment rigorous an uncommonly Maison Koolhaas’s Rem as such architecture, contemporary to and House Slow in this a view, around oriented Quadrant was the the House, Slow Like Bordeaux. of nature the to culture as serving Phoenix of flat grid the with views, two case, wedged. the and the which within mountains was boulders house 3.20 + Scofidio, Diller House Quadrant Reproduced rendering. by permission of Diller Scofidio + Renfro.

chapter three 160 2000–2008 161 - - Charles Renfro was promoted to partner in 2004, and the studio changed changed the studio and partner in 2004, to promoted was Charles Renfro Blur, If the Quadrant House had a repressed dimension, it would likely have been been have likely would it dimension, a repressed had House Quadrant the If A final unrealized design in their desert trilogy was the 2008 expansion of expansion of the 2008 was trilogy desert their in design A final unrealized Explicitly presented as a set of doubles, an indoor house and an outdoor one, one, an outdoor and house an indoor doubles, of a set as presented Explicitly the Boulders Resort in Scottsdale, whose most striking element is an inclined an inclined element is striking whose most in Scottsdale, Resort the Boulders the of in front the grandstand anticipates that pool the swimming bleacher in taurant, and in the Kinney Plywood House, the house is a machine for viewing viewing for machine a is house the House, Plywood Kinney the in and taurant, provides. it vistas the from follows design whose it connect to infrastructure costly the and consumed it energy of amount the and Times York the New by project a study as Commissioned grid. utility the to possibil- a design based on House, the Phantom 2007, 20, on May there published and and sustainability of energy issues addressed directly Kopp, by rejected ity Collaborating the desert. home in a single-family set again provocatively once and generating of energy-saving a range postulated the studio 10, Atelier with and on excess, thrives that luxury house sustainable guilt-free “a for technologies 77 it.” in live who J., and M. couple, the house different that so . . . efficiency into redundancy “transform to sought it Pleasure weather. the on depending outdoors, or in performed be can tasks hold loop feedback a form the house and inhabitants the converge: and sustainability used and later be banked activities can in everyday which energy produced in as needs the inhabitants’ anticipate can the house and home systems, power to the energy-efficient a summation of At once 78 room.” to room from move they Since then, it changed locations ten times. Further growth was hampered by lack by hampered was growth Further times. ten locations it changed then, Since inhab it years thirty-one for since collection, permanent a for space storage of House contained a strong dose of irony in its close identification of waste with with waste in its close identification of dose of irony a strong contained House - sustain and whom conservation for a model couple and depiction of pleasure enhancement. lifestyle latest the appear ability a realize would studio the project, In its next Hall. Tully Alice of structure final House, the Slow as in would, water where setting an urban in machine” “viewing design. the impact significantly ICA at length working and renovation the Brasserie leader on as project serving After on in (ICA) Art Contemporary of The Institute Renfro. + Diller Scofidio to its name the project the first was 2006, 10, the public on December to that opened Boston Museum of the Boston as 1936 in Founded name. under its new realized studio the in art contemporary to devoted institutions oldest the of one and Art Modern Georges by Guernica and works exhibit Picasso’s to the first was (it States United York the New and the ICA both Munch), and Edvard Oskar Kokoschka, Braque, Art Society. University the Harvard their origins in Art had Museum of Modern 1948. name in its current acquired and 1939 in MOMA from separated The ICA technologies that contemporary architecture today is exploring, the Phantom is exploring, today architecture that contemporary technologies

- and then teaching architectural history at Harvard, as a as nonvot at Harvard, history architectural teaching then and Yet the most significant force behind the construction of the new museum museum the new of construction the behind force significant the most Yet announced was the building for architects of the short list In January 2001, In November 1999, the ICA won the Boston 2000 competition sponsored by by sponsored 2000 competition the Boston won ICA the 1999, In November - the com in the ICA by museum outlined four-story The 60,000-square-foot was Jill Medvedow, the director of the ICA, who raised most of the $41 million million the $41 of most who raised the ICA, of the director Medvedow, Jill was ing consultant to the committee. As Goldhagen later recalled, Frank Gehry, Gehry, Frank recalled, later Goldhagen As committee. the to consultant ing until she Medvedow, initial possibilities for were and MVDRV Piano, Renzo New Republic New who had architects all not realized buildings in were they that was denominator austere the a museum, designed Zumthor had previously Only States. the United (1997). Austria Bregenz, in Kunsthaus glass and concrete ideal magnet for development of Fan Pier, then a sea of parking lots. A key role role A key a sea of parking lots. then Pier, of Fan development ideal magnet for Nicholas by retained was building the for architect an selecting of process the in ICA the of committee architecture the of chair the as served later who Pritzker, infrastructure. J Parcel the for funding the of some provided family whose and its permanent additional $12 million for an the building plus constructing for the critic of architecture Goldhagen, in Sarah brought Medvedow endowment. and Goldhagen just emerging. who were to the use architects director convinced Granda, Studio the Icelandic at buildings by look to Iceland to went Medvedow hall on the city their design of by impressed particularly was and Medvedow Harbor. Reykjavik philoso- their design presented finalists the four 24 and on March the public, to - archi Swiss Theater. Copley Boston’s at of 650 people auditorium an before phies Scofidio + Diller and Boston, of dA Office Granda, Studio Zumthor, Peter tect common whose finalists, of group obvious hardly and eclectic the composed ited Back Bay Police Station No. 16 on Boylston Street, converted by architect architect by converted Street, Boylston 16 on No. Station Police Bay Back ited ICA the forced it cramped so was space This 1975. in gallery a into Gund Graham installed. was exhibition an time each close to the South to relocate to institution a cultural allow to Menino Thomas M. Mayor an and opera victory this its to Thanks house selection over waterfront. Boston lease at a able to rent obtain a of the ninety-nine-year was museum and a theater, Fan 21-acre the on site acre an of three-quarters a J, on Parcel year per one dollar 79 family. the Pritzker by the city to donated was The land Boston. Pier in South in award prestigious the most and sponsors of chain Hotel the Hyatt Owners of planned and destination a cultural create to sought the Pritzkers architecture, to the neighborhood in complex and office condominium, a $1 billion hotel, for square 107,000 and rooms, hotel 770 units, 650 residential comprise eventually Museum in Bilbao, Guggenheim Gehry’s Frank space. and cultural of civic feet com- this for inspiration a significant doubtless was 1997, in completed Spain, new no which in city a Boston, in tourism architectural launch to mitment century. a nearly in built been had museum a rooftop contained and area its exhibition tripled have would petition brief 80 As and bookstore. a 400-seat theater, 125-seat restaurant, a garden, sculpture as an viewed be it was open and at that would during the night, a day complex

chapter three 162 2000–2008 163 Goldhagen recalls Zumthor was the clear frontrunner, and the commission commission the and frontrunner, clear the was Zumthor recalls Goldhagen - com to decided she nonetheless in place, yet the funding of any Not having - dou nearly feet, 106,310 square be would an optimal ICA that D+S concluded was his to lose. After showing few images in his presentation and appearing appearing and in his presentation images few showing After lose. to his was from Museum, of Terror the Berlin Topography in his discussion of arrogant and moving the administrative offices offsite. Others subjected the ideal pro- the ideal Others subjected offsite. offices administrative the and moving to theater the moving or involved throughout, reductions 40 percent to gram its or space gallery the of continuity the sacrificing and levels middle or upper which he was fired because of his unwillingness to compromise on a less expen- a less on compromise to because of his unwillingness fired was which he had Renfro + Diller Scofidio Although 81 trustees. the off he scared design, sive the local firm, than portfolio a larger it had designing museums, no experience Granda, Studio than States in the United grasp of building a better dA, Office art that contemporary and came with toward and a imagination sensitivity Medvedow. impressed for lack of support the historical action given of course a brave building, mence began D+S that presentations client and Renderings Boston. in art contemporary of outcome the as the finished ICA the summer of 2001 reveal in produce to use to the need and tight budget an extremely by driven process a negotiation footage the square outlined architects 82 The with maximum efficiency. space footprint 17,000-square-foot the an ideal building on of and costs requirements the of site. reduce to a series of options and developed allocated, feet square the 60,000 ble - administra and areas, exhibition theater, the and size expense the of restaurant, restaurant the proposed eliminating scenario Program” One “Base offices. tive 3.21 + Scofidio, Diller of models of Institute Art, Contemporary 2002. by Reproduced + Diller permission of Scofidio. The four models that the studio presented to the architecture committee of of committee architecture the to presented the studio that models The four the on space gallery continuous single a for hoped originally had Medvedow design that found the greatest favor with the architecture committee: the “Tray” the “Tray” committee: architecture with the the that design favor greatest found the in escalator double-row a included which gallery, cantilevered a with design the top. that from dropped glazed boxes two and the or at center facade, eastern natural light illumination. Renfro and studio member Deane Simpson produced produced Simpson Deane member studio and Renfro illumination. light natural designs. possible of models fifty than more spiki- their boxiness, in considerably varied but cantilevers all featured the ICA can- alternatives—multiple of a range D+S proposed and spatial complexity. ness, would and inlet—which and a drawbridge the a building, through hole tilevers, chal- a greater the museum and made space a single continuous up broken have a complicated toward direction an expressionist pushing it in program, to lenge eventually box straightforward the more that challenged of shapes assemblage built. and upon decided the footprint the small size of because of unfeasible that proved an option ground, of the version an alternate had the architects developed December, By of the site. 3.22 Scofidio + Renfro, Diller of Contemporary Institute Art, 2006. Boston, © Iwan Baan. Photograph by permission Reproduced and of the photographer Scofidio + Renfro. Diller

chapter three 164 2000–2008 165 - Renderings of January 28, 2002, introduced the boldest urban element of the the of element urban boldest the introduced 2002, 28, of January Renderings metaphorically extended into the new building as primary architectural element. The architectural as primary the new building into extended metaphorically It major public spaces. that defines the building’s wrapper a pliable Harborwalk becomes the it continues through facing the water, a “grandstand” into the walkway up from folds seam- seating, then the theater form then turns up to form a stage, to skin of the building the produce the skin to through slipping out space, ultimately the theater envelopes lessly scheme, a space-sharing arrangement reached with the Boston Redevelopment with the a reached arrangement Boston Redevelopment space-sharing scheme, the can the 47-mile Harborwalk, widening for in exchange whereby Authority the of the footprint beyond 30 feet dangle to allowed be would the ICA of tilever a continually form the building, to extend would Harborwalk wooden The site. the describes DS+R top. the over wrap back and public space, exterior accessible as Harborwalk 3.23 + Renfro, Scofidio Diller and Grandstand Harborwalk of Institute of Contemporary Art, 2006. Boston, Nic © Photograph Lehoux. Reproduced by permission of the and Diller photographer Scofidio + Renfro. - - 5 Other elements that appeared in this 2002 design and in the built museum the built museum and in this 2002 design in appeared that Other elements Few visitors to the ICA probably realize the complexity of these negotiations, these negotiations, of the complexity realize probably the ICA to visitors Few Canted toward the harbor, the Mediatheque appears in the 2002 design. With With the Mediatheque appears in the 2002 design. the harbor, toward Canted ceiling of the exterior of the public “room.” This ambiguous surface moves from exterior exterior from surface moves ambiguous This “room.” the public of of the exterior ceiling sits the the wrapper Above semi-public space. into public transforming interior, into to the over cantilevers that dramatically on one level space exhibition box”: a large “gallery 83 the water. toward Harborwalk reversal of the traditional function of the window, the glazing at the terminus of of the traditional function of the window, reversal first-time Many context. visual expands, than rather reduces, Mediatheque the 87 computers. surrounding the on savers screen the of one for it mistake visitors back zone from the shoreline, and reduced the minimum footprint of the build- of the minimum footprint and reduced the shoreline, back zone from Boston the with closely Working feet. square 15,000 to feet square 500 by ing a the Association ICA developed the and Harbor Boston Agency Redevelopment 50 per- requisite the provide would that the building floor of the ground for plan the restrooms, utilize the ICA, into walk may anyone Indeed, public space. cent grounds. its on events free numerous attend and lobby, its in sit with sliding provided initially floor, top the on the single gallery space include and the and stairs, an elevator by later replaced and an and escalator stairs, walls with mullionless windows. that Gallery, later became the Founders Gallery, Long the visited while building and underconstruction pronounced theAfter mayor lenticu the on architects the overruled Medvedow optimal, view the unimpeded always Diller, Although Gallery. the Founders designed for had they windows lar turning and on valve “the believed vision to inclined question architecture, in her client thing,” good a much of “too counter to was necessary context” the off 86 irresistible. Pier Fan of view unimpeded an found and dramatic most the is it line, horizon the off cutting window × 9.5' 21' its slope from monitors computer of rows Five museum. the in detailed space finely Renfro + Diller Scofidio by project If every window. the toward doors the entry was this are most passionate, they which a design about core element contains a brilliant In the ICA. in personal favorite) the partners’ (and that space clearly Although this solution can be understood as the culmination of a tendency toward this Although solution can as the be understood culmination toward of a tendency Eyebeam the and Brasserie the in evident the fold of architecture surface” “single the of the challenge to a response as interpreted convincingly it is more designs, Scofidio required, feet square 1,000 additional an of Short program. the and site to wants museum is a that always building ‘A thought, immediately “We recalled, reframe Can we turn outward. to are on a that wants site we here yet turn inward, of the outcome was area a seating that provides the deal?’”84 Their “Grandstand” 8 Agency. the with agreement Redevelopment an Boston amendments for filing necessitated Amendment Plan Harbor Municipal the for Determination Written Consolidated the and Harbor Plan the Massachusetts to 91) Act (Chapter Waterways a Massachusetts and obtaining Pier Fan involving to canti- ICA the floor gallery of fourth the allowed agreement The final license. set a 30-foot within grandstand westerly the located the Harborwalk, over lever

chapter three 166 2000–2008 167 Neither the excluded view of the surrounding city, nor the video monitors, video monitors, the nor city, the surrounding of view the excluded Neither the to extends machine for seeing,” “a apparatus, the viewing as a ICA Treating fourth-floor galleries, divided into two rooms of 8,000 square feet of naturally feet of naturally rooms of 8,000 square two divided into galleries, fourth-floor competition, architectural the during their presentation In space. illuminated towasDiller and trying design a neither the of Scofidio spoke museum that nor the water of the harbor imply transcendence. The window does not celebrate not celebrate does window The transcendence. imply harbor the of water the nor - material its own and does not conceal or nature technology, urban civilization, an world, the computerized by reality of the replacement than suggest Rather ity. indispens- the as architecture posits the Mediatheque cliché, postmodernist easy and a scene Framing reality. virtual with space able meeting point of physical and act architectural is attitude here it is”) water, want an adopting (“you ironic making. space in agency of assertion an gesture, cultural - the build through can move visitor the which in glass elevator, 166-square-foot strikes the ICA art museums, contemporary many to Compared ing in section. yet drama, architectural and visual generating between balance an uncommon art a view in to which in and quiet its environment nondistracting providing 3.24 Scofidio + Renfro, Diller Mediatheque of Institute of Contemporary Art, 2006. Boston, by Jesse Photograph Reproduced Saylor. by permission of the and Diller photographer Scofidio + Renfro. 3.25 icon of Gehry’s Bilbao nor the austerely minimum Sammlung Goetz of Herzog Diller Scofidio + Renfro, interior of elevator in & de Meuron (1989–92), but rather was “more of an interface with the art.”88 Institute of Contemporary Groundbreaking for the ICA took place in 2004. The museum opened to the pub- Art, Boston, with view toward harbor, 2006. lic in December 2006.89 Photograph © Iwan Baan. When one considers the absence of ceremonial space in the lobby, the mini- Reproduced by permission of the photographer and mal engagement of the building with the street front, and the spartan treatment Diller Scofidio + Renfro. of interior elements such as the stairway, the ICA is notably less flashy than many contemporary museums. Praise for the building and its contribution to the built environment of Boston came quickly, yet the museum also received mixed marks, paradoxically from critics who believed its galleries competed with the art, or perhaps inevitably given Bostonians’ love affair with their bay, did not sufficiently engage its harbor front location.90 Realized for $41 million, the building confirmed the skill of DS+R at wringing maximum value from a limited budget. Two years after the ICA was completed, in a lecture at the Getty Museum on December 16, 2008, Diller laid out what she thought to be the ideal principles of the contemporary museum:

1 Not play down to the audience it attracts. 2 Embrace the fact that art is only part of the museum’s offerings. 3 Aspire toward inefficiency. 168 4 Distribute unprogrammed space throughout. 2000–2008 169 - 3.26 letter Piano, Renzo Scofidio Ricardo to of on Institute Contemporary Art, 2007. Boston, by permis Reproduced Scofidio + sion of Diller Renfro. Revoke rigid codes of conduct. codes of rigid Revoke rescripted. Be easily art it houses. support the with nor only Neither compete of attention. be the center to not have of the museum does the architecture Recognize in art. trends new to museum has a responsibility Accept the new ideas in art.Expose the public to

5 6 7 8 9 10 To an admirable extent, the ICA that DS+R built attained these goals. Although Although the that ICA DS+R goals. built attained these an admirable extent, To prove well could and complete from far remains Pier Fan of revitalization the synergy with a building produced studio the crisis, the financial of a casualty ambi- of building public discussion Resuscitating walls. its beyond that extended cultural a successful became the ICA in Boston, architecture contemporary tious and ambi- an imaginative distinction, that architectural andrevealed attraction agencies government among and cooperation institution, cultural private tious project its next to relevant prove would 91 These lessons the city. had transformed scale. urban larger far a on realized - - - - enter C The story of Lincoln Center—the displacement of the residents of Lincoln of Lincoln the residents of displacement Center—the of Lincoln The story 5 Although the ICA was comparatively small, it familiarized DS+R with think with it familiarized DS+R small, comparatively was the ICA Although Emerging in the wake of the federal Housing Act of 1949, the enabling legisla- the enabling 1949, of Act Housing the federal of wake the Emerging in From the amalgam the its to arts performing centralizing in a From single campus, incoln been located between the Staten Island Ferry and the Brooklyn Bridge on a land on Bridge the Brooklyn and Island Ferry the Staten between been located extended have would This proposal the FDR Drive. by the city cut off from parcel Harrison, Robert Moses, and John D. Rockefeller III to induce in the words of the of words the in induce to III Rockefeller D. and John Moses, Robert Harrison, decisions— separate three of the product As 94 therapy.” kind of city “a new latter Streets and Seventieth Sixty-Second between Square the designation of Lincoln the decisions and Wagner Robert and Mayor Moses by area an urban renewal as to Philharmonic build venues new York Opera and the New of the Metropolitan ambi cultural and area in Center Rockefeller even exceeds Square—it at Lincoln tion.9 organi- among its constituent jockeying and machinations the political Square, and its Side, West Upper York’s the transformation of New zations and architects, fascination enduring of object an arts—remains performing the upon impact historians. cultural and architectural for debate and of its opera- the expense to architecture, and modernism in its of neoclassicism - gen and eventual neighborhood the surrounding its separation from to tions, after years than fifty more controversial still is Center Lincoln of it, trification the entered and never admirers few found 96 Its buildings have its founding. among Center of Lincoln the popularity Yet masterworks. canon of modernist as its as incontestable are York to New significance and its economic audiences city. the in life cultural of transformation thorough and government clients with myriad and negotiating city a scale of the ing on com studio the 2003, In plans. master urban several on work did as agencies, L Center Lincoln of the concept in Russia—could possibly America—or in “Only gran- such dream men Russia—do in possibly America—or in Only arisen. have a gran- all, after It is, reality. to them them bring dreamt and having diose ideas, brutish most and biggest The conception. its in ridiculous Almost idea. diose the that culture, more and still culture, culture, to devoted to conglomeration 1968.92 than an arts More complex Barnes in Clive noted seen,” has ever world an ideo its inception from was Center Lincoln Side of Manhattan, West the on and liberal belief rhetoric, war cold renewal, that fused urban enterprise logical improvement. social realize to arts performing the and music of potential the in Opera the Metropolitan in convincing instrumental Harrison, Wallace Architect the to that the arts asserted “is a center symbol Side, West the to Upper to move capable of are degenerates imperialistic so-called monopolistic, we that world - archi a single before 93 Even world.” the in center cultural the greatest building - the contradic it exuded had been made, Center Lincoln about decision tectural century. American the of tions of the efforts through realized was Center Lincoln urban renewal, tion of postwar have that would group park with the Rockwell waterfront a pleted speculative

chapter three 170 2000–2008 171 - - Twelve organizations (Chamber Music Society of Lincoln Center, Film Society Film Society Center, of Lincoln organizations (Chamber Music Society Twelve of and construction design, the conceptualization, wide magnitude, a By Few would deny that Lincoln Center remains an urban icon, a key insight insight a key an urban icon, remains Center Lincoln that deny would Few the Lincoln Center redevelopment was the largest challenge the studio ever ever the studio challenge the largest was redevelopment Center the Lincoln and urban historical, architectural, its that explaining so much so undertook, logic expository conventional strained constituencies varied to dimensions By voices. of multitude a in speak to how learn to architects the required and she that lectures PowerPoint of number large a accumulated had Diller 2006 city the community, Center: of Lincoln groups constituent the to presented Each academics. and preservationists, associations, professional government, for DS+R as it worked on its largest and most complex urban commission and and commission urban complex and most on its largest worked as it DS+R for the - campus be to remake so that the temptation unrecogniz it would resisted of expansion an for the competition won the studio 2003, February In able. emphasized the implications of the proposed DS+R design of greatest interest to to interest design of greatest DS+R the proposed of the implications emphasized strands these different assembled she 2006, 1, On February audience. a particular eight years and boost the number of its employees to sixty by 2006. by sixty to employees its of number the boost and years eight Inc., Arts, Performing the for Center Lincoln School, Juilliard Center, of Lincoln York New Ballet, City York New Opera, Metropolitan Theater, Center Lincoln Public York New Center, at Lincoln Jazz Philharmonic, York New Opera, City a roster and American Ballet) of and School Arts, Performing the Library for Commission, Landmarks City Affairs, Cultural (Department of agencies of city Every process. the design in participated and Department of Transportation) This organizations. Center the Lincoln all of unanimity the decision required constituents artistic for autonomy preserve to 1956 in created federation loose and Diller decision making. architectural large-scale complicated immensely planning and 2008 in 2003 between work days their of spent many Scofidio man- top the in a series of changes with concurrent the project, meetings for a in place took construction final the of Much arts center. the of team agement recession. economic growing the grid of the city into the East River and introduced economically viable pro viable economically introduced and River East the into city the of grid the a completed studio the later, year A ends. and southern northern its grams into augment its south to that sought Copenhagen in Gardens Tivoli for plan master cultural for of space feet square added 300,000 have would and ern perimeter facilities. commercial and The project arts.” the of “street friendly a pedestrian into Street Sixty-Fifth West the designing the campus, of North Plaza the include redesigning to soon grew Building, the Rose American Ballet in of the School of Wing Kirstein Lincoln of School the Juilliard and Hall Tully Alice of and renovation the expansion and the to Next center. cultural the of redevelopment billion $1.2 a of part as Music, in New project redevelopment urban largest the it is Zero, Ground of rebuilding Meier, Richard against Competing century. twenty-first the early in City York Diller and Norman Foster, Calatrava, Santiago and Partners, Cooper Robertson a and complexity of daunting bureaucratic a client acquired Renfro + Scofidio the next for the studio the energy of much of consume would that commission Diller at last was directing the movie she had always wished, for in this lec- in for wished, always she had the movie directing was last at Diller ture that she called “show and tell to the third power” the adopted she of role third the power” to tell and that she ture called “show the narrator and showed herself presenting the design in completely different different the design in completely herself presenting and showed the narrator the design elements of ten The stakeholders. Center Lincoln diverse to ways and person- histories with complex became characters project Center Lincoln into the most detailed and sustained account of the design then provided by the by then provided the design of account sustained and detailed the most into Planning Architecture, of School Graduate the at she presented a lecture studio, Teach to Forgot entitled “What They University Columbia at and Preservation 97 School.” Architecture in You

chapter three 172 2000–2008 173 - - Empowered by the new management team of Lincoln Center, Center, of Lincoln team management the new by Empowered of Lincoln the significance emphasized DS+R agencies, city To Initial presentations by DS+R to the constituents of Lincoln Lincoln of the constituents to DS+R by presentations Initial Reynold Levy, president, and Bruce Crawford, chairman, the the chairman, Crawford, Bruce and president, Levy, Reynold a attracting of one as mandate design their understood architects Center to a living body, Diller urged that it adapt and undergo “a “a and undergo adapt that it Diller urged a living body, to Center sus- life to reconstructive, to cosmetic, from gradation of surgeries health. full its regain to as so implants” taining of the architectural profession. architectural the of Center of Lincoln age the current of 2006 (as demographic younger more architecture making its and climbing), sixty-five was patrons and the opening the to community, surrounding space transparent, the about illusions few Diller had Yet destination. a cultural creating “Born lecture, Columbia noting in her Center, of Lincoln history too was the project urban renewal, ambition of large-scale a 60s of at the whose too hands architects compromised of too many big, Lincoln obsolescence avoid To work. . . . in corporate were strengths Center a needs toe makeover.” to head with the pas- attraction becoming less attractive as a tourist Center residents of To shift. an identity thus required that and time of sage qualities the best making it proposed community, the surrounding become would that spaces public its in available Center Lincoln of Diller preservationists, To Park. Central as a destination as much of the as such Center, aspects of Lincoln the best retaining proposed - while recog Court, landscaping in North of Dan Kiley’s tranquility Comparing Lincoln changing needs of its constituents. the nizing alities of interest to specific groups. Speaking in multiple voices voices multiple in Speaking groups. specific to of interest alities audience and voice for each slides fifteen the same and repeating became the articulating essential to issues embedded in the work meaning new cast Her lecture level. every at them addressing and architecture the new can make film “only that claim Giedion’s on com the that suggested view of points shifting its for intelligible,” and a single standpoint exceeded the urban commission of plexity multi the cinema, of language the through presented be only could excellence. par medium perspective Center Lincoln make to propose “We the phrase, with began Center signaling immediately Center,” Lincoln than Center Lincoln more the sought that firms other the and DS+R between difference the conceded Scofidio competition, the winning After commission. them tell to only—architects the first—and been have may that “we it tear to wanted else just Everybody Center. . . . Lincoln liked we that - archi new with completely it that replacing Recognizing down.”98 starting point arbitrary but no less a different impose would tecture temptations the megalomaniacal of refusal an uncommon suggests 3.27 Scofidio + Renfro, Diller and LED riser steps canopy, Lincoln Center Arts, for the Performing City, 2011. New York © Mark Photograph Bussell. Reproduced by permission of the and Diller photographer Scofidio + Renfro. - - Diller summarized the fundamental strategy of the DS+R design in the analy the design in the DS+R of the fundamental strategy Diller summarized Addressing professional groups, she stated what officials had known since the since known had officials what stated she groups, professional Addressing bus several and on station subway Street the Sixty-Sixth at its location Despite Lincoln Center was conceived as an urban acropolis, white and gleaming, raised off the raised gleaming, and white as an urban acropolis, was conceived Lincoln Center the to culture elevated This plinth not only aspirations. on a plinth with classical ground The plinth’s below. infrastructure a common to buildings the discrete it connected heavens, at alienating opaque periphery, at the outer symbolic function and service function collided The plinth must louvres. and ventilation docks, loading doors, by garage walls punctured - new aspira Lincoln Center’s represent facade that should as a street now be understood - tions of openness and engagement. . . . of a thriving city, the plinth repre In the context the street above culture elevating form of modernist neoclassicism sents the most arrogant of its time. But it must be as a remnant . . . The plinth must be retained rot to which is left and accessibility. politics of inclusion pried open for today’s - “displac than to be nothing less was Street Sixty-Fifth Making over points. access rather optical “utilizing and Plaza” Fountain the from gravity of center the ing This campus. the of parts south and north the bridge to means” physical than this “interface” with the city and “untangle the knot of people and cars,” DS+R DS+R and cars,” of people the knot and “untangle the city with this “interface” porte-cochère. a submerged and for pedestrians a curbside drop-off designed mon- of “ethereal stairway a new with zone” a “transitional also created They MCA Chicago the unrealized the spirit of whose LED risers (in umentality” - demate performances, current the about information display project) Ventilator mat. and welcome an as function electronic the rialize stairs, center: arts the of form architectural the on lecture her in offered she sis from the campus that separated miscalculation” urban planning Undoing “an more and creating the plinth of the edges eroding necessitated its surroundings 1970s, namely, that “Lincoln Center is coming apart” and the time had come “to “to had come time the and apart” is coming Center “Lincoln that namely, 1970s, and invent its facilities, expand its surfaces, repair its infrastructure, upgrade dis- “that an effort require would the project of 99 The scope programming.” new - infor and landscape, architecture, planning, urban between boundaries solves Diller of wanting spoke academic audiences, to abstractly, Most mation design.” interleave to populations . . . integrate to . . . desires its repressed bring out “to - simultane many [that] “accept to and commerce” and with recreation culture synthetically but perhaps can be exclusive mutually appear may ideologies ous urban design phi incompatible and bridging seemingly Syncretism combined.” as the crucial to vision as DS+R Center was of the losophies of future Lincoln plant. physical its altering the thirteen been by complicated Center has always at arriving Lincoln lines, Avenue. Columbus and Broadway of the intersection by formed traffic lanes of street, the from a buffer a facade, the campus lacked patrons, confusing Further consistent front “a dignified what Diller called and grade change, an effective glam- and “a City” York buildings in New and cultural with other major civic improve To departures.” and arrivals of theater the for entrance grand orous

chapter three 174 2000–2008 175 - Recognizing the failures of the North Plaza, the often empty spaces of of spaces empty the often the North Plaza, of the failures Recognizing Diller, numerous alterations to Kiley’s original design, including the decay of the of the decay including original design, Kiley’s to alterations numerous Diller, of London the substitution stones, paving aggregate of the replacement planters, of the the variation original and tile and pool depth pear trees, by trees plane impossible.101 restoration effective an made entailed the demolition of the bridge linking the two campuses, the Millstein the Millstein campuses, two the linking the bridge of the demolition entailed involved redevelopment the of demolition radical most the (revealingly, Plaza building), a than rather of infrastructure piece reviled this generally destroying pedes lowering also involved It footbridge. transparent a by and its replacement and expanded, and sidewalks was narrowed width whose street, the to traffic trian an with LED stairway A larger streets. to surrounding traffic vehicular rerouting and within the connects Sixty- center activity about information provides wall the new into Street Sixty-Fifth Transforming the North Plaza.100 to Fifth Street aspiration whose these designs, of goal the ultimate was Center spine of Lincoln projects earlier DS+R media suggests utilizing electronic spaces interweave to as such Eyebeam. sense like Chirico claimed “the de Diller pool, the reflecting and Park Damrosch Social failure. a as construed be only can today spaces public the in absence of modernism but Center of Lincoln both characteristic are alienation and fusion tran- the than in true this more was Nowhere out of balance.” gotten have they landscape by Court the North the design of of simplicity abstract and quility a as attraction its lost the plaza time, of the passage Over Dan Kiley. architect to According surfaces. hard of expanse alienating an became and space public 3.28 Scofidio + Renfro, Diller of Lincoln rendering for the Performing Center Arts campus-wide dynamic signage. by permission Reproduced Scofidio + Renfro. of Diller chapter three 176 2000–2008 177 The pool would exploit the gradual 18-inch grade grade 18-inch gradual the exploit would pool The 103 Attempting to preserve the original design intent of Kiley’s North Plaza, DS+R Plaza, North of Kiley’s design intent original the to preserve Attempting Lincoln connect and would that urban changes architectural Emphasizing sought to transform it into a “social condenser” where it would be activated with be activated where it would condenser” it transform a to into sought “social and a and temporary permanent joined programming campus and a by green Saarinen, (Eero Theater Center Lincoln the of front in restaurant, destination - the res of roof the saddle-form of programs, a daring combination 1965).102 In of made be would properties, buffer sound and plaza the onto views with taurant the for the studio 2004 design of the unrealized in roof the lawn grass (evoking Lausanne Center). Learning narrowed be slightly would and the site waterproofing by necessitated change and rock half to defy appear to gravity to as so water the cause and lengthened, trees bosk of a continuous for allow would planter An underground and out. in architecture. landscape original Kiley’s of reminiscent Center Lincoln make to sought DS+R neighborhood, the surrounding to Center architecturally 104 This became most the street.” on visible presence a of “more Belluschi’s Pietro Hall. Tully Alice of their $159 million renovation in evident the of home the as served Music, of School Juilliard the with shared building, functioned it never yet Film Festival, York the New and Chamber Music Society being unable about complained often Visitors an urban landmark. as effectively 3.29 (opposite) Scofidio + Renfro, Diller Lincoln of North Plaza for the Performing Center City, Arts, New York © Mark Photograph 2010. by Bussell. Reproduced - the photog permission of Scofidio and Diller rapher + Renfro. 3.30 (below) + Renfro, Scofidio Diller with Hypar Pavilion and Lincoln roof lawn Lincoln Restaurant, for the Performing Center City, 2011. Arts, New York Iwan Baan. © Photograph by permission Reproduced and of the photographer + Renfro. Scofidio Diller 3.31 (right) Diller Scofidio + Renfro and Pietro Belluschi, Alice Tully Hall, Lincoln Center for the Performing Arts, New York City, 2010/1969. Photograph © Iwan Baan. Reproduced by permission of the photographer and Diller Scofidio + Renfro.

3.32 (below) Diller Scofidio + Renfro, interior café and lobby of Alice Tully Hall, Lincoln Center for the Performing Arts, New York City, 2010. Photograph © Iwan Baan. Reproduced by permission of the photographer and Diller Scofidio + Renfro

178 2000–2008 179 Clad in travertine marble, an amalgam of neoclassicismamalgam an marble, travertine Clad in 5 Alice Tully Hall closed for renovations in April 2007. When it it When 2007. April in renovations for Hall closed Tully Alice a pub- Hall constructed Tully Alice the renovated the ICA, Like Inside Alice Tully Hall, a single log of Moabi (African pearwood) of Moabi (African pearwood) a single log Hall, Tully Alice Inside lic space where none had previously existed, yet wedged into the the into wedged yet existed, had previously none where lic space process whose technical perfection nearly derailed the opening the opening derailed nearly perfection technical whose process entire the to the stage from sound This shell distributed concert.109 enveloping to conclusion geometric the cones,” “nose Two house. corner at Sixty-Fifth Street it proved a far greater design challenge. design challenge. a far greater it proved Street at Sixty-Fifth corner - real and on Broadway the street along walls glazed created Newly adding and transparency space by striptease” architectural ized “an at complex functionally the most far building—by Belluschi’s to - for and focused internally most the DS+R for Center—but Lincoln the expansion between transitions the designed They tresslike.107 them “blursthe the joint between that so the original structure and - its new or deny work their hide to not moment of its execution,” or historicist the impasses of contextual elude to ness but rather the same from travertine Clad in 108 to preservation. approaches a window the new expansion introduced quarry as the original, of “morphing” process a through that Street on Sixty-Fifth pattern fenestration. the older with breaks nor completely neither imitates mani- here the modernism of DS+R, in value a key Indeterminacy, past between differentiation of simplistic the rejection in itself fests since continually that has been renovated a building in and present construction. initial its wood employed The architects and the ceilings. the walls covers light to shine through to joined resin panels that allowed veneer fabrication a novel of the product tones, red warm in walls the side 10 find it. to connect to it failed dubbed what Scofidio in drag,” “brutalism and Jane Moss official Center Lincoln Even city. the surrounding with inside acoustics 106 The a bunker. as interior its sunken described as problematic. stage, on performers especially many, the hall struck collabo- in Renfro + Diller Scofidio 2009, 22, on February reopened glass entrance a dramatic new with it provided with FXFowle ration the Juilliard in studio dance a new which over Street, on Sixty-Fifth the Shaped like visible the from street. and was School cantilevered to and inviting as the extroverted new was facade of a ship, prow forbidding. and introverted been had hall Belluschi’s as pedestrians interior Its street. the with contact visual created lobby glazed A canti- a 70-foot-long with and bar a café and public seating houses Outside limestone. Ataija blue Azul of Portuguese bar made levered about news displays grandstand an information the entrance, look to which from a perch provides and video monitors on events floor. second the on spaces function private the into 3.33 Scofidio + Renfro Diller Alice Belluschi, and Pietro Hall, Lincoln Center Tully Arts, for the Performing 2010/1969. City, New York © Iwan Baan. Photograph by permission Reproduced and of the photographer Scofidio + Renfro. Diller 3.34 existing balconies and boxes within the shell, appear on either side of the pro- Diller Scofidio + Renfro and Pietro Belluschi, scenium and improved acoustics. Collaboration with the New York City Transit interior of Alice Tully Authority to mount the tracks of express subway trains on vibration-dampening Hall, Lincoln Center for the Performing Arts, rubber pads further improved the sound quality. New York City, 2010. Diller observed of the original building that “not only was Tully cut off from Photograph © Iwan Baan. Reproduced the City and had a very, very minor entrance but it really had no identity. So by permission of the what we did, very simply . . . we expanded the space, we encased it in glass and photographer and Diller Scofidio + Renfro. we just put everything on display.”110 Richard Peña, film program director of 180 the New York Film Festival, which holds screenings in Tully Hall, notes, “I think 2000–2008 181 If the renovated concert hall became a device for seeing (and listening), it it listening), seeing (and for a device hall became concert the renovated If also elicited bodily metaphors to describe the work of Diller Scofidio + Renfro, Renfro, + of Diller Scofidio work the describe to metaphors bodily also elicited Diller Scofidio + Renfro were extraordinarily responsive to our questions, needs our questions, to responsive extraordinarily were Renfro + Diller Scofidio have architects other meetings; in welcoming them found always I desires. and I DS+R. not but me, like people with meetings ‘tolerating’ as me struck always uniformly People Hall] more. Tully Alice [the renovated love think I could don’t films for problems sound the and hall, the of beauty and comfort the about rave an is now space screening good very A eliminated. completely almost been have 111 one.” excellent In an age when genetic engineering, rather than prosthetics or plastic surgery, surgery, plastic or than prosthetics rather engineering, when genetic age an In beginning with the comparison of the new Sixty-Fifth Street to the “spine” of of “spine” the to Street Sixty-Fifth new the of comparison the with beginning being found Ourossoff Nicolai critic Architecture Center. Lincoln a renovated and noting, by architects praised the experience in the new a womblike hall open up clogged and tumors ugly out cut they of surgeons, the precision “With of the DNA taps into hall that “the re-imagined claimed Diller Even arteries.”112 democratic that is more vocabulary design a new establishes yet Center, Lincoln 113 spirit.” in under- Hall Tully Alice the new the body, transform to radical means the most is - mod an older of genes” the “good at splicing architects the of the facility scores earlier it years Twenty needs. contemporary to a building responsive ernism into to relation in DNA about spoken have would and Scofidio Diller that is unlikely metaphor the by implied change to the imperviousness and conceded work their the of their projects imagine can one easily Nor code. a genetic as architecture of From solutions. as architectural and 1980s curtain walls transparency embracing have they world, the built of construction the cultural on an initial emphasis the of history modernism acknowledge to view their of architecture broadened constraint. than less no of freedom as sources the city the scale of at working and 3.35 + Renfro, Scofidio Diller School of American Ballet Lincoln rooms, practice for the Performing Center City, 2010. Arts, New York © Iwan Baan. Photograph by permission Reproduced and of the photographer Scofidio + Renfro. Diller

chapter three 182 2000–2008 183 - 5 Tucked into the North Plaza, the hyperbolic paraboloid (Hypar, for short) short) for (Hypar, paraboloid the hyperbolic North Plaza, the into Tucked Many of the most arresting additions to Lincoln Center are the are to visible less Center to additions Lincoln the of Many arresting most - Hall and the redevelop Alice Tully of the acoustics Critical to responses - gentrify more ever an in its location and access subway poor by Constrained element of the renovation, was completed in 2012. in completed was renovation, the of element and limits the possibilities suggests Center Lincoln the new Side, West ing Upper mented, including the LED risers on Columbus Avenue, which met with initial with initial which met Avenue, Columbus the LED risers on including mented, greatest the proved and Recreation and Parks of Department the by resistance on display and information text Introducing process. approval the in struggle encourages Center Lincoln of size the yet criticism, generated has campus the - that unlock nostal can find perspectives visitor any and standpoints, multiple an alternation gic memories of the architecture, appreciation or new promote Diller often Although 117 a lenticular screen. of the effect not unlike views of renovation the Center,” Lincoln at work don’t gestures “small that quipped 118 imposing. being without itself asserts reno Center the Lincoln the final elements of as one of opened in 2010 pavilion 7,200-square-foot a covers roof sod whose space 11,000-square-foot an vation, - innova and architecture, a fusion of landscape, the High Line like restaurant, this time Valenti, with worked DS+R again, Once 119 infrastructure. planting tive rather meal, a of the preparation turns that kitchen exposed a fully designing - pro grass canopy twisting The exterior theater. into the space, than entering the first freestanding and the building, where none vides a view existed, before the and plaza the from accessed can be in Manhattan, the studio by structure 17,500-square-foot a level, the lower On Street. on Sixty-Fifth widened sidewalks designed by an interior with Center of Lincoln the Film Society addition for an amphitheater, theaters, added two Group the and Rockwell Rockwell David the final the North Plaza, to Juilliard connecting footbridge A new a café. and public, such as the 45,000 square feet of new facilities and 50,000 square feet feet 50,000 square and facilities of new feet 45,000 square the as such public, the- black box a including gained, School the Juilliard that spaces of renovated space rehearsal an orchestra facade, on its Shakespeare of works the with ater and and classrooms room, manuscripts reading a rare studio, and recording the are renovation the elements of ethereal most The offices. administrative of the School of Wing the Kirstein suspended in rooms practice ballet new four without ball “snow a in dancing to likened which one student American Ballet, - control the electronically and windows the on Ballet bars mounted 114 the snow.” an elegantly delineate opacity to transparency from switch that can walls lable poise.11 and serenity breathtaking of light, with awash space, detailed - 116 enthusiastic. been transforma If the have generally Center of Lincoln ment - and hard and Kiley of Belluschi admirers ardent the most tions disappointed the time, in as frozen Center Lincoln who envisioned preservationists core have undoubtedly DS+R by employed transparency and display of strategies navigable easily more the campus and made visitors among popular proven - the satisfaction of its manage to much public face, a new with it and bestowed - imple were in 2004 architects the by the design ideas proposed of Most ment. - - -

ine L igh igh H Delayed by the First World War, the New York City Grade Crossing Elimination Crossing Grade City York the New War, World the First by Delayed The earliest strand of this history begins in 1847 when the city of New York York of New the city when 1847 begins in this history of strand The earliest he he authorized the Hudson River Railroad to lay tracks down the West Side of of Side West the down tracks lay to Railroad the Hudson River authorized Act became law in 1928, and freight lines disappeared from New York City’s City’s York New from disappeared lines freight and 1928, in law became Act and estate of real an exchange on agreed the railroad and City York New streets. Diller Scofidio + Renfro, Field Operations (FO; a landscape architecture firm firm architecture landscape a (FO; Operations Field Renfro, + Scofidio Diller - the com won Oudolf designer Piet and Dutch planting Corner), James headed by the site on be created to a park the High Line, the design of petition in 2004 for New in Street Gansevoort from runs that track railroad elevated abandoned an of Chelsea neigh- West the to Returning Street. Thirty-Fourth to Village West York’s the confronted now DS+R been constructed, have to was Eyebeam where borhood the winning After York. in New public space a second of codesigning challenge an associa- the unmistakable had acquired studio Center commission, Lincoln Shifting York. New of contemporary the built environment with remaking tion refract in architecture and gentrification, preservation, land use, toward attitudes park.122 the of development the and night between trains ran day 1850s, the During Canal Street. to Manhattan them in preceded Cowboy” a “Westside and Manhattan, and Lower Albany the rail 1870s, In the warn pedestrians. ared to flag waving Manhattan, Lower grew public protests 1908, By all intersections. at guards crossing posted road Tenth of parts for used name the Avenue,” “Death on accidents fatal the against the and Central city Railroad York The trains New the at ran where grade. Avenue Canal to Street Fifty-Seventh from rail corridor an elevated construct to agreed platform a creating Street, Fifty-Seventh of north tracks the cover to and Street Park. Riverside for - archi the extent what To century. twenty-first the in monumentality of cultural translate can boundaries and eroding interiors of displaying strategies tectural appears renovation the as even seen, be to remains sales ticket increased into previ people few that for buildings a first a critical success, and a popular both a destination, as popular more become has Center Lincoln liked. truly had ously all the achievements Hall has attained a visual new presence, Alice Tully and seri of diminution any without accomplished been having for remarkable more facility Manhattan performance the only As or crass commercialization. ousness and programming its transform to able been has Tully street, the on café a with the 120 Given constraints ways. in new audiences engage that festivals develop the of the most it made worked, which DS+R with client demands and complex Lincoln optimism. with its own landmark York a New and infused opportunity public cultural the design of new as influential on remain to is likely Center the be on would the studio of collaboration the next as come to years in spaces parks.121 public of design T

chapter three 184 2000–2008 185 - - 5 reporter, he effused, “It was terra terra was “It he effused, reporter, Times York New The Promenade Plantée, a three-mile-long elevated midair park, subsequently subsequently midair park, elevated three-mile-long a Plantée, The Promenade Freight traffic shifted from rail to truck during the decade, and utilization of the decade, truck during to from rail shifted traffic Freight Under pressure from the city and the administration of Mayor Edward Koch, Koch, Edward of Mayor administration the and the city from Under pressure Norfolk 1998.126 Norfolk in opened in Paris the High Line, for a precedent as cited Conrail in of assumed control and merged CSX Transportation and Southern to entitled “What Association study Plan a Regional CSX commissioned 1999. Property Owners Association (CPO), which sought to demolish the elevated via- which the to demolish sought elevated Association (CPO), Owners Property of “bridge a proposed Holl Steven architect year, same That commenced. duct, entitled and lecture a slide show Obletz held and the High Line, above houses” experience his Describing Railroad.” Forgotten Manhattan’s Save to “The Fight the High a of walking Line to 124 tranquility.” Unimaginable space. Unrestricted there. up incognita Obletz to the High Line Commission nullified sale of Commerce the Interstate the and a railroad), run to the resources that he did not have (it found 1987 in legal an unsuccessful assets in his entire lost eventually the park for activist first require to ICC the with 1989 in request a CPO filed The Conrail. against fight and abandon involuntarily to the High Line, of again owner once Conrail, adopted whose jurisdiction it runs, through 4, Board Community it. demolish of a study pending its preservation, supporting year the following a resolution negoti successfully Company Development Rockrose the 1991, In further uses. the High Line, blocks of southernmost the five demolish to the ICC with ated CPO for the by A further request Street. Gansevoort to terminus bringing its that and ruled itself reversed the ICC year later, One rebuffed. was demolition million contrib the $7 over the demolition CPO funding the upon conditional it could claims, future against the railroad and indemnifying Conrail by uted 12 tracks. the demolish elevated easements for an elevated line (a solution that expressed the growing interest interest the growing expressed that solution (a line elevated an for easements Street Canal from traffic) vehicular from separating pedestrian in of urbanists Commission (ICC) Commerce the Interstate 1929, In Thirtieth Street. to north - termi its to north the in Duyvil Spuyten From viaduct. double-track a approved At a thirteen miles. the total length was of the tracks nus at railroad Spring Street, track rail elevated the $85 million, be to Times York the New then estimated by cost greatest the among it declared and journalists Citizens 1934. opened on June 28, used actively remained it and Manhattan, of history the in improvements public - com not enter did the High Line, its nickname, although 1960s, the early to up 1980s. the until parlance mon of south it demolished the city where point the to declined track elevated the it in on traveled turkey, of frozen boxcars three hauling train, A final Bank Street. Congress trails, or bike pedestrian unused rail lines into transform 1980.123 To leg- trail” to “rail this Through 1983. in Act Systems National Trails the passed trust a and held by needs transportation future for land is banked islation, and railroad Chelsea resident owners. former not be sued by who may manager Westside for his 1984 the High Line in Obletz purchased Peter aficionado car Chelsea the by challenges Legal dollars. ten for Foundation Rail Development

- Travel Travel and Fortune, Easterling created created Easterling Reclaiming the High Line. High the Reclaiming His images proved so influential in conveying the the conveying in influential so proved images 128 His and quoted Hammond as saying, “The point is that a public reuse reuse public a that is point “The saying, as Hammond quoted and On July 26, 2001, the Council of the City of New York passed Resolution 1747 1747 passed Resolution York of New City the of Council the 2001, 26, On July Robert Hammond, a San Antonio, Texas, native and Princeton University his University Princeton and native Texas, Antonio, San a Hammond, Robert The Design Trust for Public Space held a conference in 2001 on the future of the future in 2001 on a conference held Public Space for The Design Trust the Uniform Land Use Review Procedure (ULURP) mandated by the city charter, charter, the city by mandated (ULURP) Procedure Review Land Use the Uniform the bor- council, the city by reviewed are significant land use initiatives which in Planning. of Department the and boards, community president, ough the High Line. Hammond and David commissioned photographer Joel Sternfeld, Sternfeld, Joel photographer commissioned David and Hammond Line. High the Explaining it. photograph to ruins, Roman had documented who previously the us “Give him, told they raising funds, useful for an image create to their need abandoned rail the to access of exclusive year a requested Sternfeld shot.” money - with an accompany Yorker the in New published his photographs and later line Gopnik. ing Adam text by him considers that Hammond visited had ever people that few a space of beauty article An the on 129 High project. the the in appeared Line of cofounder third the Voice Village increase actually it could with development; along work the High Line could of 130 values.” property the mayor, It called upon a public space. as the High Line of reutilizing in favor obtain to Authority Transit the Metropolitan and York, of New the governor Board. Transportation Surface US the from use trail interim of certificate a groups, community residents, Clinton), (including Hillary Rodham Politicians Rudolph Mayor Yet project. the supporting in joined professionals design and the High of demolition and supported CPO the with side to Giuliani continued victor, the eventual including race, the mayoral in the candidates All six of Line. C. President Manhattan Borough its preservation. favored Michael Bloomberg, and residents neighborhood six and Line, High the of Friends Fields, Virginia by-passed illegally Giuliani that claiming lawsuit 78 Article an filed businesses formed Friends of the High Line in the summer of 1999. Pentagram Pentagram 1999. summer of the Line in the High of Friends formed and Leisure, group. the for identity graphic and logo a created Scher Paula designer graphic for Public Trust the Design to a proposal submitted the High Line of Friends and Casey Jones Keller architects to fellowships which awarded in turn Space, public Line into High the of conversion the investigate to in 2000 Easterling as report his published Jones space. sixty-three CSX for department cited building the city year, That same website. a concrete. loose and rails rusted including violations, Do with the High Line?” that recommended converting it for use as a light rail ora light as use it for converting that recommended Line?” the High with Do - these con with issue took Rose Commissioner Joseph Planning City a greenway. - transporta for except there be to has no right “That platform and stated, clusions railroad of old Vietnam the This has become is long gone. . . . that use and tion, the in landholder a large Parking, owner of Edison Gottesman, Jerry trestles.” a Federal build to permission sought CPO, the in a major participant and area 127 Street. Eighteenth and Avenue Tenth at property his on depot Express a David, and Joshua consultant, and public relations writer turned major tory as Gourmet, magazines such for and editor writer freelance

chapter three 186 2000–2008 187 - - - - 5 Hammond observed that the High Line “was built to move eggs and but eggs move to built the High Line “was that Hammond observed had now which Times, York New the in wrote Jackson Kenneth historian Urban Reversing the position of the Giuliani administration, Mayor Bloomberg Bloomberg Mayor administration, Giuliani the of position the Reversing opened Art Society the Municipal at an exhibition the High Line, Reclaiming ter in and out of the factories in New York City. Now it can be used to move move to used be can it Now City. York New in factories the of out and in ter in February 2002. Martha Stewart, Robert A. M. Stern, Sandra Bernhard, and and Sandra Bernhard, Stern, M. A. Robert Martha Stewart, 2002. in February warmed to the project, that “the High Line can be another story of the redemp of another story “the High Line can be that the project, to warmed Writing appear. to also began critical media coverage 139 More York.” tion of New mused, Sicha Choire Observer, York the in New 720 submissions from thirty-eight countries, including ideas for windmill farms, windmill farms, including ideas for countries, thirty-eight 720 submissions from and an amusement with a park Big pastures, cow aerial tramway, an a lap pool, former Princeton (and speaker council city Miller, Gifford coaster. roller Apple $15.75 mil contribute would the city that announced of Hammond) roommate entries of competition the exhibition with coincided His news its reuse. to lion Central Grand in Station.13 and that those offices apartments, people in and restaurants, out the of galleries, $40 between cost would its reuse 136 He estimated become.” have warehouses “critical element” a the park called Doctoroff Mayor Deputy and $60 million. a stadium the building of which included Side, West the of the revitalization in Planning City the Department of CPO, the mollify To Olympics. the 2012 for air rights sell to the High Line under land owners allow would that it announced - residen to Avenues and Eleventh along Tenth feet one million square to of up and along Tenth district a redevelopment created agency 137 The tial developers. and with height Thirtieth Streets, West and Sixteenth between Avenues, Eleventh the along the former to open views protect line and setback preserve provisions officials that asCity estimated galleries.138 as much into converted warehouses and middle- for rates at below-market be would housing the new of one-quarter residents. low-income filed a certificate of interim trail use request with the US Surface Transportation Transportation Surface US the with request trail use of interim certificate a filed demolish to plans the that ruled justice court supreme A state in 2002. Board League of The Preservation 131 review. ULURP an undergo Line must the High at John Terminal TWA Saarinen’s Eero and Line the High placed State York New the state, in saving worth most artifacts of seven its list Airport on Kennedy F. with protecting concern a growing from a boost the High Line obtained and the first Mary Boone became Gallery owner 132 monuments. twentieth-century park. a into conversion its support to figure world art Daniel of its preservation. supporters prominent as early emerged Bacon Kevin the stating and building development for economic mayor deputy Doctoroff, L. ulti Line, High the think “We opined, administration, Bloomberg the of position West far the entire of the character will enhance a park, into converted mately the last And trees. on grow doesn’t “Money in its newsletter, Writing Side.”133 the either,” Line, the High of weeds the in growing wasn’t it checked, we time the High Line spon- of Friends 134 In 2003, demolition. favor to CPO continued It received its reuse. for design proposals visionary seeking a competition sored - As Hammond recalls, the selected team grasped that the High Line that grasped team the selected As Hammond recalls, 5 It was authentic. I wish everyone could have had the experience I had. But had. I the experience had have could wish everyone I authentic. was It The Surface Transportation Board issued a certificate of interim trail use use trail interim of certificate a issued Board Transportation Surface The dif- presented competition Line High the in teams finalist four the of Each wild of sense the “retained Oudolf Piet and FO, DS+R, by proposal winning The Is the shiny, enchanting High Line Park hypnotic enough to distract us from judging the judging from us distract to enough hypnotic Line Park High shiny, enchanting Is the of so blocks units in the 14 or dwelling current times the number of 50 install to plan city’s 1.45 A survey miles. stretches all, Line, after only district? The High Chelsea the small West 5.27mere a You acres. park-to-be total the make would as 30 feet wide, which describes it little Village’s East the Park. Even 160 High Lines in Central nearly accommodate could High the to deep attraction People’s the area. . . . double is nearly Park Square Tompkins sameness of the new constructions, the the stock to Line must, think, a reaction I be partly The High Line is set Manhattan. empty hype of movie the forlorn neighborhoods unfringed, 140 coin a phrase. to in the air, and oddity: something special distinguished as refugee that allowed the High Line to be removed from the national railway grid. Two- grid. the national railway from be removed to the High Line allowed that and Tenth Street at Twenty-Fourth Building Vesta the apartments in bedroom design urban the most Zaha Hadid offered park. the new visions for ferent at deck observation an elevated in terminated that pathway an elongated with “wasn’t natural to begin with” and combined playfulness with “a design that could that could design with “a playfulness and combined with” begin to natural “wasn’t the Manhattan of then director Chakrabarti, Vishaan by Asked 146 work.” actually to be the High Line wanted whether he Planning, City the Department of of office hired Robert A. M. Stern to design a residential tower between Seventeenth and and Seventeenth between tower a residential design to Stern M. A. Robert hired a building design to Gehry Frank hired Partners Georgetown Streets. Eighteenth Streets. Nineteenth and Eighteenth between thirty- in out sold million $1.4 and $1.1 between for market the on placed Avenue landscape he had deserted the once for nostalgia evinced 142 Sternfeld six hours. was It beautiful. was It sad. really I feel it. about no question “Yes, photographed: perfect. 143 ruin.” a on people million 14 have can’t you - pre best team and his Terragram Valkenburgh van Michael Street. Gansevoort that plan a in site the of portions of overgrown and character wild the served of a plaza proposed Holl Steven trees. of and groves walkway the emphasized that he called “a facility security elevated an and walkway the to leading steps 144 Street. Eighteenth at bridge” membrane translucent and of David words the in the original High Line landscape,” of mystery and ness Hammond.14 Friends of High Line and the New York City Development Corporation in in Corporation Development City York the New and Line of High Friends final- four invited subsequently They qualifications. for a request 2004 issued Associates Valkenburgh von Michael Gram Terra Holl; Steven Hadid; (Zaha ists Field Renfro, + and Diller Scofidio Belle; Blinder and Beyer Studio with D.I.R.T. proposals. for nonbinding requests submit to Oudolf) Piet and Operations, the High Line why show approaches “These design Hammond claimed, Robert 2005 in began architects Celebrity 141 Park.” Central generation’s this be will Andre the High Line. to adjacent design buildings to commissions receive to Edison Properties Hotel. design his Standard to Partners Polshek Balazs hired

chapter three 188 2000–2008 189 1 5 Promoted by images images by Promoted 0 5 1 sought to offer an alternative to the fixation of contemporary Blur to an alternative sought offer This is also true of the Tenth Avenue Overlook and Square, a sunken plaza plaza a sunken and Square, Overlook Avenue the Tenth of true also This is Initially, it was not clear whether the High Line was the jurisdiction of of jurisdiction the was Line High the whether clear not was it Initially, the the beginning of demarcates wall a glass point, lookout Gansevoort the At Building on the fundamental experience of perceiving the surrounding city city the surrounding of perceiving experience the fundamental on Building Much as the Department of City Planning, the Department of Transportation, or the the or the Department of Transportation, Planning, City the Department of Friends the clients, the among consensus Obtaining Building. of Department culture on visual acuity, the High Line was conceived by the design team “to “to team the design by conceived was the High Line acuity, visual on culture are participants and observers, seers and seen. and seers observers, and participants are that with frames a view a of trafficsteps leading to headingglazed wall north.1 website, the experience of the space is notably low-tech and resistant to encap- to and resistant low-tech is notably the space of the experience website, the with begins Speed reduction viewpoint. or image a single iconic sulation in - the Plaza that the distends climb to and accentu park Gansevoort Stair at Slow - encour alcoves seating and terraces Numerous the street. from its distance ates Fourteenth between Preserve Sundeck the particularly sitting, and lingering age lounges. chaise moveable with equipped Streets, Fifteenth and the Department of Corporation, Development the Economic the High Line, of time of the occupied much of Mayor the of Office the and and Recreation, Parks upon insisted the Department of Transportation At one point team. the design standard was as crossing, street at every fence an eight-foot-high constructing - own claiming By roadways. over or bridges walkways other elevated for practice that outcome this prevented York New of city the liability, assuming and ership park. the of character the changed have would clearly it Mediatheque, the ICA that in as such windows, other DS+R Evoking High Line. sight banal relatively the and frame a of promise the between contrast a up sets see what we places transparency again, Once the glass. visible through actually (two wall/window the the position of and Our expectations in quotation marks. within which visitors the to meaning functions of the merged) contribute scene, really good or really spectacular, Hammond concluded that a FO/DS+R/Oudolf FO/DS+R/Oudolf a that concluded Hammond spectacular, really or good really DS+R years, five the next 147 For goal. latter the realize best would collaboration Oudolf. Piet and Operations, Field Corner, James with closely worked - defini challenge to sought the designers level, street above 29 feet from anew - of pre system the “Agri-Tecture” their scheme is heart of the At tions of nature. walk- composes its that research, years of of five the product planks, concrete cast full paving ranging from configurations in comblike arrangeable Flexibly way. the with planks open and and tapered joints seams were edges to full vegetation, rather and ‘amongst’ ‘within’ “strolling promote to words, Corner’s in intended, design effective a cost also provided 148 They life. plant from” than distanced and architecture, than rather the in the end the of remediation site, solution, park. the realizing in expense major the proved River “The Hudson of Scofidio, words the In urban pace.” visitors’ the decelerate the slogan, Corner coined 149 park.” a slow as this envision We park. a fast is Park slow.” it keep quiet, it keep wild, it keep simple, it “Keep the High Line of Friends informative the and photographs as Sternfeld’s such 3.36 Field Operations and Diller Scofidio + Renfro, High Line, Gansevoort Plaza and Lookout Points, New York City, 2009. Photograph © Iwan Baan. Reproduced by permission of the photographer and Diller Scofidio + Renfro. 2000–2008 191 - - Revealing form through transparency found a correlate in the concerted the concerted in a correlate found transparency through form Revealing effort of the design team to preserve the north-south sight lines, linear orienta- sight lines, the north-south to preserve team the design of effort - the materi If the High Line. of presence the industrial and railings, typical tion, - and con 1960s minimalist of vocabulary the evoke on display and structure ality It has become a popular spot for visitors to the High Line to photograph them photograph to the High Line to visitors a popular spot for It has become - a space into of the prosce amphitheater-like its wall back transforms and selves what rise buildings, and low of parking lots view drab visually a nium facing - it is neither cel yet the High Line, of arrival the before like Chelsea looked West the gazing upon audience an members of here visitors Are nor elegiac. ebratory the One can interpret a magnifying glass? as if under viewed they are or city, the rail a cut in it marks point, lookout Gansevoort the Like way. either square section- architectural an level street at presents and structure reveals that line at the much as the I viewers beams visible to become view of above, like people posi multiple create to of DS+R The predilection the park. of terminus southern act of seeing the capture to as if view, points of enabling multiple tions in space effect. better to utilized been seldom has itself, 3.37 and Operations Field Scofidio + Renfro, Diller Square, Avenue Tenth City, High Line, New York © 2009. Photograph Reproduced Iwan Baan. by permission of the and Diller photographer Scofidio + Renfro.

chapter three 192 2000–2008 193

- 7 - - 4 5 5 Yet this judgment 2 Yet 5 Section 2 of the High Line, the High Line, 9 Section 2 of 5 Fears that the agreement the city struck with with the struck city agreement the that 6 Fears 5 1 Though not radically contesting property and social social and property contesting radically not Though 3 55 5 1 8 5 Positive reviews of Section 1 of the High Line, which runs from Gansevoort to to Gansevoort which runs from the High Line, 1 of of Section reviews Positive - conten the High Line does not evoke the south, to a mile Zero Ground Unlike It is fruitful to approach the High Line as analogous to a It to the filmcomposedis High approach of fruitful to Line as analogous property owners along the site in exchange for easements granting access to to access granting easements for exchange in site the along owners property 1 justified. not proven have overbuilding massive to lead would the property Undeniably gentrified and transformed into a major tourist destination, the the transformed a into tourist destination, and major gentrified Undeniably and though sur- in as any Manhattan, as diverse crowds High Line welcomes improvised scenes edited together in a loosely organized sequence. Although Although organized sequence. a loosely in together edited scenes improvised If the park constructed a brand as well as a physical infrastructure, few would would few infrastructure, as a a physical If the brand as well park constructed occur an uncommon it generated, the high expectations that it exceeded deny 1 architecture. world of hyped the often in rence ity undoubtedly explains the enormous symbolic value the park has attained and attained the park has value symbolic the enormous explains undoubtedly ity Line. High the of Friends the of growth the popular sheer the and 2009, June in public the to opened and Street Twentieth been has it suggest 2010, in visitors million two attracted which park, the of ity as a motor for economic as well with critics and the success public, a runaway neighborhood. the in growth buy. to anything, if little, it contains restaurants, and upscale shops by rounded another the that also The clear triumph for Bloomberg administration park was spectacu- few a Although Center. Lincoln at redevelopment facilitate to much did limitations, budget exceeded wetland, Street a Fourteenth as such lar elements, their original in contained the features of most realized Oudolf and FO, DS+R, designs.1 displace did its construction nor memory, and identity issues of collective tious and success. aided its realization that probably factors neighborhood residents, ceptual art, the railroad tie or gravel projects of Carl Andre or Robert Smithson, Smithson, or Robert Andre Carl of projects tie or gravel railroad the art, ceptual in nostalgia, an exercise as some commentators struck nevertheless the park has 1 York. New deindustrialized a ruin for sublime an industrial creates design “The architects: the of aspirations kinetic the recognize to fails landscape. singular and a cohesive within environments varied of sequence a meandering for blocks . . . two every approximately planned are points Access 1 movement.” unscripted points contains multiple and line story or image a single defining it lacks linear, their - expe yet and destinations, select their trajectories Visitors of and entry exit. - assimila and editing whose images” by “Driven is nonetheless cohesive. rience the the to High Line the tion viable alternative a is park prescripts, minimally city.1 the contemporary in and consumption of leisure spaces organized more encour to spaces designing in resides it project, the in a paradox is there If tensions the a that ludic agenda evokes age new uses and surprise, generate (1959–74) by Babylon the New in explored and spontaneity architecture between Nieuwenhuys. Constant the High Line can architect, the Dutch designs of the unrealized as did relations remain tangible urban improvements that a reminder and now, here be enjoyed This sense of possibil- cityscape. a prosaic and in world an imperfect possible in the West Side Rail Yards, between Thirtieth and Thirty-Fourth Streets, 30 percent 30 percent Streets, and Thirty-Fourth Thirtieth between Yards, Side Rail West the length. total its of from Twentieth to Thirtieth Streets, opened in June 2011. Among its dramatic dramatic its Among 2011. June in opened Streets, Thirtieth to Twentieth from and tops, of tree at the level walk to visitors which allows the are Flyover, features On structure. steel the supporting which exposes Cut-Out, the Thirtieth Street at 3, Section the land for of acquisition authorize to voted the city 2010, 29, July 3.38 and Operations Field Scofidio + Renfro, Diller High Line, New York City, Sundeck Preserve, © 2009. Photograph Reproduced Iwan Baan. by permission of the and Diller photographer Scofidio + Renfro.

chapter three 194 2000–2008 195

- - - ork W YouPrison. Reflections on the Limitation of of Limitation the on Reflections YouPrison. nstallation nstallation I and and in the exhibition (1967), the effect was startling. Scofidio observed that observed Scofidio startling. was effect the (1967), Up Blow aetae L (Joyful Trees) opened on August 20, 2008. Located at the intersection of of intersection the at Located 2008. 20, August on opened Trees) (Joyful ores b Does the Punishment Does the Punishment installation the up made technology digital Innovative DS+R produced a touch-screen the kiosk to a touch-screen mounted on a and DS+R rod produced navigable evoked the - rich tradition and anthropomor of the uncanny Laetae Arbores evoked trees in poems are beautiful objects, but they are also things that tap on your window at also things that tap beautiful objects, but they are are in poems trees people. like are But these trees and dangerous. evil quite are stories night and in many fairy of the world. with them and they change your view and perception nice being up here It’s me was following tree I was walking on the sidewalk and the The other day when I arrived and the at the tree and look If you stand strange. was quite as I was walking along—it disturbing.160 you—it can be very spinning around starts world r If also demonstrated it film, expressionist and Hoffmann ETA by in stories phism - untra an into technology sophisticated introduce to willingness of DS+R the twenty-first ditional thusthe and expand setting definition the of park the in the emer for the button pressed visitors Hapless the High Line. as did century, it. redesigned architects The trees. the of rotation the stopped and brake gency to maintain it until agreed they the installation admired officials so Liverpool another to it are and 2011 considering location. moving Fit Crime? the Re Sandretto the Fondation at Bonami Francesco by and Space, curated Freedom A pro to continues DS+R Line, High the as such projects public large Alongside of the summer and during installations, temporary for smaller pieces duce Arbores Art Biennial, the Liverpool At them in Europe. of three 2008 it exhibited Laetae hornbeam of seventeen grove the small Streets, George Great and Parliament who Those visitors. of many attention the escaped a grid likely in planted trees an to rotating thanks axis on trees slowly three attention saw paid more careful Arup with developed architects the turntable system constructed elaborately Philadelphia the for experiments unrealized the recalling once At engineering. in Michelangelo Park quiet of Hyde the menacing if not Art, Museum of Antonioni’s and dumb to smart, the visitor could design his or her ideal carceral space. A A space. design his or her ideal carceral could visitor the smart, to and dumb cut spongy, a boulder, as hard transparent, dark, be completely could prison cell or and information, by news permeated completely world, external the off from Rebaudengo in Turin, Italy, and on view from June 12 to October 12, 2008.161 12, October to 12 June from view and on Italy, in Turin, Rebaudengo of future the ponder to architects for an opportunity as envisioned Originally Bernard Wow, Bow Atelier by works included the exhibition the prison cell, an opportu as who utilized it Weizman, + Ines Eyal and Inaba, Jeffrey Khoury, space. contemporary and confinement of nature the on meditate to nity from crimes severity offenses ranging in ten different A menu of left. and right - their com one dimension of composed civil disobedience to humanity against soft, to hard transparent, to opaque of selection, axes other three Along binatory. - Hear Hear Exits: A film by Depardon, Depardon, by film A 163 (the former an an (the former 14 Days in World the Around comprised forty-eight monitors suspended from the the from suspended monitors Exits: forty-eight comprised 1 Part In 2008, the studio produced two media installations for European cultural cultural European for installations media two produced studio the 2008, In and Ben Rubin on Laura Kurgan, Hansen, with Mark collaborated DS+R Native Land: Stop Eject, a Native globalization. of questions explored that institutions Raymond filmmaker documentary French and Virilio Paul with collaboration level the lower on installed the exhibition, to contribution Virilio’s designing ceiling presenting news footage of global migration, parallel to a video of Virilio Virilio video of a to parallel of global migration, footage news presenting ceiling seeing. were they what and the to explaining exhibition visitors welcoming of the Cartier. of the Cartier. any combination of these attributes. The installation software tallied choices and choices tallied software The installation attributes. these of combination any preferences. visitor based on the median prison cell the calculation of enabled a sugges of punishments, an identical range each crime possessed Revealingly, constitute information to access and surface, illumination, that solitude, tion 162 body. the for conditions limit Art in Paris Contemporary for Foundation Cartier the at view on was Depardon, 2009. 15, March through 2008, 21, November from and a video installation, Them Speak, the and Bolivia, France, Ethiopia, Chile, in peoples endangered of investigation the ground to visitors confronted global metropoles), of seven record a latter space. urban and rural of images with galleries floor - 3.39 Arbores Renfro, Scofidio + Diller Biennial, Liverpool Laetae, © 2008 2008. Photograph Jon Barraclough/Liverpool by per Biennial. Reproduced mission of the photographer Scofidio + Renfro. and Diller

chapter three 196 2000–2008 197 - - Exits: Exits: on display at the 2009 Venice Architecture Biennial, the archi Biennial, Architecture at the Venice Chain City, 2009 on display In Representing the unrepresentable, a challenge that the studio embraced that the a embraced studio challenge the unrepresentable, Representing during the 1980s in relation to its projects exploring vision and culture, now now and culture, vision exploring its projects to 1980s in relation the during tects projected images of Venice filmed from a moving gondola on dual screens. on dual screens. gondola a moving filmed from Venice of images projected tects - accom Cooper) by Douglas (written gondoliers separate three Commentaries by - trajec and human texts, of maps, projection circular an immersive was 2 Part of global consequences and environmental economic, political, the of tories barely with maps animated four of display this about striking Most migration. refu- and of capital the flows about of statistics transformation its was text any updat if as narrative, visual a compelling into national boundaries across gees the and Neurath, Otto by data illustrations 1950s Eames media projections, ing 00-17164/003841983. # Case in evidence forensic of investigation assembling geo- By system. world the of the dynamics visible making involved - valid their evaluating scrupulously separated, usually were that data sets coded the actual utilizing this to information represent and citing their ity sources, the measure, of unit irreducible an as pixel the taking and people, of movement func- benign a serve could database often-maligned the suggested installation surveillance about clichés questioned DS+R by as earlier projects much tion, the also challenged Their installation of power. the exercise and technologies people young of mostly audience an With Virilio. thinking of technophobic revolved, which images around walls, of its circular the center at crowded thinking, earth” the legacy of “whole to heir a legitimate as itself 2 suggested Part their consider it one of Renfro + 164 Diller Scofidio age. its and for of a big picture - represen into and research media, architecture, and in its fusion of projects, best expression. potent attain studio the of concerns the tation, - 3.40 Scofidio + Renfro, Diller of Does rendering Fit the Punishment instal the Crime? in YouPrison. lation on the Reflections Limitation of Freedom and Space exhibition, Sandretto Foundation Turin, Re Rebaudengo, 2008. Reproduced Italy, by permission of Diller Scofidio + Renfro. - - - panied the images, which included scenes of the artificial Venices created in Las created Venices artificial the of scenes included which the images, panied - eco evoked, narrator each differences the regional Despite Macau. and Vegas as themes and accounts. their common in emerge tourism global logical cycles any like world the and around cloned exported is a chain city, Venice Although pos was It instantiations. its of each shape conditions local commodity, other or celebrat Venice the without video the mourning loss a of “real” watch to sible the simulation of cit might question as one even images, into ing its dissolution understanding an enhanced obtained Visitors of postmodernism. age the ies in to them pushed the installation as ground the on the impacts of globalization of conclusions. own their reach

chapter three 198 Conclusion

Diller and Scofidio quietly entered the fourth decade of their practice in 2009 without public celebration or a single news item in the press. When I suggested to Diller that a symposium or event be organized to com- memorate this anniversary, she evinced little interest in revisiting the past. A moment in the spotlight and a chance to discuss the history of the studio mattered less to her, Scofidio, and Renfro than working on new projects without distractions. By the time I completed this book in the summer of 2011, DS+R were designing museums in Rio de Janeiro, Los Angeles, and Berkeley and facilities for the art history department at Stanford and the medical school and business school at Columbia. The studio had survived the economic downturn of 2008 and was enjoying the success of Lincoln Center, the High Line, and a classroom building at Brown. Diller, Scofidio, and Renfro traveled constantly, at one point commuting between competitions in Western Australia and Brazil. Eighty-five employees were now on staff. Coverage of the studio in the media had become ubiquitous, and more commissions for international projects seemed imminent. Corporate architectural practice with its conno- tations of blandness, homogeneity, and predictable designs remains the negative role model against which DS+R continues to measure its activity, the structure its principals assiduously resist through an obsessive involvement with all phases of their architecture. It is a 199 - - - Finding Finding Personal dedication and the size of the studio—still far smaller than global than global far smaller the studio—still the size of and dedication Personal and responsibility of sense a DS+R, to central remains also stance ethical An crit many than images the possibilities of about sanguine more is DS+R If - and res public spaces, facilities, cultural designed museums, already Having ics of contemporary culture, a nuanced consciousness of agency nonetheless nonetheless agency of consciousness nuanced a culture, contemporary of ics suffuses its work. Addressing her Princeton students in a course syllabus, Diller syllabus, course a in students her Princeton Addressing work. suffuses its their in confront daily Renfro and Scofidio, that she, the questions formulated and materially innovative projects today consume more of the working energy energy working the of more consume today projects innovative and materially their liking. to always not the past, did in they than Renfro and Scofidio, of Diller, Owings, and Skidmore, and Kassabaum; Obata Hellmuth, Gensler; as firms such a as architecture Understanding its success. explain partially and Merrill—only brought of DS+R, work the enriched has doubtlessly endeavor multidisciplinary curve. the cultural of ahead it and positioned public, a large of attention the to it theories 1990s advanced While 1980s and of their many during the colleagues inves Renfro and Scofidio, Diller, pastiche, stylistic or autonomy architectural of to scale in constructed forms built in site-specific the body and culture tigated into disappeared has never work their ideas, by Driven space. three-dimensional It has, to paper. confined or remained wars, in style mired become cyberspace, maintain its to it seems likely which reason for vision, explored always however, daily. intensify sight with obsessions whose civilization a on purchase a moment At space. in intervening and of building stakes the of recognition a fascinated images, of status the about polarized deeply is society American when to identify visual prepared or alternately and the Internet, television reality by + Scofidio Diller with manipulation, images, moving especially representations, position a falsity, or truth with video or photography conflate to refuse Renfro their to that integrity. redounds and retaining talented young architects willing to match this intensity to willing is this match perhaps intensity architects young talented and retaining among choose to able Being confronts. now studio the challenge the greatest com remain they as yet in so far agenda, own its define to it allowed has projects will Renfro and Scofidio, Diller, the architecture, of language advancing to mitted clients. challenging most own their be always commission when clients history its own confronts now the studio taurants, proposing and consistently itself of not repeating Its record these programs. a handful of which only with and one impressive remains original solutions de & Herzog and Architecture of Metropolitan studios—Office contemporary engineer- value of age the buildings in large on Working Meuron—compete. than aesthetic weight assign reductions greater cost that typically ing protocols committed deeply architects for challenge a formidable remains considerations the square over haggling contracts, Negotiating designs. thoughtful realizing to than architectural a building can be more whether that determine costs footage on conceptually lose money to not how ascertaining and box,” “vanilla a generic demanding and invariably exhausting mode of practice whose secret may have have may secret whose of practice mode exhausting invariably and demanding Cooper Douglas to he suggested when Wigley Mark up by summed been neatly 1 met.” ever have you anyone than harder work “simply that his friends

conclusion 200 conclusion 201 - - To a Clients praise the responsiveness of the studio and its genuine concern concern genuine and its the studio of the responsiveness Clients praise At a moment of economic contraction and political indecision, they insist insist they indecision, political and contraction economic of a moment At and a commit a knack of the ordinary, for enhancing the texture Pluckiness, Making architecture that facilitates multiple viewpoints comes naturally to to that facilitates viewpoints comes naturally multiple Making architecture Anthony world, the contemporary in modernity architectural of Writing on the value of thoughtful architecture and a robust public realm. If they can- and a public robust realm. architecture of thoughtful on the value and shoddiness by today environment the built of the saturation not reverse Vidler imagines “an approach to history that refuses closure and finalism ...... finalism and closure refuses that history to approach “an imagines Vidler generic solutions, they have been able to design on a consistently high level and level high a consistently on design to able been have they solutions, generic the gap and bridging and crassness mediocrity resisting complacency, challenge success. rare with culture popular and experimental between the other in each reinforce dignified yet playful that is architecture an to ment may societies and individuals that reminder a Renfro, + Scofidio Diller of work What less. than rather imagination and intelligence more exercise to choose a be could that? than gift greater of established practices; where the very forms in which we conceive of history of history conceive we which in forms very the where practices; of established and Scofidio, Diller, extent, a remarkable 4 To question.” been put into itself have magnifying its by the present estrange They this demand. on good make Renfro opportunities. its discerning and certainties, its questioning contradictions, 2 voice?” whose In speak? architecture could what language “In practice: to synthesize and entertain Their ability with a unified theory activity. of their mass cul- Modernism, unusual. aspirations remains and ideas contradictory avant-garde populism, history, academic discourses, technology, fine art, ture, of and an appreciation craftcoexist in the thinking in their manifest aesthetics, work. Not people. of most that exceeds with complexity whose comfort practitioners - and their achieve Jane attributes Moss are listeners, excellent they surprisingly, orienta collaborative and egomania of lack their to Center Lincoln at ment tion.3 that practice a Inventing needs. their to solutions imaginative designing with and intellectual own their a mode of engaging as others for working understands DS+R, of achievement significant design the most be well may curiosity cultural activities. its permeates that style than rather commitment of unity a verities the questioned the field inconveniently outside disruptions from where greater extent than many architects, they have resisted the temptation to reply to reply temptation the resisted they have architects, than many extent greater

Acknowledgments

Writing this book over the course of nearly a decade, I have incurred many debts, none greater than to Elizabeth Diller, Ricardo Scofidio, and Charles Renfro, who patiently answered countless queries, directed me toward sources, provided unrestricted access to their archives, and extended hospitality to me in their studio, where I conducted much of my research. Their friendship, generosity with their time, and trust in my ability to tell their story encouraged me on good days and buoyed my spirits when the going got tough. Having read the manuscript and corrected factual errors, they did not attempt to influence my interpretations, yet another instance of the integrity that permeates their work. DS+R studio members David Allin, Jhaelen Eli, Matthew Johnson, Laurel Lange, Jeremy Linzee, Philip Nuxoll, and Kevin Rice responded to questions and provided leads, as did their former colleagues Raphael Berkowitz, Rebecca Blakeley, Nicholas De Monchaux, Denise Fasanello, Reto Geiser, Dirk Hebel, Astrid Lepka, Paul Lewis, Gaspar Libedinsky, Ben Mickus, Amanda Penacchia, Lyn Rice, Deane Simpson, Eamon Tobin, Mark Wasiuta, and Victor Wong. Hervé de Chandès, Rolf Fehlbaum, Wendy Feuer, Lance Fung, Robert Hammond, Phyllis Lambert, Jill Manton, Jill Medvedow, Jane Moss, Richard Peña, Mary Rubin, Ilana Shamoon, Tom Tschoff, Nick Valenti, and Anne Wrinkle shared their perspectives as clients of the studio and sharpened my understanding of its 203 - Outside evaluations obtained by the University of Chicago Press and a a and Press Chicago of the University obtained by Outside evaluations Centre Canadian the and at thestaff Centre, Banff librarians, Archivists, For information and expertise, access to research materials, or arrang- or materials, research to access expertise, and information For for Architecture, Cooper Union for the Advancement of Science and Art, Art, and of Science Advancement the Cooper Union for Architecture, for Contemporary of the Institute Art/Boston, Contemporary of the Institute the Princeton Art, the Museum of Modern of Pennsylvania, Art–University ing visits to buildings and exhibitions by the studio, I am grateful to Nicholas Nicholas to am grateful I the studio, by and exhibitions buildings to visits ing Vuslat Mary Chou, Carey, Sorcha Calderoni, Irene Borasi, Giovanna Baume, Gilbert, Sylvie Fore, Devin Fogle, Douglas Espinosa, Dominic Demirkoparan, Steven Gutman, Renata Gould, Claudia Gottschalk, Gloria Goldhagen, Sarah Doug Liftin, Elise Lebedinskain, Natalia Inaba, Jeffrey Imanishi, Koji Hillyer, Perkins, Tracey Nelson, Cynthia Olsberg, Nicholas Manton, Jill Mandart, University School of Architecture, the San Francisco Arts Commission, the San the San Commission, Arts Francisco San the Architecture, of School University Benjamin Prosky, Jeannene Przyblyski, Mary Rubin, Annis Whitlow, and Mirko and Mirko Whitlow, Annis Mary Rubin, Przyblyski, Jeannene Benjamin Prosky, translated and efficiently Mori gracefully and Koichi Severns Karen Zardini. to threatened door next jackhammers when moment a At Japanese. from texts Mary the serene to access for arranged Yau Esther writing schedule, derail my Clapp Norton Library College. Occidental of the that improved advice offered committee a member of its editorial by report Keller Bruegmann, Robert Catherine Benamou, by So did readings manuscript. Anthony and Rasula, Jed Dana Polan, Olsberg, Nicholas Grimes, Ellen Easterling, Invitations moment. a crucial at suggestions invaluable provided Liz Kotz Vidler. School Cardozo the Benjamin N. in Berlin; Academy American the at speak to the Dessau Architecture; for Centre Canadian the Institute; the Berlage of Law; of Design; School Graduate the Harvard Architecture/Bauhaus; of Institute the of Academy National Oslo the Berlin; in Inquiry Cultural for Institute the the Angeles; Los California, of University Aires; of Buenos University the Arts; of the University Chicago; of Illinois, the University Cologne; of University allowed of Montreal the University and of Michigan; the University Manitoba; hearings. public obtain to book the in arguments key working methods. Collaborators and colleagues of the architects, Stan Allen, Allen, Stan architects, the of and colleagues Collaborators methods. working Thomas Fisher, Cooper, Douglas Chatham, Walter Chakfin, Marty Alan Burden, Christine Hawley, Mark Hansen, Gray, Marianne Gorlin, Alexander Dan Gillham, Vivien Lavin, Sylvia Kurgan, Laura Kennon, Kevin Holl, Jim Hubert, Christian Mary McGuinness, Richard McAnulty, Robert Maguire, Matthew Lynn, Greg Li, Ockman, Joan Mosakowski, Susan Mitnick, Keith Menking, William McLeod, Ben Rubin, Romm, Stuart Anson Rabinbach, Ponte, Alessandra Roloff, John Webb, Michael Todd, Carroll Teyssot, Georges Switkin, Lisa Sullivan, Kaylynn of their experiences recounted and Mel Ziegler, Woods, Lebbeus Williams, Tod Princeton Cooper or Former Renfro. and Scofidio, Diller, and near with working Garrett Nahmias, Alysa Mayer, Jürgen Lewis, Paul Chandler, Richard students and Diller appreciate to Zinguer helped me and Tamar West, Mark Ricciardi, their peda synergy the between to comprehend and teachers as gifted Scofidio and activities practice. professional gogical

Acknowledgments 204 Acknowledgments 205 - book series editorial board, Ali Behdad, Judith Judith Ali Behdad, board, series editorial book FlashPoints Members of the Numerous friends and colleagues have discussed the work of DS+R with with of DS+R work the discussed have and colleagues friends Numerous me, listened to my ideas about it, and invigorated my life during this project this project during life my and invigorated it, about ideas my to listened me, and their passions and own commit their encouragement, their clarity, by ments. They include Omar Ackbar, Alexander Alberro, Rachel Allen, Stan Rachel Allen, Alberro, Alexander They ments. include Ackbar, Omar Greene, and Richard Terdiman, make me proud to collaborate with them. After After them. with collaborate to me proud make Terdiman, and Richard Greene, studies, in literary publishing books ceased Press California of the University Faculty the Press of and co-chair then chair Ann Smart, and Mary Warren Louis Anton Kaes, John Kaliski, Leandro Katz, Thomas Keenan, Douglas Kelbaugh, Kelbaugh, Douglas Thomas Keenan, Katz, Leandro Kaliski, John Kaes, Anton Kwinter, Sanford Kogod, Lauren Koch, Gertrud Kent Kleinman, Kipnis, Jeffrey Robert Levin, David Lars Lerup, Liane Lefaivre, Lavin, Sylvia Lambert, Phyllis Anna McCarthy, Irwin Maus, Martin, Reinhold Martin, Pieter Lynn, Greg Levit, Helmut Mueller-Sievers, Mount, Christopher Mimica, Vedran Dragan Miletic, Marit Owens, Wendy Olsberg, Nicholas Neumann, Dietrich Eric Mumford, Leah Potts, Alex Dana Polan, Alessandra Ponte, Marjorie Perloff, Paasche, Rodman, Howard Eric Rentschler, Dominic Power, Pylko, Timothy Pressman, Schwartz, Vanessa Schwartz, Jeff Schnapp, Jeffrey Schivelbusch, Wolfgang Sillman, Amy Sieburth, Richard Chas Sidipus, Shubert, Howard Allan Sekula, Scott Michael Sorkin, Somol, Robert Smith, Terry Smiley, David Sloan, Johanne Straw, Will Noa Steimatsky, Sterne, Sharon Stern, Ralph Stein, Sally Spector, Ursprung, Philip Uricchio, William Nancy Troy, Tinsky, Roscoe Teyssot, Georges Mark Wang, Wilfried Johannes von Moltke, Vidler, Anthony van Toorn, Roemer Ernest Zukin. Sharon and Woods, Mary Wild, Lorraine Wigley, Mark West, and Lerner, Ralph Hansen, Miriam Frisby, David Friedberg, Anne Callenbach, my animated this book, present to liked have would I whom to Mertins, Detlef White, and Hayden Michelson Annette memory. on in my and live thinking thoughts. my far from never are emulate, to I strive whose example mentors as trilled and typed. I chirped, and meowed, Jake Nutmeg, Mitzi, Jody Gillman, Susan Gana, Nouri Catherine Gallagher, Michelle Clayton, Butler, - mate to access provided generously Fe Sante SITE and Commission, Arts Jose - docu who have photographers the gifted by well served has been DS+R rials. and to holders, to copyright institutional them, I am to grateful mented its work. book. this in images the reproduce to permission for studio the Apter, Emily Angélil, Marc Mauricio Ambiano, Amrine, Fred Nora Alter, Allen, Selma Becker, Mirjam Beck, Hilary Ballon, Arnold, Dana Armato, Douglas Christine M. Botar, Oliver Biro, Matthew Benamou, Catherine Bergdoll, Barry Edward Cartwright, John Burrows, Stuart Bull, Synne Bruno, Giuliana Boyer, Margaret Constant, Caroline Colomina, Beatriz Michelle Clayton, Casey, Thomas Demand, Dean, Penelope Dase, Martina Arthur Danto, Crawford, Robert Philip Ethington, Emerson, Stephanie Keller Easterling, Wit, de Wim Ursula Frohne, Salomon Frausto, Dean, Penelope Kenneth Frampton, Fishman, Maria Gough, Sarah Goldhagen, Germano, William Ganim, John Coco Fusco, Max Hirsch, Thomas Hines, Daniel Herwitz, Heilbut, Anthony Gunning, Tom Jarzombek, Mark Jay, Martin Jacobi, Alfred Horwath, Alexander Hoidn, Barbara a second life. second a FlashPoints FlashPoints I have learned a great deal from previous scholars, critics, and curators who who and curators critics, scholars, previous deal from a great learned I have a great has been everything Press Chicago of the University of Bielstein Susan While on the road, I enjoyed the hospitality of Anya, Sophy, and Steve and Steve Sophy, Anya, of hospitality the enjoyed I the road, While on Arts, the Fine in Studies Advanced for Foundation Graham the A grant from Graubard Graubard and Elizabeth Anton and Knoll; Christine Allen Kaes; and Arianne In my Wegg-Prosser. Victoria and and Stephen Terdiman; Kassof; Richard the at Media Studies and Department of Film the congenial academic home, Adams energetically devised the marketing and promotion plan for the book. the book. for plan and promotion the marketing devised energetically Adams of Diller architecture the as and playful as nuanced a design realized Isaac Tobin tribute an essay to the catalog accompanying the first retrospective of work by by work of the retrospective first the to accompanying catalog an tribute essay Kurt and from Art American Museum of Whitney the at held and Scofidio Diller to me convinced catalog Biennial Architecture Venice the for write to Forster Fellowship Research Faculty President’s California of The University persevere. Much sabbatical. a during book this finish to me allowed Humanities the in in Academy American the that is for scholars the paradise in written was of it offi- press and Korb, Yolande its librarian Gary Smith, thank its director I Berlin. who of Bauwelt, editor Geipel, with Kaye in contact who put me Mau, Malte cer Line. High the on article my published the acknowledge to wish and work writtenthe on studioor exhibited its have Colomina, Beatriz Baird, George Anderson, of Richard contributions formative Jeffrey Hays, Michael K. Fung, Lance Frampton, Kenneth Friedman, Mildred Thomas McAnulty, Robert Martin, Reinhold Helen Malkin, Lavin, Sylvia Kipnis, Nicholas Herbert Muschamp, Don Meckley, Matilda McQuaid, McDonough, Anthony Henry Urbach, Teyssot, Georges Scott, Felicity Phillips, Patricia Olsberg, and Whiting. Sarah Wigley, Mark Warren, Lynne Vidler, wis- and support, unstinting high standards, Her and more. be should editor Anthony me. and inspired and much else besides guided publishing about dom - pro and production the review through the manuscript saw expertly Burton Carrie and made it better. typescript the edited sensitively Mark Reschke cesses. Editorial Committee, reminded me how the system of shared governance of the of governance of shared system the me how reminded Committee, Editorial ever than more matter faculty its among solidarity and California of University calls the siren resist to are publishing and scholarly higher education if public always will Press University Northwestern Carrigan of Henry market. the free of giving for gratitude my enjoy research, my facilitated Johnson Victoria Chair Irvine, California, of University payments. fee reproduction processed kindly Yonas and Eva and Elizabeth Pace the and fund and Travel of Humanities Research School the UCI from Awards visit projects to enabled me and Translation Writing for Center International provided Collective Humanities UCI The Venice. and Turin, Liverpool, Gifu, in the from grant travel a investigations, in my Early a publication subvention. by facilitated of Michigan, the University at Architecture of College Taubman Yverdon-les-Bains. visit me let Buresh, Tom and Harris Melissa con- to Michael Hays and K. White Garrett from Invitations this study. launched

Acknowledgments 206 Acknowledgments 207 - Anita Dimendberg provided the love only the best mother can and affably affably and can mother the best only the love provided Anita Dimendberg Scofidio + Renfro. Rosine Busse and Stephanie Emerson proofread the galleys. galleys. the proofread Emerson Stephanie and Busse Rosine Renfro. + Scofidio with a team of - author publishing work should profession as to be so lucky Every as als this as nimble one. her. without well as done not have would I the manuscript. finish to me goaded let me Michael November, husband, and her Deborah November sister My my and the High Line, to November, and Pauline Hannah nieces, my introduce Berman, Lynne the studio. of show Whitney the to November, Adam nephew, cher I judgments aesthetic whose impresario, office post and dynamo, wife, furnished our and this study on worked as I me with lived and learn from, ish I cannot Although her. to this book I dedicate and joy. with love life shared who have those than perceptive more and colleagues scholars, imagine friends, the final or limitations in errors any for am responsible alone I helped me, product.

Notes

Introduction

1 Sigfried Giedion, Building in France, Building in Iron, Building in Reinforced Concrete,trans. J. Duncan Barry (Los Angeles: Getty Center for the History of Art and the Humanities, 1995), 176. 2 Charles Renfro began to work with Elizabeth Diller and Ricardo Scofidio in 1997. In 2004, he became their partner, at which point the studio name changed to “Diller Scofidio + Renfro.” I use “Diller + Scofidio” to refer to the studio with two principals. “Diller and Scofidio” indicates the two architects. Generally, I employ “Diller Scofidio + Renfro” or the acronym DS+R to designate work realized by the firm with three principals or a general approach to architecture linking the history of the studio before the arrival of Renfro to its present activities. These distinctions are not hard and fast, and do not address the contributions of many other members of the studio. Whenever possible, I name team leaders or particularly significant contributors to a project, yet a certain measure of imprecision is unavoidable. Researching the history of this group of architects poses challenges to the historian, for they did not consistently maintain records or images of their projects. They often drew by hand, and not all of these original renderings exist today. More recent software-produced designs also did not always survive. 3 Richard Evans, “The Wonderfulness of Us (the Tory Interpretation of History),” London Review of Books, March 17, 2011, 12. 4 Among the critical treatments of visual art projects by the architects are Hal Foster, “Architecture-Eye,” Artforum (February 2007), 246–53; Scott Rothkopf, “Diller + Scofidio,” Artforum 41, no. 3 (Summer 2003): 180; Jerry Saltz “Architectural Follies,” Village Voice, April 16–22, 2003, 51; Ellen Posner, “Architecture without Building, at 209 N

otes to MOMA,” Wall Street Journal, August 8, 1989, sec. A, p. Revealingly, Venturi appears to have ignored the work of 8; and Joshua Decter, “Architectural Exhibition: Gallery Diller Scofidio + Renfro, which proves as irreducible to Nature Morte, New York,” Arts Magazine 63 (November his call for an architecture of display surface as it does

P 1988): 112. to Kenneth Frampton’s influential appeal to a return to ages 5–11 5 Quoted in Georges Teyssot, “Erasure and Disembodiment: tectonics. See Kenneth Frampton, “Rappel à l’Ordre, the Dialogues with Diller + Scofidio,” Ottagono 96 (September Case for the Tectonic,” Architectural Design 60, no. 3–4 1990): 44. (1990): 19–25. 6 On the Eames films and installations, see Pat Kirkham, 12 Clifford Geertz, “Blurred Genres,” in Local Knowledge: Charles and Ray Eames: Designers of the Twentieth Further Essays in Interpretive Anthropology (New York: Century (Cambridge, MA: MIT Press, 1998); John Neuhart Basic Books, 1983), 19–35. and Marilyn Neuhart, Eames Design (New York: Harry 13 Jacques Derrida, “The Law of Genre,” trans. Avital Ronell, N. Abrams, 1989); and Beatriz Colomina, “Enclosed by Glyph 7 (1980): 55–81. Images: The Eames’s Multimedia Architecture,” Grey Room 14 See Laurie Anderson, Works from 1969 to 1983 2 (Winter 2001): 6–29. (Philadelphia: Institute of Contemporary Art, 1983); Bruce 7 Tom Gunning, “Never Seen This Picture Before: Muybridge Nauman: Exhibition Catalogue and Catalogue Raisonné in Multiplicity,” in Phillip Prodger, Time Stands Still: (Minneapolis: Walker Arts Center, 1994); Nam June Paik, Muybridge and the Instantaneous Photograph (Stanford, Video Time, Video Space (New York: Harry N. Abrams, CA, and New York: Iris and Gerald B. Cantor Center for 1993); and Dan Graham, Works: 1965–2000, ed. Marianne Visual Arts at Stanford University/Oxford University Press, Brouwer (Düsseldorf: Richter Verlag, 2001). 2003), 226. 15 See the essays collected in Architecture: Between 8 Some of the notable assessments include Anthony Vidler, Spectacle and Use, ed. Anthony Vidler (Williamstown, “Homes for Cyborgs,” in Not at Home: The Suppression MA: Sterling and Francine Clark Institute, 2008). of Domesticity in Modern Art and Architecture, ed. 16 Elizabeth Diller in Terrance Galvin, “Architecture as Probe: Christopher Reed, 161–78. (London: Thames & Hudson, Elizabeth Diller in Conversation with Terrance Galvin,” 1996), 161–78; Kenneth Frampton, “In (de)Nature of Fifth Column 8, no. 2 (April 1992): 29. Materials: A Note on the State of Things,” Daidalos, no. 56 17 See Coop Himmelblau: Architecture Is Now; Projects, (Un) (August 1995): 16–18, (1988), 106–9; and Michael Sorkin buildings, Actions, Statements, Sketches, Commentaries, “Minimums,” Village Voice, October 13, 1987. 1968–1983 (New York: Rizzoli, 1983); Haus‑Rucker‑Co: 9 Oxford English Dictionary, 1:167. Letter from Marcel 1967 bis 1983, ed. Heinrich Klotz (Braunschweig/ Duchamp to Michel Carrouges (February 6, 1950), in The Wiesbaden : F. Vieweg, 1984); and Experiments in Art and Bachelor Machines, ed. Jean Clair and Harald Szeemann Technology, Pavilion (New York: E. P. Dutton & Co., 1972). (New York: Rizzoli, 1975), 49. 18 See Anthony Vidler, Claude-Nicolas Ledoux, Architecture 10 On Tatlin’s Monument to the Third International, see and Social Reform at the End of the Ancien Régime Norbert Lynton, Tatlin’s Tower: Monument to Revolution (Cambridge, MA: MIT Press, 1990), esp. 162–89; and Kurt (New Haven, CT: Yale University Press, 2008). His plans Forster, “Only Things That Stir the Imagination: Schinkel as of particular resonance to the work of DS+R include Scenographer,” in Karl Friedrich Schinkel: The Drama of constructing a screen on the exterior of the tower to Architecture, ed. John Zukowsky (Chicago: Art Institute of display news reports and projecting words from the tower Chicago, 1994), 18–35. onto clouds. See Camilla Gray, The Russian Experiment in 19 For a recent assessment of its legacy, see Barry Bergdoll Art: 1863–1922 (New York: Harry N. Abrams, 1962), 226. and Leah Dickerman, Bauhaus, 1919–1933 (New York: The Volharding Building is treated in Dietrich Neumann, Museum of Modern Art, 2009). Architecture of the Night: The Illuminated Building (New 20 The most useful book presenting an overview of the York and Munich: Prestel, 2003). Nitzchke’s Maison de la early work of the architects remains their own Flesh: Publicité is treated in Matilda McQuaid, ed., Envisioning Architectural Probes (New York: Princeton Architectural Architecture: Drawings from the Museum of Modern Press, 1994). The two standard collections on their activi- Art (New York: Museum of Modern Art, 2002), 80. For ties are Scanning: The Aberrant Architecture of Diller + the National Football Hall of Fame, see Robert Venturi, Scofidio (New York: Whitney Museum of American Art and “A Bill-Ding-Board Involving Movies Relics and Space,” Harry N. Abrams, 2003); and Guido Incerti, Daria Ricchi, Architectural Forum, April 1968, 14–17. On contemporary and Deane Simpson, Diller + Scofidio (+ Renfro): The projects that employ digital display systems, see Mark Ciliary Function; Works and Projects 1979–2007 (Milan: Haeusler, Media Facades: History, Technology, and Skira, 2007). Content (Ludwigsburg: Avedition, 2009). 11 Robert Venturi, Denise Scott Brown, and Steven Izenour, Learning from Las Vegas: The Forgotten Symbolism of

Architectural Form (Cambridge, MA: MIT Press, 1992). 210 N

Chapter One and presented at the New Museum of Contemporary otes to Art in New York from December 8, 1984, to February 1 See Brian Wallis, ed., Hans Haacke: Unfinished 10, 1985. For a critical review, see Grace Glueck, “Art:

Business (New York: New Museum of Contemporary ‘Representation and Sexuality’: Mixed Media Show P ages 13–17 Art; Cambridge, MA: MIT Press 1986), 88–91. at New Museum,” New York Times, January 4, 1985. 2 See Martha Rosler, 3 Works: 1. The Restoration of High Artists whose works were on view included Judith Culture in Chile; 2. The Bowery in Two Inadequate Barry, Dara Birnbaum, Victor Burgin, Hans Haacke, Descriptive Systems; 3. In, Around, and Afterthoughts Barbara Kruger, Mary Kelly, and Sherrie Levine. (On Documentary Photography) (Halifax: Nova Scotia 12 Typical here is the work of avant-garde filmmaker College of Art and Design, 2006), 57–60. Peter Gidal, who filmed blurred and indiscernible 3 The anthology most revealing of this moment is On objects, a strategy intended to circumvent the objecti- Signs, ed. Marshall Blonsky (Baltimore: Johns Hopkins fication and projection of erotic fantasies he discerned University Press, 1985). in the representation of the human—but most 4 Alexander Alberro argues the publication of essays especially the female—figure in narrative cinema. For by Roland Barthes in English translation during the a statement of this position, see his Structural Film mid-1960s in the journal Evergreen Review was the Anthology (London: British Film Institute, 1976). channel of reception for his work by New York artists. 13 Structuralist binary oppositions are discussed by See his Conceptual Art and the Politics of Publicity Bernard Tschumi,“Architecture and Transgression,” (Cambridge, MA: MIT Press, 2003), 181. Oppositions 7 (Winter 1976): 61. 5 For a brief overview of the early history of architec- 14 Dan Graham, Works, 1965–2000 (Düsseldorf: Richter tural semiotics, see Harry Francis Mallgrave, Modern Verlag, 2001), 185. Architectural Theory: A Historical Survey, 1673–1968 15 Rosalyn Deutsche, Hans Haacke, and Miwon Kwon, (New York: Cambridge University Press, 2005), “Der Bevolkerung: A Conversation,” Grey Room 16 369–73. (Summer 2004): 77. 6 Paradigmatic of this tendency are Amos Rapaport, 16 Norval White and Elliot Willensky, AIA Guide to New House Form and Culture (Englewood Cliffs, NJ: York (New York: Three Rivers Press), 699. Prentice Hall, 1960); and Robert Sommer, Personal 17 Ricardo Scofidio and John T. Roberts, Green Camp Space: The Behavioral Basis of Design (Englewood Masterplan (Croton-on-Hudson, NY: Hudson River Cliffs, NJ: Prentice Hall, 1969). Group, January 1973). 7 See Ferdinand de Saussure, Course in General 18 The essential presentation of Hejduk’s early and mid- Linguistics, ed. Charles Bally and Albert Sechehaye, career is his own Mask of Medusa: Works, 1947–1983 in collaboration with Albert Riedlinger, trans. Wade (New York: Rizzoli, 1984). For a useful overview of Baskin (New York: McGraw Hill, 1966). this period, see David A. Greenspan, “Medieval 8 Elizabeth Diller and Ricardo Scofidio, the withDraw- Surrealism,” Inland Architect 25, no. 2 (March 1981): ing Room, unpublished description in Projects 17: 10–29. Elizabeth Diller and Ricardo Scofidio, Curatorial 19 Five Architects: Eisenman, Graves, Hejduk, Gwathmey, Exhibition Files, Exh. #1524, Museum of Modern Art Meier (New York: Oxford University Press, 1975). A Archives, New York. helpful assessment is Peggy Deamer, “Structuring 9 A comprehensive presentation of these efforts is Soho: Surfaces: The Legacy of the Whites,” Perspecta 32 Downtown Manhattan (Berlin: Akademie der Künste/ (2001): 90–99. Berliner Festwochen, 1976). The essays in Alternative 20 Libeskind’s close connection to Hejduk is evident in Art New York: 1965–1985, ed. Julie Ault (New York the introductions he contributed to the two editions of and Minneapolis: Drawing Center and University of Mask of Medusa. Hejduk’s concern with “giving form to Minnesota Press, 2002), discuss the institutional the identity of man” (10) in Libeskind’s words was one context. from which Diller and Scofidio distanced themselves 10 See Douglas Eklund, The Pictures Generation, 1974– by the end of the 1980s. 1984 (New York and New Haven, CT: Metropolitan 21 The indispensable history of this period in Hejduk’s Museum of Art and Yale University Press, 2009); and career is Alexander Caragonne, The Texas Rangers: Laurie Anderson, Trisha Brown, Gordon Matta-Clark: Notes from an Architectural Underground (Cambridge, Pioneers of the Downtown Scene New York 1970s MA: MIT Press, 1995). (London and Munich: Barbican Gallery/Prestel, 2011). 22 On the experience of studying architecture at Cooper, 11 A significant point of entry for the discourse of see Alexander Gorlin, “Passion Plays,” Metropolis, semiotics and feminist film theory into the art world March 20, 2006. was the exhibition Difference: On Representation and 23 Caragonne, The Texas Rangers, 194–95. Sexuality, curated by Kate Linker and Jane Weinstock 24 Timothy Love, “Kit-of-Parts Conceptualism: 211 N

otes to Abstracting Architecture in the American Academy,” 31 Ralph Lerner, interview, March 6, 2008. Harvard Design Magazine 19 (Fall 2003/Winter 32 The catalog appeared as Detail: The Special Task; An 2004): 5. Love understands the nine-square as most Exhibition of Works by Women Architects (New York:

P likely inspired by Palladio, whose villas architectural Air Gallery, 1984). ages 18–21 historian Rudolf Wittkower analyzed as a series of 33 Elizabeth Diller, “Autobiographical Notes,” in The variations on a three-bay by three-bay diagram. Activist Drawing: Retracing Situationist Architectures Hejduk, however, denies the Palladian reference in from Constant’s New Babylon to Beyond (New York his own design work. See Mask of Medusa, 35. For the and Cambridge, MA: The Drawing Center/MIT Press, most detailed visual presentation of the nine-square, 2001), 131. see the drawings by Hejduk and Slutzky in Education 34 Ralph Lerner, interview, March 6, 2008. of an Architect: A Point of View: The Cooper Union 35 Elizabeth Diller, “Autobiographical Notes.” School of Art and Architecture (New York: Monacelli 36 “Winners in the Shinkenchiku Residential Design Press, 1999), 23–50. Competition,” Japan Architect (International Edition) 25 Caragonne, The Texas Rangers, 366. 51, no. 12 (December 1976): 26–27. 26 See Tod Williams and Ricardo Scofidio, “Typology and 37 Ibid., 26. Primary Elements,” Journal of Architectural Education 38 Ricardo Scofidio, e-mail to the author, February 21, 35, no. 2 (Winter 1982): 8–9. A revealing correspon- 2009. dence between them is published in the Kansas State 39 The exhibition catalog was published as Window, University School of Architecture student publication Room, Furniture: Projects, ed. Tod Williams and Oz as “Letters,” Oz 4 (1983): 20–23. The best state- Ricardo Scofidio (New York: Rizzoli, 1981). A positive ment of Cooper architectural pedagogy in the 1980s review of the exhibition that does not, however, men- remains Education of an Architect, ed. Elizabeth Diller, tion the piece by Diller was Paul Goldberger, “Design Diane Lewis, and Kim Shkapich (New York: 1988). See Notebook; Architects, If Left Alone, Begin to Probe especially Ricardo Scofidio, “Conjugation,” 41–62, and Their Souls,” New York Times, December 10, 1981. Elizabeth Diller, “Architectonics,” 32–40. Scofidio also 40 See Craig Adcock, James Turrell: The Art of Light studied at Cooper and received a degree in architec- and Space (Berkeley and Los Angeles: University of ture in 1955 and a second from Columbia University in California Press, 1990). 1960. 41 Paul Goldberger, “Design Notebook: Doing Conceptual 27 Mike Webb, interview, September 13, 2011. The two Architecture as Play,” New York Times, May 28, 1981. most extensive discussions of the personal histo- Goldberger subsequently warmed to the architects, ries of Diller and Scofidio are Justin Davidson, “The noting in 2003, “They’ve managed to create a position Illusionists,” New Yorker, May 14, 2007, 126–37; and for themselves somewhere between architecture, Arthur Lubow, “Architects, in Theory,” New York Times, conceptual art, and physical transformations of the February 16, 2003. environment. Their work is extraordinary and impor- 28 Elizabeth Diller, “Cooper Union School,” Across tant—it questions architecture but also celebrates the Architecture (Architectural Association, London), potential of architecture.” Quoted in Elisabeth Franck, (Spring 1985): 50. “The World of Diller + Scofidio,” Departures, March/ 29 In a later interview with Arata Isozaki, Diller noted, “I April 2003, 104. never explicitly intended to become an architect. My 42 Franz Kafka, “In the Penal Colony” (1919), in The interest in architecture was a deviation from explora- Metamorphosis, in The Penal Colony, and Other tions in art school where I was studying film and pho- Stories, trans. Willa and Edwin Muir (New York: tography. I somehow became seduced by John Hejduk Schocken Books, 1948), 191–232. into the study of architecture . . . I would say that when 43 The earliest argument about the body in the work of I was studying in the 1970s, the strongest influence Diller + Scofidio as a critique of Vitruvius and later on my work was from alternative forms of artistic humanist traditions was Robert McAnulty, “Body production—installation art, video, performance art. Troubles,” in Strategies in Architectural Thinking, When I was a student, I rejected dogma. Even though ed. John Whiteman, Jeffrey Kipnis, and Richard Cooper Union was an extraordinary school and John Burdett (Chicago and Cambridge, MA: Institute for Hejduk was a great influence, I didn’t buy the modern- Architecture and Urbanism/MIT Press, 1992), 180–97. ist canon as it was presented to me. I was resistant 44 Quoted in Lawrence D. Steefel, “The Position of La to it, but at the same time, I gnawed at it secretly.” Mariée Mise â Nu par ses Célibataires, Même (1915–23) Conversation of September 7, 1994, in “Architecture in the Stylistic and Iconographic Development of the That Redefines Architecture: New Strategies of the Art of Marcel Duchamp” (unpublished doctoral thesis, Body and Space,” Intercommunication 11 (1995): 72. Princeton University, 1960), 301, cited in John Golding, 30 Tod Williams, interview, March 8, 2008. Duchamp: The Bride Stripped Bare by Her Bachelors, 212 Even (New York: Viking Press, 1972), 51. N

45 “H. Plywood House for Doris Kinney,” grant application the project. Jim Holl, e-mail to the author, November otes to to the New York State Council on the Arts, Projects 18, 2008. 17: Elizabeth Diller and Ricardo Scofidio, Curatorial 61 Interview with Kaylynn Sullivan, December 12, 2008.

Exhibition Files, Exh. #1524, Museum of Modern Art 62 Kenneth Frampton and Michael W. Kagan, Nouvelles P ages 23–34 Archives, New York. Directions De L’Architecture Moderne (Paris: Electa 46 Patricia Phillips, “Hinged Victories,” Artforum, Vol. 26, Moniteur, 1985), 46. no. 10, (Summer 1988): 106–8. 63 Diller quoted in Andrew McNair with Justin Henderson, 47 John Hejduk, “Kinney House: A Design by Ricardo “A-Z on 40/40,” Interiors, September 1986, 167. Scofidio and Elizabeth Diller,” Lotus 44 (1984): 58–64. 64 The phrase “medieval surrealism” is Hejduk’s own. See This appears a rare instance in which Scofidio’s name Mask of Medusa, 122. precedes Diller in a project credit. Subsequently, the 65 It ran from July 7 to September 16, 1984. name of the studio becomes Diller + Scofidio. 66 Hejduk consistently explored voyeurism in his designs 48 Beatriz Colomina, Privacy and Publicity: Modern and writings, and it is plausible to understand this as a Architecture as Mass Media (Cambridge, MA: MIT concern linking him with Diller and Scofidio. See Mask Press, 1996), 33. of Medusa, 135. 49 Ibid., 235. 67 Matthew Maguire, “The Site of Language,” Drama 50 Anne Friedberg, The Virtual Window: From Alberti to Review 27, no. 4 (Winter 1983): 60. Mircrosoft (Cambridge, MA: MIT, 2008), 26–56. 68 “B” stage set for “The American Mysteries” in applica- 51 See Donald M. Reynolds, “The Unveiled Soul: Hiram tion to the Graham Foundation for Advanced Studies in Powers’s Embodiment of the Ideal,” Art Bulletin 59, no. the Fine Arts, Projects 17: Elizabeth Diller and Ricardo 3 (September, 1977): 394–414. Hejduk’s understanding Scofidio, Curatorial Exhibition Files, Exh. #1524, of the face as a surface revealing subjective interior- Museum of Modern Art Archives, New York. ity evokes that of film theorist Béla Balázs. See Béla 69 For reviews of the piece, see Amy Virshup, “The Balázs: Early Film Theory, Visible Man, and The Spirit American Mysteries,” Other Stages 5, no. 11 (February of Film, ed. Erica Carter, trans. Rodney Livingstone 10–23, 1983); Robert Massa, “Theater,” Village Voice (New York: Berghahn, 2010), esp. Visible Man, 10, 19. 28 (March 1, 1983); and Bennett Theissen, “Creation’s 52 Hejduk, “Kinney House,” 58. The American Mysteries” Drama Review 27, no. 2 53 See Aldo Rossi, The Architecture of the City, trans. (Summer 1983): 83–86; and David Hawley, “‘The Diane Ghirardo and Joan Ockman (Cambridge, MA: American Mysteries’ Collaborates,” St. Paul Pioneer MIT Press, 1982), 166. Press, August 26, 1984. The last review claims “the 54 Ada Louise Huxtable, “Huntington Hartford’s Palatial most startling feature of ‘American Mysteries’ is a New York Museum,” New York Times, February 25, remarkable set design by Elizabeth Diller and Ricardo 1964, 33. Scofidio.” 55 These descriptions come from the studio website, 70 Frances A. Yates, The Art of Memory (Chicago: www.dsrny.com, accessed October 4, 2009. University of Chicago Press, 1966). 56 It ran from July 9 to September 25, 1983. Other par- 71 Matthew Maguire, “The Memory Theatre of Giulio ticipants included Ian Bader, Harriet Balaran, Johanna Camillo,” unpublished proposal, Archive of Diller Boyce, Petah Coyne, Richard Flood, Tom Hatch, Scofidio + Renfro, New York. Brower Hatcher, Shelley Hirsch, James Holl, Nene 72 Diller and Scofidio, unpublished proposal for “The Humphrey, Kathleen Ligon, Daniel McCusker, Tom Memory Theatre of Giulio Camillo,” Archive of Diller Otterness, Geraldine Pontius, Kaylynn Sullivan, Billie Scofidio + Renfro, New York. Tsien, David Van Tieghem, and overall site architect 73 Ibid. Diane Lewis. 74 Matthew Maguire, e-mail to the author, July 14, 2008. 57 See Jennifer Dunning, “Dance: Art on the Beach,” 75 For a contemporaneous discussion of memory and New York Times, August 16, 1980, C16; Grace Glueck, forgetting in relation to the Holocaust, see the essays “Sculpture on the Beach,” New York Times, June 25, collected in Bitburg in Moral and Political Perspective, 1982, and “Sculpture on the Sands of Battery Park ed. Geoffrey Hartman (Bloomington: Indiana University City,” New York Times, July 13, 1984. Press, 1986). 58 Interview with Kaylynn Sullivan, December 12, 2008. 76 Matthew Maguire, e-mail to the author, July 14, 2008. 59 Sentinel project description in grant application to 77 Bridge project description in grant application to the New York State Council on the Arts, Projects the New York State Council on the Arts, Projects 17: Elizabeth Diller and Ricardo Scofidio, Curatorial 17: Elizabeth Diller and Ricardo Scofidio, Curatorial Exhibition Files, Exh. #1524, Museum of Modern Art Exhibition Files, Exh. #1524, Museum of Modern Art Archives, New York. Archives, New York. Maguire, e-mail to the author, July 60 Holl does not remember Scofidio being involved with 14, 2008. 213 N

otes to 78 See M. H. Abrams, The Mirror and the Lamp: Romantic Eros, through the Peephole,” New York Times, August Theory and the Critical Tradition (London: Oxford 28, 2009, C17–18. University Press, 1953), esp. 30–42; and Benjamin 90 As John Golding notes, The Large Glass employs single

P Buchloh, “Construire (l’histoire de) la sculpture,” in point renaissance perspective in its depiction of the ages 34–44 Qu’est-ce que la sculpture moderne, ed. Margit Rowell chocolate grinder and the oculist witness but also (Paris: Centre Pompidou, 1986), 254–74. presents specific details, such as the capillary tubes, 79 Calvin Tompkins, Duchamp: A Biography (New York: in plan. Henry Holt and Company, 1996). 91 Diller + Scofidio, “A Delay in Glass,” 23. 80 See the catalog Il Progetto Domestico. La casa 92 Rosalind Krauss, “Where’s Poppa?,” in The Definitively dell’uomo: archetipi e prototipi XVII Triennale di Unfinished Duchamp, ed. Thierry de Duve (Cambridge, Milano (Milan: Electa, 1986) and the entry devoted to MA: MIT Press, 1991), 433–62. the project in its Progetti volume, 26–27. 93 Schlemmer’s emphasis upon the theater as a total 81 The original English text was first published as work of art, especially in his 1922 “Triadic Ballet,” pre- Elizabeth Diller + Ricardo Scofidio, “Inside-Out: The figures the performance aesthetic of Diller + Scofidio. Window on the Garden,” in Interior Landscapes, ed. See The Letters and Diaries of Oskar Schlemmer, ed. Georges Teyssot (Milan: Electa/Rizzoli, 1987), 66. Tut Schlemmer, trans. Krishna Winston (Evanston, IL: 82 J. L. Austin, “Performative Utterances,” in Northwestern University Press, 1990), 127. Philosophical Papers, ed. J. O. Urmson and G. J. 94 The first architectural critic to discuss the prosthetic Wanrock (London: Oxford University Press, 1970), 249. turn in the work of Diller + Scofidio was Michael 83 Diller and Scofidio do not share the concern of Louis Sorkin in an essay he published in the Village Voice Kahn for “what the building wants to be.” See his “An (October 13, 1987) entitled “Minimums” and reprinted Approach to Architectural Education” (1956), in Louis in Exquisite Corpse: Writings on Buildings (London: Kahn: Essential Writings, ed. Robert C. Twombly (New Verso, 1991), 242–47. York: W. W. Norton, 2003), 38. 95 Susan Mosakowski, interview March 27, 2008. The 84 To assist with realizing Three Windows, Diller + architecture of the performance and its prosthetics Scofidio hired Victor Wong, a Cooper student who were described by one reviewer as “a mesmeriz- became their first employee. He recalls Scofidio and ingly mirrored set created by Elizabeth Diller and Diller as inspiring teachers who taught a studio in Ricardo Scofidio [that] offers a magician’s construct which students were asked to select an architectural of simultaneous linear and geometric space. . . . Pieces detail for one of the five senses. “It’s not the idea, it’s of the mechanisms of daily life—whether a fragment what you do with it,” Scofidio once told him. Wong of a dress form or a bicycle wheel—become human later cofounded a company to sell architectural appendages.” Kathryn Helene, “Duchampiana: Going objects and collaborated with the architects on the Around; Standing Still,” After Dark, October 21, 1987, No Means Yes perfume. Today he lives in Paris and 55. See also Stephen Holden, “The Stage: ‘Rotary straddles the roles of web designer, architect, and Notary and His Hot Plate,” New York Times, June 18, graphic artist. Victor Wong, interview, July 2, 2008. 1987; Victoria Geibel, “The Rotary Notary and his Hot 85 Susan Mosakowski, interview, March 27, 2008. Plate,” Metropolis (November 1987); and Mike Steele, 86 Diller + Scofidio, “A Delay in Glass,” typescript, Archive “Wit, Incisiveness Hit Peak in Last of Mosakowski of Diller Scofidio + Renfro, New York, 1. Trilogy,” Minneapolis Star Tribune, September 24, 1987. 87 Ibid., 3. 96 Although the formal language of Jean Nouvel’s Arab 88 Diller + Scofidio, “A Delay in Glass,” Lotus International World Institute in Paris, completed the same year as 53 (1987): 23. At least two translations of The Large The Rotary Notary, was decidedly not their own, its Glass into dance pieces have been attempted. They 240 remote-controlled mechanical apertures, the include Walkaround Time (1968) with choreography most advanced window technology of the day, is a by Merce Cunningham and sets by Jasper Johns useful reminder that other colleagues in architecture and the She Was and She Is, Even (1991) by Jean at the time shared the fascination of Diller and Scofidio Fabre. See Gabriele Brandstetter and Marta Ulvaeus, with the regulation of vision through machines. “Defigurative Choreography from Marcel Duchamp to 97 See Richard Whittaker, “A Conversation with Ann William Forsythe,” Drama Review 42, no. 4 (Winter Hatch,” for a history of the Capp Street Projects. 1998): 37–55. Artist Hannah Wilke also performed http://www.conversations.org/story.php?sid=63, behind the piece in 1976. accessed August, 16, 2009. 89 Diller + Scofidio, “A Delay in Glass,” typescript 1. 98 Richard Sennett, Flesh and Stone: The Body and the E-mail to the author, September 16, 2009. For a recent City in Western Civilization (New York: W. W. Norton, assessment of Duchamp’s Étant donnés, see Holland 1994) provides a helpful overview of this history. Cotter, “Philadelphia, Surreal to Silly: Landscape of 99 See also the remarks on incision by Diller and Scofidio. 214 N

“The cut is a way of presenting and re-presenting the 107 See Michel Foucault, Discipline and Punish: The otes to body. Dis-section leads to section cut. To make an Birth of the Prison, trans. Alan Sheridan (New York: abrupt transition from image to image, as in a film. To Pantheon, 1977).

divide into parts, sever, make unstable. To interrupt 108 See Allan Temko, “Cutting Up the House,” San P ages 45–55 the continuity of the whole. Consider a cut through Francisco Chronicle, September 3, 1987, 66. the site of the body, a section cut through the body 109 See Mary McLeod, “Architecture and Politics and through time, like a snapshot.” Quoted in Georges in the Reagan Era: From Postmodernism to Teyssot, “Erasure and Disembodiment: Dialogues with Deconstructivism,” Assemblage 8 (February 1989): Diller + Scofidio,” Ottagono 96 (September 1990): 22–59, for an elaboration of this argument. 78–79. 110 See The withDrawing Room, Capp Street Project 100 For a telling architectural example of a withdrawing Archive, http://www.cca.edu/library/capp/prop_ room, see the online description of the John Marshall r87d001.pdf, accessed July 14, 2008. House at http://www.apva.org/marshall/house/ 111 Diller + Scofidio, Bodybuildings: Architectural Facts tour_wr.php, accessed August 16, 2011. and Fictions (New York: Storefront for Art and 101 Elizabeth Diller and Ricardo Scofidio, “the withDraw- Architecture, 1987). ing Room: A Probe into the Conventions of Private 112 E-mail to the author, October 9, 2008. Rite,” AA Files 17 (Spring 1989): 21. 113 Edward J. Sozanski, “ICA Highlights Artists Who Are 102 See the withDrawing Room, Capp Street Projects Conceptualists,” Philadelphia Inquirer, June 19, 1988, Archive, http://www.cca.edu/library/capp/prop_ E01. McAnulty interprets the work of the architects r87d001.pdf, accessed July 14, 2008. in relation to the “body without organs” propounded 103 If this seems perverse, one might reflect on the dif- by Antonin Artaud, and Gilles Deleuze and Felix ference between the recognition by the architects of Guattari. See his essay in the catalog Investigations 23 affective fluctuation and Peter Eisenman’s House VI (Philadelphia: Institute of Contemporary Art, 1988). (1975), in which the design required a nonadjustable 114 Joshua Decter, “New York Review,” Arts Magazine 63, slot in a real bed in an actual summer house. See no. 3 (November 1988): 111–12. Suzanne Frank, Peter Eisenman’s House VI: The Client’s 115 Ibid. Response (New York: Whitney Library of Design, 116 See http://www.moma.org/exhibitions/2002/ 1994), 60. A suggestive precedent that the architects projects/storr.html, accessed July 13, 2009. doubtless knew was Raimund Abraham’s Hinge-Chair 117 Projects 17: Elizabeth Diller and Ricardo Scofidio, (1970–71) that sought to “study the principal of the Curatorial Exhibition Files, Exh. #1524, Museum of Hinge as a reconciliation of the cut.” See Raimund Modern Art Archives, New York. Abraham, [Un]built (Vienna and New York: Springer, 118 Matilda McQuaid, interview, March 31, 2008. 1996), 54–57. Significantly, it demonstrates the chair 119 Application to the Graham Foundation for Advanced with a photo series of a naked woman, legs open to Studies in the Fine Arts in Projects 17: Elizabeth Diller various degrees, that eroticizes the hinge and associ- and Ricardo Scofidio, Curatorial Exhibition Files, Exh. ates it with female sexuality, while the absence of a #1524, Museum of Modern Art Archives, New York. sexualized body in the project by Diller + Scofidio is 120 One can profitably read Para-Site in relation to Donna striking. Haraway, “A Cyborg Manifesto: Science, Technology, 104 Here I have learned much from the incisive analysis and Socialist-Feminism in the Late Twentieth Century” of Dan Graham, whose use of the phrase “probe” to (1985), in Simians, Cyborgs and Women: The describe the work of Gordon Matta-Clark may well be Reinvention of Nature (New York: Routledge, 1991), among the sources for its later appropriation by D+S. 149–81. His suggestion that the conical incisions of the artist 121 Projects 17: Elizabeth Diller and Ricardo Scofidio, function akin to periscopes is also suggestive for later Curatorial Exhibition Files, Exh. #1524, Museum of projects by Diller + Scofidio such as the Slow House. Modern Art Archives, New York. See Dan Graham, “Gordon Matta-Clark” (1983), in Rock 122 Para-Site strikingly prefigures the tendency to ques- My Religion: Writings and Art Projects, 1965–1990, tion unacknowledged features of the museum (such as ed. Brian Wallis (Cambridge, MA: MIT Press, 1993), its architecture, instructions to visitors, and pedagogi- 194–205. See also the essays in Gordon Matta-Clark: cal practices) that have led some scholars to discern You Are the Measure, ed. Elisabeth Sussman (New in the work of artists Daniel Buren, Maria Eichhorn, Haven, CT: Yale University Press, 2007). and Andrea Fraser a tendency toward “institutional 105 Elizabeth Diller and Ricardo Scofidio, “the withDraw- critique.” See Institutional Critique and After, ed. John ing Room: A Probe into the Conventions of private Welchman (Zurich: JRP/Ringier, 2006). rite,” 23. 123 Ellen Posner, “Architecture without Building, at 106 Ibid. MOMA,” Wall Street Journal, August 8, 1989. 215 N

otes to Other published reviews include Dennis L. Dollens, Y. Levin, Ursula Frohne, and Peter Weibel (Cambridge, “Para-Site,” Telescope 4 (1989): 21; Roberta Smith, MA: MIT Press, 2007), 74–75; Nam June Paik, Fluxus/ “Architectural Gadgetry In Modern’s Installation,” Video, ed. Wulf Herzogenrath (Bremen: Kunsthalle

P New York Times, July 21, 1989; and anonymous notes Bremen, 1999), 189; and Edward A. Shanken, Art and ages 55–63 in New York Post, July 28, 1989, and New Yorker, July Electronic Media Art (London: Phaidon, 2009), 31. 31, 1989. Smith was the most critical reviewer and Contemporaneous with Para-Site, Security by Julia wrote that “Para-Site indicates the extent to which (1989–90), by Julia Scher, utilized multiple video the avant-garde tendencies of the 1970s have been monitors and cast the artist as a security guard to rendered palpable and superficially accessible to a investigate the workings of surveillance. See Shanken, broad art-viewing public—and it’s not entirely a pretty Art and Electronic Media, 127. sight . . . the piece . . . has a slick overdone quality that 129 Ricardo Scofidio, letter to Stuart Wrede, September may come from too much time spent refining other 25, 1989, Projects 17: Elizabeth Diller and Ricardo artists’ ideas.” The review in the Post wrote of Diller Scofidio, Curatorial Exhibition Files, Exh. #1524, and Scofidio that “their aim is a comment on MOMA Museum of Modern Art Archives, New York. A reprise itself, as renovated of late years ‘into a kind of mall’ of Facsimile, altered by the use of a robotically con- more given ‘to a commercial than a cultural establish- trolled camera, took place in the 2006 performance ment.’ . . . They also say they wanted ‘to be aggressive, at MOMA Who’s Your Dada?, which DS+R realized in leak out, grab as much space as we could.’ They didn’t collaboration with the Wooster Group. say they wanted to drive the rest of us crazy, but . . .” 124 Apart from this quotation and sharing its title, the installation by Diller + Scofidio seems mini- Chapter Two mally indebted to the book by French philosopher Michel Serres, The Parasite, trans. Lawrence Scher 1 See William Menking, “Notes from New York,” Building (Baltimore: Johns Hopkins University Press, 1982), Design, November 1989; and Nancy Princenthal, which for all of its discussion of culture does not “Diller + Scofidio: Architecture’s Iconoclasts,” mention architecture, urbanism, moving images, Sculpture Magazine (Winter 1989): 18–23. museums, or public space. 2 Two relatively early European reviews of projects 125 Elizabeth Diller, quoted in Nick Backlund, “Living by Diller + Scofidio are “Casa Kinney,” Arquitectura Architecture: Diller and Scofidio,” ID, November/ 244 (1983): 62–63; and “Three Windows,” Domus 671 December 1989, 18. (1986): 62. Daily newspapers and monthly or quarterly 126 The most important summary of the Vertovian legacy publications about art and drama in the United States remains Kino-Eye: The Writings of Dziga Vertov, ed. printed reviews of their early performances and instal- Annette Michelson, trans. Kevin O’Brien (Berkeley and lations, yet it was not until 1987 that they were treated Los Angeles: University of California Press, 1984). in an American architecture magazine, Metropolis, and 127 The idea of film as a system of notation is already exhibited in an architectural context by the Storefront present in the silent period. See Louis Haugemard, for Art and Architecture. See Victoria Geibel, “The ‘Aesthetic’ of the Cinematograph” (1913), in “Harbingers of Change,” Metropolis, September 1987; French Film Theory and Criticism, ed. Richard Abel and Bodybuildings (catalog) in Front 1, Storefront (Princeton, NJ: Princeton University Press, 1988), 1:83. for Art and Architecture, New York, 1987. For two of 128 See the entry on Nauman’s video installation in the earliest texts on Diller + Scofidio by American California Video: Artists and Histories, ed. Glenn architectural critics, see Michael Sorkin, “Minimums,” Phillips (Los Angeles: Getty Research Institute, 2008), Village Voice, October 3, 1987, reprinted in Exquisite 182, and Graham’s entry in Dan Graham: Beyond, ed. Corpse: Writings on Buildings (London and New Bennett Simpson and Chrissie Iles (Cambridge, MA: York: Verso, 1991), 242–47; and Herbert Muschamp, MIT Press, 2009), 147–48. Three video projects of the “Outside the Avant-Garde,” Terazzo, 1988, 44–50. 1970s suggestively explored surveillance and prefigure 3 Michael Sorkin, “Philip Johnson: The Master Builder as Para-Site. Peter Weibel’s Observing Observation: Self-Made Man” (1978), in Exquisite Corpse, 7–14. Uncertainty (1973) positioned video cameras at the 4 Ralph Lerner, interview, March 6, 2008. perimeter of a circle and trained them on the visitor, 5 Ibid. who could never see his own back. Nam June Paik’s 6 Jonathan Crary, Techniques of the Observer Zenith (TV Looking Glass) (1974) pointed a single (Cambridge, MA: MIT Press, 1990). camera toward a building visible through the window 7 Architecture 503 “Probe” syllabus, fall 1990, Princeton of the Whitney Museum of American Art. Steina’s All University School of Architecture Archive. Vision (1976) directed two cameras onto a rotating 8 Architecture 204 syllabus, spring 1995, Princeton mirrored sphere. See CTRL [Space]: Rhetorics of University School of Architecture. 216 Surveillance from Bentham to Big Brother, ed. Thomas 9 Architect Bernard Tschumi explored similar ideas N

about the occupation of space by bodies in his essays meaning that they did in the classical period because otes to of the 1980s. See his Architecture and Disjunction in the present, which I see as having no future, all (Cambridge, MA: MIT Press, 1996), especially the 1983 we can do is make empty words.” The Charlottesville

essay “Sequences,” 153–68. Tapes (New York: Rizzoli, 1985), 145. P ages 63–68 10 Paul Lewis, interview, July, 8, 2008. 24 An early and later superseded design was for a “half 11 Georges Teyssot, interview, July 3, 2008. house.” Hejduk produced an identically titled design, 12 A copy of this transcript is in the slide library of the although it has little in common with that of the Slow Princeton University School of Architecture. House. See John Hejduk, “½ House,” in his Mask of 13 Georges Teyssot, interview, July 3, 2008. Medusa: Works, 1947–1983 (New York: Rizzoli, 1984), 14 See Mark Wigley, “Disciplining of Architecture,” 268–71. 19–26; Anthony Vidler, “Homes for Cyborgs: 25 Marcel Duchamp, The Bride Stripped Bare by Domestic Prostheses from Salvador Dalí to Diller and Her Bachelors, Even, a Typographic Version by Scofidio,” 37–55; and Georges Teyssot, “Erasures and Richard Hamilton of Marcel Duchamp’s Green Box, Disembodiment: Dialogues with Diller + Scofidio,” trans. George Hamilton Heard (New York: George 57–88; all in “Prostheses,” special issue, Ottagono 96 Wittenborn, 1960). (September 1990). 26 Interview with Jürgen Mayer H., July 6, 2009. That 15 Diller + Scofidio, “Pretext Machine,” in “Prostheses,” Diller grew up speaking Polish and did not learn special issue, Ottagono 96 (September 1990): 89–104. English until later in life may well explain her precise 16 It is telling that the architects have not developed yet slightly distanced relation to the language. complex characters in their video works or, better put, 27 Diller + Scofidio, Flesh: Architectural Probes (New one might claim that only a single complex charac- York: Princeton Architectural Press, 1994), 224. The ter—architecture—appears in them. one biomorphic analogy the architects do provide 17 See Michel Carrouges, Les machines célibataires involves the snail, about which they quote from Peter (Paris: Arcanes, 1954); and The Bachelor Machines, ed. Greenaway’s 1985 film A Zed and Two Naughts, “Milo: Jean Clair and Harald Szeemann (New York: Rizzoli, Why do you like snails? Oliver: They’re a nice form of 1975). life. They help the world decay and they’re hermaph- 18 For a review, see “Meta Maquettes,” Connaissance des roditic. They can satisfy their own sexual needs.” arts 479 (January 1992): 18. Elizabeth Diller and Ricardo Scofidio, “Reviewing,” 19 D+S later utilized this liquid crystal technology in the Columbia Documents in Architecture and Theory 1 installation of “Reviewing the Slow House” in Tokyo. (1992): 30. 20 The history and properties of various smart glass 28 Sigmund Freud, The Uncanny, trans. David McClintock. technologies are treated in Michelle Addington and (London: Penguin, 2003). Daniel Schodek, Smart Materials and Technologies 29 Diller + Scofidio, Flesh, 225. in Architecture (Oxford: Architectural Press, 2004), 30 Felicity Scott calls attention to the striking prefigura- esp. 156–58; and Axel Ritter, Smart Materials in tion of the media component of the Slow House by Architecture, Interior Architecture, and Design (Basel: the House of the Century designed by Ant Farm with Birkhäuser, 2006), esp. 73–78. One of the more pub- Richard Jost (1971–73), in which a television is placed licized architectural designs involving active display in front of a picture window looking out on a lake so as panel (ADP) glazing capable of presenting images was to allow someone washing dishes to switch atten- William Alsop and Jan Störmer’s unrealized Kauhauf tion between viewing scenery and a video image of des Nordens in Hamburg, developed in 1993. See it. Significantly, the element of recording and storing William Alsop and Jan Störmer (London: Academy views important in the design by Diller + Scofidio does Editions, 1993), esp. 106–43. not figure in this earlier design. See Felicity Scott, 21 Variable opacity was a property of earlier glass tech- Living Archive 7: Ant Farm; Allegorical Time Warp; nologies important to twentieth-century modernists. The Media Fallout of July 21, 1969 (Barcelona: Actar, See Arthur Korn, Glass in Modern Architecture of the 2008), 153–54. Bauhaus Period (1926) (New York: George Braziller, 31 Diller + Scofidio, Slow House proposal (January 30, 1968), esp. 132. 1989), 1. Archive of Diller Scofidio + Renfro, New York. 22 A reading of Door, 11 rue Larrey that resonates with 32 On the Beistegui Penthouse, see Manfredo Tafuri, the project of D+S is Francis M. Naumann, “Marcel “Machine and Memoire: The City in the Work of Le Duchamp: A Reconciliation of Opposites,” in The Corbusier,” trans. Stephan Sartarelli, in Le Corbusier, Definitively Unfinished Marcel Duchamp, ed. Thierry ed. H. Allen Brooks (Princeton, NJ: Princeton de Duve (Cambridge, MA: MIT Press, 1991), 41–68, esp. University Press, 1987), 203–18. 59–60. 33 Jean Baudrillard, Simulations, trans. Paul Foss, Paul 23 Compare this with Peter Eisenman: “I don’t believe Patton, and Philip Beitchman (New York: semiotex(e), that words can contain the same mythology and 1983), develops the idea of derealization. 217 N

otes to 34 Diller + Scofidio, Flesh, 248. 50 Diller + Scofidio, Flesh, 220. 35 On nested windows, see Anne Friedberg, The Virtual 51 Ibid. Window: From Alberti to Microsoft (Cambridge, MA: 52 Jonathan Culler, “The Semiotics of Tourism” (1981),

P MIT Press, 2006). in Framing the Sign: Criticism and Its Institutions ages 68–77 36 “The Slow House,” Progressive Architecture, January (Norman: University of Oklahoma Press, 1989), 153–68, 1991, 88. For a slightly later discussion of the house 158. in an academic architectural context, see Beatriz 53 Published reviews include those by Nancy Roth in Colomina, “Domesticity at War,” Assemblage 16 Artpaper (March 1991); Brian McLaren in Architecture, (December 1991): 14–41. March 1991; Jacqueline Hall in the Columbus Dispatch, 37 “The Slow House,” 88. March 1, 1992; and Robert Campbell, “People, Places, 38 Thomas Fisher, interview, June 6, 2008. and Postcards,” Boston Globe, May 7, 1991, 61. Roth 39 The most complete presentation of the project is called the installation “clever, absorbing, and annoy- “SuitCase Studies: The Production of a National Past,” ing work.” Campbell described it as “a subtle and in Back to the Front: Tourisms of War, ed. Diller + brilliant meditation on tourism.” Scofidio (Basse-Normandie: FRAC, 1994), 32–107. 54 Mildred (Mickey) Friedman, interview, June 7, 2008. See also the dossier of the exhibition published as 55 See Beatriz Colomina, “Suspended Architecture,” “Architecture Tomorrow,” Design Quarterly 152 (1991); in From Here to Eternity: Fact and Fiction in Recent and the announcement of the project in Joseph Architectural Projects (New York: Artists Space, 1986), Giovannini, “Architects to Create Ivory Towers,” New 4–7. See the review by Simon Morrisey of the installa- York Times, January 21, 1988. tion in Birmingham, England, “Diller + Scofidio—the 40 Diller + Scofidio, Flesh, 205. Desiring Eye: ReViewing the Slow House,” Architects’ 41 It also underscores the legacy of the mapping and Journal, February 15, 1996, 203n6, 54–55; and the comparative analyses employed by Robert Venturi, review of its exhibition in Bordeaux by Chantal Béret, Denise Scott Brown, and Steven Izenour in Learning Art Press (Paris) 175 (December 1992): 41. from Las Vegas (Cambridge, MA: MIT Press, 1972). 56 Marcel Duchamp, “The Green Box,” trans. George 42 The most significant intellectual point of reference for Heard Hamilton, in The Writings of Marcel Duchamp, the architects as they thought about tourism appears ed. Michelle Sanouillet and Elmer Peterson (New York: to have been Dean MacCannell, The Tourist: A New Da Capo, 1973), 26–71. Theory of the Leisure Class (New York: Schocken, 57 Images of the project can be found on the studio 1976). website. 43 Among the first critics to note Diller’s writing style is 58 George Baird, e-mail to the author, July 5, 2008. One Val Warke. See his review of Education of an Architect, of the first artists to employ liquid crystal technology published in the Journal of Architectural Education was Jenny Holzer in her project Laments (1988–89). 43, no. 4 (Summer 1990): 45–50, esp. 46. Refinement of this technology to a technical standard 44 Roland Barthes, “There is No Robbe-Grillet School” suitable for liquid crystal display (LCD) television sets (1958), in Critical Essays, trans. Richard Howard (today ubiquitous) did not occur until 1997. (Evanston, IL: Northwestern University Press, 1972), 59 On the history of P.S. 1, today run by the Museum 92. See also “The Last Word on Robbe-Grillet?” (1962), of Modern Art, see http://ps1.0rg/about, accessed 197–204. The architects mention Robbe-Grillet as their August 5, 2011. inspiration in the withDrawing Room for dust under 60 Diller + Scofidio, Flesh, 138–39. the bed, and Diller included mapping his The Erasers 61 Scofidio, e-mail to the author, December 14, 2010. as an assignment in her first Princeton studio. Hejduk, A suggestive frame of reference for Loophole is the too, admired both Kafka and Robbe-Grillet. See his installation by Flavin of a fluorescent light column Mask of Medusa, 39. extending from the ground floor to the glass ceiling 45 Paradigmatic here is Jealousy (1957), which includes of the Guggenheim Museum during his retrospective an architectural plan of the house in whose narrative it there from June 28 to August 27, 1992. transpires. 62 E-mail to the author, July 19, 2009. Published reviews 46 Robert McAnulty, interview, June 10, 2008. include Garrett Holg, “For Armory Show, Artists 47 Lyn Rice, Victor Wong, and Paul Lewis were among the Find ‘Territory’ to Relate Experiences,” Chicago collaborators on the installation. Sun-Times, October 18, 1992, 7; Roberta Smith, “Art 48 See Beatriz Colomina, “Domesticity at War.” View: In Installation Art, a Bit of the Spoiled Brat,” 49 Besides the dossier on Tourisms and texts by other New York Times, January 3, 1993; Christopher Knight, writers, the book contains a visual essay by the archi- “A Parting Shot for Chicago’s Armory,” Los Angeles tects, “Hostility into Hospitality,” that anticipates the Times, September 30, 1992; James Yood, “Art at the design and concerns of their book Flesh: Architectural Armory: Occupied Territory,” Artforum (December 218 Probes, published the following year. 1992): 98; Allison Gamble, “Strategic Occupation,” N

New Art Examiner, January 1993, 17–19, 44; and Susan techniques, see Ilka Ruby, Andreas Ruby, and Philipp otes to Snodgrass, “Review from Chicago,” Art in America Urpsrung, Images: A Picture Book of Architecture (July 1993): 53–55. Holg wrote that “Loophole . . . is by (Munich: Prestel, 2004), esp. 125–31. A particularly

far the most challenging and sensitive use of the build- striking analogue is the 1992 “24-hour diagram,” by P ages 78–84 ing’s space. . . . Surveillance cameras positioned in Rem Koolhaas and OMA for the Yokohama Urban both towers monitor the exhibit’s visitors as they wind Design Forum, in which architectural programs for a their way up and down the stairs. For a particularly single site are followed over the course of a day (128). impish twist, the artists have rigged these cameras 72 Diller + Scofidio, Ventilator project description, April to send images back and forth between the nearly 19, 2004, Archive of Diller Scofidio + Renfro, New York. identical towers, so that visitors may find themselves The architects proposed artists, writers, and curators temporarily disoriented.” Knight described Loophole be given access to the message broadcasting system, as “a quietly chilling surveillance environment, in thereby making it a cultural ventilating system. On which you can believe neither what you are seeing nor the architecture of the MCA, see Alan G. Artner, what you are being told.” “Assessing the MCA after Its First Year,” Chicago 63 Diller +Scofidio, Flesh, 139. On the conceptual Tribune, June 15, 1997, 1; and Blair Kamen, “The New instability of architecture noted by proponents of MCA Building: A Fumbled Chance at Greatness,” deconstruction, see Mark Wigley, The Architecture Chicago Tribune, June 1, 1996, 1. For an overview of of Deconstruction: Derrida’s Haunt (Cambridge, MA: the history of light-emitting diode projects in visual MIT Press, 1993). Yet the work on display in the June art and architecture, see Jonathan Speirs, Anthony 23–August 30, 1998, exhibition of deconstructivist Tischhauser, and Mark Major, Made of Light: The Art of architecture at the Museum of Modern Art suggests Light and Architecture (Basel: Birkhäuser, 2006), 8–9. just how differently Diller and Scofidio understood 73 On this topic, see Alexis Mainland, “Reading their activities. See Philip Johnson and Mark Wigley, Underground,” New York Times, September 3, 2009. Deconstructivist Architecture (New York: Museum of 74 See Paul Smith, “Bad Press,” Art in America 82, no. 5 Modern Art, 1988). (May 1994): 114; and Zvi Efrat, “Diller and Scofidio’s 64 For the urban development history of Times Square, ‘Bad Press’: Unseemliness of the Fashionable,” in see Lynne B. Sagalyn, Times Square Roulette: The Architecture in Fashion, ed. Deborah Fausch (New Remaking the City Icon (Cambridge, MA: MIT Press, York: Princeton Architectural Press, 1994), 390–410. 2001). Its cultural significance is treated in Marshall Smith complained that “Diller & Scofidio’s installation Berman, On the Town: One Hundred Years of Spectacle struck me as mere window-dressing for the shirts, in Times Square (New York: Random House, 2006). each of which showed genuine individuality and wit.” 65 Louis Althusser, “Ideology and the Ideological State The most detailed explanation of the project is that Apparatuses,” in Lenin and Philosophy, trans. Ben provided by Diller in an article published after the Brewster (New York: Monthly Review Press, 1971), exhibition. See Elizabeth Diller, “Bad Press,” in The 85–126. Architect: Reconstructing Her Practice, ed. Francesca 66 Ridiculous! The Theatrical Life and Times of Charles Hughes (Cambridge, MA: MIT Press, 1996), 74–95. A Ludlam (New York: Applause Books, 2005). suggestive precedent for the use of the man’s white 67 Interview with Calvert Wright, March 11, 2009. shirt in an artwork is Rodney Graham’s White Shirt (for 68 Interview with Wright. Published reviews of Soft Sell Mallarmé), Spring 1993, which was exhibited in 1992 include Herbert Muschamp, “High Brow Peepshow on in the display window of the clothing store Barneys in 42nd Street,” New York Times, August 1, 1993, 34; and New York City. “In Times Square, Art Conquers Kung Fu,” New York 75 Diller and Scofidio, Hard Pressed (Castres: Centre d’Art Times, July 7, 1993, C7. Contemporain, 1993). 69 Muschamp, “High Brow Peepshow on 42nd Street.” 76 See Harry Francis Mallgrave, ed., Architectural Theory: 70 See also the review of Incorporations, in which Case An Anthology from Vitruvius to 1870 (Malden, MA, was reprinted, Linda Brigham, “Academia Inc.,” and Oxford: Blackwell, 2006), 529–60, for a dossier of Electronic Book Review, 1995. There she writes of the texts by Gottfried Semper and other German contribu- D+S portfolio, “The humanist assumptions built into tors to the theory of tectonics. questions like ‘What happened’ and ‘Who did it’ [are] 77 For a discussion of the poetics of tectonic detailing, exposed as superstitious. Science becomes ritual, and see David Brett, Rethinking Decoration: Pleasure and ritual is overwhelmingly aesthetic.” “Case # 00-17163,” Ideology in the Visual Arts (Cambridge: Cambridge in Incorporations (Zone 6), ed. Jonathan Crary and University Press, 2005), esp. 215–50. Sanford Kwinter (New York: Zone, 1992), 344–61. www. 78 Gilles Deleuze, The Fold: Leibniz and the Baroque, electronicbookreview.com/thread/criticalecologies/ trans. Tom Conley (Minneapolis: University of polycorporeal (March 15, 1996), accessed April 2012. Minnesota Press, 1993). On the discourse of the 71 For an overview of spatial and temporal mapping architectural fold, see John Rajchman, Constructions 219 N

otes to (Cambridge, MA: MIT Press, 1998), esp. 11–36; and 90 Diller + Scofidio, “The Fourth Window,” Forum 38, no. Greg Lynn, Folding in Architecture, rev. ed. (London: 1/2 (May 1995): 53. Academy Editions, 2004). Diller and Scofidio engage 91 Diller + Scofidio, Flesh: Architectural Probes (New

P with both the ideas of Deleuze and Rajchman in Flesh. York: Princeton Architectural Press, 1994). For an ages 84–89 79 Diller + Scofidio, Hard Pressed, 1. This bilingual insightful review of the book, see Michael Speaks, publication accompanying the French exhibition of the “Views of the Observer: Flesh: Architectural Probes” installation is the only instance in which it was pub- (Columbia Graduate School of Architecture, Planning, lished with an alternative title. Its design evokes the and Preservation), Newsline 8, no. 1 (September– famous artist book by Ed Ruscha, Every Building on October 1995): 2, in which the author observes, “Diller the Sunset Strip (1966), whose accordion fold extends and Scofidio . . . offer a far more accurate picture of to twenty-seven feet. the possibilities for architectural deconstruction 80 For an account, see Janet Abrams, “Cine City: Film than have the familiar twisted and contorted forms of and Perceptions of Urban Space,” Archis 7 (1994): deconstructivist architecture. . . . They have learned 10–12. Film scholar Annette Michelson, present at the from deconstruction that no matter how innocent we performance by Diller, noted the relation between may appear to be, we are always implicated in violent, Robbe-Grillet’s metonymic style and Overexposed. proprietary relations.” 81 The most detailed information on the building and its 92 Some of the texts published outside the United States history is contained in the June 20, 1995, Landmarks on D+S include Antonello Marotta, Diller Scofidio + Preservation Commission Report prepared by David Renfro: Il Teatro Della Dissolvenza (Rome: Edilstampa, M. Breiner with a contribution by Gail Harris, http // 2005); Françoise Ducros, “Les architectures dis- www.nyc.gov/html/lpc.downloads/pdf.reports/peps- sidentes de Diller + Scofidio” (Caen, France: Frac ibldg.pdf, accessed June 28, 2008. Basse Normandie, 1999); and Bart Lootsma, “Sneaky 82 See the text “In Plain View” and the descriptions of the Architecture: Recent Work of Diller + Scofidio Archis office workers in ANY 18 (1997): 30–33. (The Netherlands) 8 (1996): 45–53. 83 On privacy Smart Glass, see http://www.ltisg.com/ 93 An overview of the work of Barbara Kruger is found ltiprivacy.php#, accessed August 4, 2011. in Barbara Kruger, organized by Ann Goldstein (Los 84 Stephen Koch argues that Empire strips architecture of Angeles: Museum of Contemporary Art, 1999). The metaphor and approaches a Duchampian cinema. See books of Marshall McLuhan also suggest themselves his Stargazer: Andy Warhol’s World and His Films, 2nd as a precedent. See Jeffrey T. Schnapp and Adam ed. (London: Marion Boyars, 1985), 59–61. Warhol’s Michaels, The Electric Information Age Book: McLuhan, own comment, “if you look at something long enough, Agel, Fiore, and the Experimental Paperback (New I’ve discovered the meaning goes away,” is also York: Princeton Architectural Press, 2012). relevant here. See Gretchen Berg, “Nothing to Lose: 94 The parallels between the project of Flesh and key An Interview with Andy Warhol,” in Andy Warhol: tenets of European continental philosophies of the Film Factory, ed. Michael O’Pray (London: British Film body are striking. One might plausibly read the book Institute, 1989), 61. The most architecturally astute as a “phenomenological reduction” of embodied prac- analysis of the Tati film is Joan Ockman, “Architecture tices of daily life, understood alternately as enabling in a Mode of Distraction: Eight Takes on Jacques communication or as ideologically constraining. Tati’s Play Time,” in Architecture and Film, ed. Mark 95 Flesh project description, created August 27, 2007, Lamster (New York: Princeton Architectural Press, Archive of Diller Scofidio + Renfro, New York. A reader 2000), 171–96. could digest the book carefully and still miss this 85 Quoted in Kyong Park, “Diller + Scofidio: The explanation of its design genesis. The lack of any Architecture of Entrapment,” Flash Art (May–June suggestion that the movement from anal to oral body 1996): 92. parts implies progress could be seen as a rejection of 86 Paul Lewis, interview, July 8, 2008. the theory developed by Sigmund Freud in his Three 87 These advertisements ran in Forum 38, nos. 1–2 (May Essays on the Theory of Sexuality (1905). See The 1995), on pages 25, 53, and 81. Standard Edition of the Complete Works of Sigmund 88 Although not itself an advertisement, the cash register Freud, 6:12–248. receipt published by Dan Graham as “Figurative” 96 Georges Teyssot, “The Mutant Body of Architecture,” in between an advertisement for tampons and brassieres Flesh, 9–35. in the March 1968 issue of Harper’s Bazaar is an early 97 For example, Jan Tschichold, The New Typography and significant instance of an artist utilizing the pages (1928), trans. Ruari McLean (Berkeley and Los Angeles: of a magazine as medium. University of California Press, 1995). 89 For a critique of Virilio’s employment of the notion of 98 Like semiotext(e), published by the Department of the screen see Anne Friedberg, The Virtual Window, French at Columbia University and which did much 220 182–189. to introduce French semiotic and poststructuralist N

theory to the American academy, Flesh also repre- Scofidio with Paul Lewis, asst.: Jennifer Lee, nd. otes to sented a way of “doing theory,” what the founding Archive of San Jose Office of Cultural Affairs. editor of the journal, Sylvère Lotringer, later called an 111 Ibid.

awareness that “things can exist together, each can 112 Electronic artist Ben Rubin devised the technique for P ages 90–96 remain what it is in its singularity, its own temporal- displaying each trailer in its entirety. ity, each preserving a life of its own while interpen- 113 The most detailed discussions of the project are etrating the other in a richer, more complex way.” Indigestion, in Anybody, ed. Cynthia Davidson Sylvère Lotringer, “Doing Theory,” in French Theory in (Cambridge, MA: MIT Press, 1997), 138–43; America, ed. Lotringer and Sande Cohen (New York: Indigestion, in Serious Games: Art, Interaction, Routledge, 2001), 129. Flesh was not widely reviewed Technology (London: Barbican Gallery, 1997), 31–37; but see Michael Speaks, “Views of the Observer: Flesh: and Indigestion, in Languages Games (Banff: Banff Architectural Probes,” 2; and Lynette Widder, “Against Centre, 1997). Self-Disciplining,” Daidalos, no. 56 (August 1995): 114 Filmmaker Hollis Frampton’s 1971 Critical Mass comes 35–47, for two reactions to it. to mind as a precedent. 99 Tim Armstrong, Modernism, Technology, and the Body 115 See A. J. Greimas and J. Courtés, Semiotics and (Cambridge: Cambridge University Press, 1998), 71. Language: An Analytical Dictionary, trans. Larry Crist 100 Raphael Berkowitz, interview, June 30, 2008. The (Bloomington: Indiana University Press, 1983), 36–37, cover display of the architects’ buttocks at a time for a definition of the combinatory as a state resulting when the AIDS crisis was decimating their profession from the production of semiotic units. A suggestive may well have comprised a gesture of solidarity. That precedent for Indigestion is “Dark Dogs: American their field was losing talented practitioners to the Dreams,” a 1980 installation by Laurie Anderson at the disease is made clear in an article published not long Holly Solomon Gallery in New York, in which visitors before the book appeared: David W. Dunlap, “AIDS and could choose from cassette tapes to hear different the Practice of Architecture,” New York Times, April 3, stories coded by images. See Janet Kardon, Laurie 1994. Anderson (Philadelphia: Institute of Contemporary 101 Representative here is Bernard Tschumi, “The Art, 1983), 21–22. Architectural Paradox” (1975), in Architecture and 116 Indigestion, project description, created February 6, Disjunction, 27–52. 2006, Archive of Diller Scofidio + Renfro, New York. 102 Diller + Scofidio, Flesh, 39. 117 Among the published reviews are Andrew Morley, 103 Cold War project description, created April 19, 2004, “Serious Games,” Contemporary Visual Arts 15 (1997): Archive of Diller Scofidio + Renfro, New York. 66–67; and Isabel Carlisle, “Games with a Magic 104 Broward County Civic Arena: Feasibility Study for Edge,” Times (London), June 26, 1997, 39. Carlisle Hockey Rink Video Image, October 9, 1996, Archive of wrote of Indigestion, “It’s ingenious, if finally stultify- Diller Scofidio + Renfro, New York. ing—but then, that’s life.” 105 Paul Lewis, interview, July 8, 2008. 118 Valerie Lamontagne, “Interview with Douglas Cooper,” 106 See Christian Metz, The Imaginary Signifier, trans. Parachute, September 1999. Cooper praises Diller and Celia Britton, Annwyl Williams, Ben Brewster, and Scofidio for being “surprisingly open to real contribu- Alfred Guzzetti (Bloomington: Indiana University Press, tions” by their collaborators and expanding his role 1986). in their projects. While working on Indigestion, he 107 As Maguire recalls of the set by the architects, “Their assigned them the task of designing a murder weapon excitement was in what would happen to the rooms for the piece. Interview with Douglas Cooper, July 20, when the moving walls (which were rear projection 2011. screens on casters) would shift position. They loved 119 See Anna McCarthy, Ambient Television: Visual Culture the paralaxis created in the extreme positions, and and Public Space (Durham, NC: Duke University Press, they loved the change while the walls were manipu- 2001), 240–51, for the history of this project, which lated by the cast.” E-mail to the author, July 14, 2008. suggestively prefigures some of the technological and A precedent for the use of the zigzag screen is the 1982 legal challenges Diller + Scofidio later would encoun- film Metropotamia by Leandro Katz. ter with Facsimile. Dara Birnbaum offers her perspec- 108 Urban Design Review Board memorandum, April 4, tive in “The Rio Experience: Video’s New Architecture 1994, the Redevelopment Agency of the City of San Meets Corporate Sponsorship,” in Illuminating Jose. Video: An Essential Guide to Video Art, ed. Doug Hall 109 Urban Design Review Board memorandum, May 5, and Sally Jo Fifer (San Francisco: Aperture, 1990), 1994, the Redevelopment Agency of the City of San 189–204. Jose. 120 The most detailed description of the project is Diller + 110 Jump Cuts, schematic proposal for installation, UA Scofidio, Romm + Pearsall, “CNN Center Proposal,” Art Cineplex Theatre, San Jose, Elizabeth Diller + Ricardo Papers (March/April 1996): 26–27. Diller and Scofidio 221 N

otes to also worked with Romm on an unrealized design case in Ambient Television: Visual Culture and Public modification of the Atlanta Braves stadium. Space, 231–40. Significantly, the expense of renting 121 Request for Qualifications for George R. Moscone time to display the message “Capitalism Stops at

P Convention Center Expansion Project Public Art Nothing” proved so expensive it was only on display ages 97–105 Program, 1996, San Francisco Arts Commission (SFAC) for a month. On Facsimile as public media art and the Archive. maintenance issues such projects present, see Steve 122 Interview with Lyn Rice, September 24, 2008. Dietz, “Interactive Publics,” Public Art Review 15, no. 1, 123 Letter of Ricardo Scofidio to Jill Manton, February 24, issue 29 (Fall/Winter 2003): 23–29. 1998, SFAC Archive. 135 E-mail of Jill Manton to Rita Bruns (Multimedia), 124 “Diller+ Scofidio Proposal for Moscone Expansion January 30, 2004, SFAC Archive. 5/27/98,” SFAC Archive. 136 Interview with Jill Manton, July 22, 2008. 125 Earlier titles for the project include Skin Job and Dead 137 Minutes of the SFAC Visual Arts Committee, October Air. A key precedent for the alternation of live surveil- 19, 2005, www.sfgov.org/site/fac, accessed July 19, lance images and television and prerecorded video is 2008. Frank Gillette and Ira Schneider’s Wipe Cycle (1968). 138 Minutes of the SFAC Visual Arts Committee, February See Edward A. Shanken, Art and Electronic Media 15, 2006, www.sfgov.org/site/fac, accessed July 19, Art (London: Phaidon, 2009), 100, and in the same 2008. volume Jud Yalkut, “Parts I and II of an Interview with 139 Minutes of the SFAC Visual Arts Committee, February Frank Gillette and Ira Schneider” (1969), 215–17. 20, 2008, www.sfgov.org/site/fac, accessed July 19, 126 Alan Burden, e-mail to the author, August 26, 2008. 2008. 127 Matthew Johnson, memo to George Pappas, May 31, 140 For examples of the today ubiquitous media screen, 2003, SFAC Archive. One might note the sentence in see the projects presented in Scott McQuire, Meredith the second version of Walter Benjamin’s “The Work Martin, and Sabine Niederer, eds., Urban Screens of Art in the Age of Its Technological Reproducibility,” Reader (Amsterdam: Institute of Network Cultures, “Every day the urge grows stronger to get hold of an 2009). As of September 2011, Manton had obtained object at close range in an image [Bild], or, better, about $75,000 of free rigging, welding, and crane in a facsimile [Abbild], a reproduction” as a refer- work to realize the retrofit. A new local mechanical ence of the title. See The Work of Art in the Age of engineer was working on the system, and one of the Its Technological Reproducibility and Other Essays original system designers was working on the LED on Media, ed. Michael Jennings, Brigid Doherty, screen. The screen was moving with some difficulty, a and Tom Levin (Cambridge, MA: Harvard University consequence of cable tension changes from the heat Press, 2008), 23. Diller and Scofidio list the anthology level. The system hard drive died and several of the containing this essay (admittedly its first version with video display modules were not working. E-mail to the the crucial term Abbild translated as “likeness”) as author, September 13, 2011. one of their top ten favorite books. See Unpacking My 141 Yalkut, interview with Gillette and Schneider, 217. Library: Architects and Their Books, ed. Jo Steffens 142 E-mail to the author, July 14, 2008. (New Haven, CT: Yale University Press, 2009), 58. 143 Michael Bo, “Pro-Forma Gala: A Coup de Theatre,” 128 Minutes of SFAC Visual Arts Committee, July 17, 2002. Politiken (Denmark), August 12, 1996; Stina Nylen, 129 “Matthew Johnson, Project: Moscone: Facsimile,” “Nothing Is What It Pretends to Be in Monkey November 7, 2002, 2, SFAC Archive. Business,” Kristianstadsbladet (Sweden), August 13, 130 Dan Gillham, e-mail to the author, August 21, 2008. 1996; Per Theil, “Musical for the Money,” Berlingske 131 Letter of Adine K. Varah (Deputy City Attorney) to Tidende, August 12, 1996. Bo called the performance State Board of Equalization, November 8, 2002, 5, “minimalistic, grandiose, vibrant, and vegetating at SFAC Archive. one and the same time.” Nylen wrote that “at times it 132 Letter of Chris A. Schulz (State Board of Equalization) is impossible to take all this in. It is overwhelming and to Adine K. Varah, May 30, 2003, SFAC Archive. the images almost too glaringly sharp.” All transla- 133 E-mail of Adine K. Varah to Jill Manton, April 21, 2003, tions appear in a dossier of published reviews in the SFAC Archive. archive of Diller Scofidio + Renfro. For another project 134 San Francisco traditionally has provided artists with an by Dumb Type, the 1990–93 performance ph, an inves- uncommonly tolerant environment in which to install tigation of the posthuman and commodity aesthetics, video art with controversial messages. The example see Shanken, Art and Electronic Media, 148. of the 1998 project by artist Andy Cox, Together We 144 On the introduction of video into dance performance Can Defeat Capitalism, broadcast on train platform in the 1990s by Wim Vandekeybus and others, see announcement boards in BART stations, suggests a Steve Dixon, Digital Performance: A History of New broad commitment to public cultural expression in Media in Theater, Dance, Performance Art, and 222 the city. Anna McCarthy perceptively analyses this Installation (Cambridge, MA: MIT Press, 2007): 183– N

208; and Johannes Birringer, Media and Performance: Fusco shared Becker’s enthusiastic reaction. E-mail to otes to Along the Border (Baltimore: Johns Hopkins University the author, June 28, 2008. Press, 1998), 59–101. 155 Naomi Klein, No Logo (Toronto: Knopf Canada, 1999).

145 This recalls the abstraction of limbs of the Tiller Girls 156 Elizabeth Diller and Ricardo Scofidio, “Utopia’s Subtext P ages 105–114 dancers that Siegfried Kracauer famously analyzed in (Subtopia),” in The Mirage City: Another Utopia his essay The Mass Ornament, trans. and ed. Thomas (Tokyo: NTT Publishing, 1998), 215–28. I am grateful to Y. Levin (Cambridge, MA: Harvard University Press, Karen Severns and Koichi Mori for translating this text 1995), 75–88. from the Japanese. 146 On the relation of work of D+S to the surrealist fasci- 157 The most extensive documentation, including dialogue nation with “intra-uterine” existence and spaces of the and set descriptions, of Jet Lag appear in éc/art S uncanny, see Vidler, “Homes for Cyborgs.” no. 1-99 (1999) and aciones 5 (1999). An excerpt 147 Published reviews include “The Last Target of Frederic from the performance is included on the DVD issued Flamand,” BalletTanz, (April 1996): 44–47; and with the book by Guido Incerti, Daria Ricchi, and Bernard Marcelis, “Virtual Imagery, Real Tension,” Art Deane Simpson, Diller + Scofidio + Renfro: The Ciliary Press, April 1996, 70–71. Function Works and Projects, 1979–2007 (Milan: Skira, 148 See The Diary of Vaslav Nijinsky, trans. Kyril FitzLyon, 2007). A helpful discussion about the collaboration ed. Joan Acocella (New York: Farrar, Straus, and on the project remains “A Conversation about Jet Giroux, 2000), the first unexpurgated translation that Lag,” between Diller + Scofidio, Jessica Chalmers, and restores much of the erotic content omitted from the Marianne Weems, ed. Jessica Chalmers, Performance 1936 publication of the diary. One can only speculate Research 4, no. 2 (1999): 57–60. Published reviews about how Moving Target might have been different include D. J. R. Bruckner, “Technology as a Setting for and perhaps more erotically charged if its authors had Isolation and Defeat,” New York Times, January 14, been able to read this edition. 2000; and Herbert Muschamp, “Exploring Space and 149 This scene recalls the sequence of a grimy male bal- Time, Here and Now,” New York Times, February 6, lerina filmed from underneath in Entr’acte (Rene Clair 2000. Bruckner noted that “what is surprising is that and Francis Picabia, 1924), as it does the foot fetishism the actors, directed by Marianne Weems, can turn a in L’Age d’or (Luis Buñuel, 1930). spare, deft script by Jessica Chalmers into a play that 150 Quoted in http://www.londondance.com/content, transforms the technological wizardry into human pas- accessed July 14, 2008. The dance performances of sion, elation, delight, wonder, and understanding. It’s Merce Cunningham, especially his 1974 collaboration enough to make you toy with extending your potential with video maker Charles Atlas, Westbeth, suggest by merging with a machine.” themselves as key precedents for the collaborations of 158 The standard history of this saga is Nichols Tomalin Diller + Scofidio with Flamande. See Roger Copeland, and Ron Hall, The Strange Last Voyage of Donald “Merce Cunningham and the Aesthetic of Collage,” Crowhurst (New York: Stein and Day, 1970). At least Drama Review 46, no. 1: 11–28. two artists, Tacita Dean and Bas Jan Ader, also pro- 151 See Arnd Wesemann, “Images Dance Better: Frederic duced work about Crowhurst. Flamand’s EJM1 and EJM2,” Ballet International/ 159 Diller+ Scofidio, “Jetlag,” a+u Architecture and Tanz Aktuell no. 11 (November 1998): 46–47; Anna Urbanism 5, no. 344 (June 1998): 44. Kisselgoff, “Discovering a Cool Esthetic for Burning 160 Teyssot describes his initial discussion with Lambert in Issues,” New York Times, September 24, 1998, E1; his acknowledgments at the beginning of the catalog. Dominique Frétard, “Frederic Flamand, l’obsédé des See The American Lawn, ed. Georges Teyssot (New corps mécaniques,” Le Monde, September 18, 1998. York: Princeton Architectural Press, 1999), vii. Frétard called the work of D+S “travail impeccable.” 161 Earlier exhibitions in the American Century exhibition Kisselgoff wrote of EJM 1 that “it is easier to admire were devoted to European modernist receptions of than to like” but warmed up to EJM 2 and noted “a America, the theme park architecture of Disney, the high-tech production that questions high-tech has its landscape of Frederick Law Olmsted, and Frank Lloyd virtues, even if it goes on too long.” Wright’s wilderness projects of the 1920s. 152 The work of Marey is admirably treated in Marta Braun, 162 Letter from Georges Teyssot to Phyllis Lambert, Picturing Time: The Work of Étienne-Jules Marey January 3, 1993, Archive of The American Lawn exhibi- (1830–1904) (Chicago: University of Chicago Press, tion, Canadian Centre for Architecture, Montreal. 1992). 163 Ibid. 153 See Anson Rabinbach, The Human Motor: Energy, 164 See Architecture School: Three Centuries of Educating Fatigue, and the Origins of Modernity (New York: Basic Architects in North America, ed. Joan Ockman Books, 1990), esp. 93–108. (Cambridge, MA: MIT Press, 2012), 391. 154 See Carol Becker, “The Second Johannesburg 165 Georges Teyssot, Elizabeth Diller, and Ricardo Scofidio, Biennial,” Art Journal, (Summer 1998): 92. Artist Coco February 25, 1994, memo in Archive of The American 223 N

otes to Lawn exhibition, Canadian Centre for Architecture, 177 For a discussion of the significance of transparency in Montreal. the project, see Anthony Vidler, “Robots in the House: 166 Plans for lawn literature listening stations were also Surveillance and the Domestic Landscape,” Daidalos

P scrapped. March 4, 1994, memo describing stories 73 (June 1999): 78–85. In what remains the most ages 114–129 by Lynne Tillman, Kathy Acker, Spalding Gray, Gary thoughtful discussion of the installation, he observes Indiana, and Patrick McGraw. that “through the gentle irony of its subject—the 167 Interview with Nicholas Olsberg, July 6, 2008. broken toy—it defuses much of the hysterical hype 168 Nicholas Olsberg, memo of August 8, 1995, in the that sees in this new surveillance culture something Archive of The American Lawn exhibition, Canadian entirely without precedent, and fails to understand its Centre for Architecture, Montreal. deep roots in the earlier modernist culture of modern- 169 Teyssot and Lambert, The American Lawn, x, xii. ism” (84). On the Fehlbaum robots, see Dan Simmons, 170 Elizabeth Diller, “The American Lawn: Surface of Robots Collection Rolf Fehlbaum (Paris: Actes Sud, Everyday Life,” in The Art of Architecture Exhibitions, 1999). ed. Kristin Feireiss (Rotterdam: NAi Publishers, 2001), 178 Quoted in Eames Demetrios, An Eames Primer (New 42. York: Universe Publishing, 2001), 147. 171 Mark Wasiuta, interview, July 14, 2008. 179 E-mail to the author, July 9, 2008. 172 Helen Malkin, interview, June 21, 2008. 180 Interview with Douglas Cooper, July 20, 2011. 173 Stereoscopic views of tourist scenes and distant lands, 181 Arden Reed, “Looking for a Place: SITE Santa Fe’s two common genres, add a further ironic dimension to Third International Biennial, the Off-Site Venues,” THE the use of the stereoscope as a means of representing Magazine, (September 1999): 57. the prosaic lawn. On the tension between the visual 182 MacArthur Fellows: The First 25 Years; 1981–2005 and haptic in stereoscopic views, see David Trotter, (Chicago: John D. and Catherine T. MacArthur “Stereoscopy: Modernism and the ‘Haptic,’” Critical Foundation, 2005), 98, 299. Quarterly 46, no. 4 (December 2004): 38–58. 174 See Herbert Muschamp, “Looking at the Lawn, and Below the Surface,” New York Times, July 5, 1998, sec. Chapter Three 2, 1.32; “The Meaning of Mowing,” Economist, 348, no. 8078 (July 25–31, 1998): 82; Calvin Affleck, “National 1 For Renfro’s interests and thinking about architecture, Velvet: The Canadian Centre for Architecture Locates see Charles Renfro, “Undesigning the Art School,” the American Eden in a Patch of Grass,” Metropolis 18, in Art School: Propositions for the Twenty-First no. 3 (November 1998): 121–23; Sara Blair, “The Grass Century, ed. Steven Henry Madoff (Cambridge, MA: Is Always Greener,” Preservation, January/February MIT Press, 2009), 159–76; “Reinventing the Skyline: 1999, 78–79; Reinhold Martin, “The American Lawn: A Conversation with Architect Charles Renfro,” SOMA Surface of Everyday Life,” Journal of the Society 23, no. 8 (December 2009/January 2010); and “The of Architectural Historians 58, no. 2 (June 1999): Naughty Architect: Charles Renfro, Mastermind of 196–98; and Robin Veder, “Working the Techno-Lawn,” the Broad Museum,” New York Observer, January 12, American Quarterly 52, no. 2 (June 2000): 344–63. 2011. Martin noted that “not the least was the very question 2 Interview with Ben Mickus, July 31, 2008. of what, in the end, the exhibition itself was about. 3 Describing their studio working process and methods The American Lawn raised the stakes of architectural of collaboration, the architects observe, “Our full-time display, in the sense that it did not allow us to take staff can come into the dialogue because these are for granted the didactic or interpretive functions of hand-picked people; their orientation is already simi- museum exhibitions in general . . . and . . . recognized lar. We like to open up the conversation, but . . . We the lawn as an indisputably historical phenomenon, are control freaks. We are . . . Staff and outside people although the particular history to which it belongs was are really uncomfortable with the way we work. It’s a left forever in doubt.” Veder wrote, “the installation’s dysfunctional family. . . . Our ideas cross over and grow provocative play with the relationship between form in similar directions. Our work is in the same trajec- and content was so refreshing, so suggestive of the tory; our arguments are over nuance. Our tempera- aesthetic makeover that history exhibits need” (345). ments complement one another. We fill in the crevices 175 www.fondation.cartier.com/exhibitions, accessed on of the other’s deficiencies.” Diller and Scofidio quoted September 1, 2008. See also the exhibition catalog in Louise Harpman, “Drawing the Line: Live Together/ 1 Monde Réel (Paris: Fondation Cartier pour l’art Work Together,” Practices 5/6 (1997): 68–69. contemporain and Actes Sud, 1999). 4 Interview with Mark Wasiuta, July 14, 2008; interview 176 See Karel Čapek, R.U.R. (Rossum’s Universal Robots), with Lyn Rice, August 22, 2008. trans. Claudia Novack-Jones (Harmondsworth: 5 Ricardo Scofidio quoted in Guido Incerti, Daria Ricchi, 224 Penguin Books, 2004). and Deane Simpson, Diller + Scofidio + Renfro: The N

Ciliary Function; Works and Projects 1979–2007 “Floats” by Robert Breer exhibited at the Pepsi Pavilion otes to (Milan: Skira, 2007), 51. at the 1970 Osaka World’s Fair. See Michelle Kuo, 6 Interview with Douglas Cooper, July 20, 2011. “Everything Goes: An Interview with Robert Breer,”

7 Arata Isozaki, “The Kitagata Housing Complex, Gifu,” Artforum 49, no. 3 (November 2010): 214–21. P ages 129–140 Lotus 100 (March 1999): 40–46. One might note the 19 For a classic assessment of the Seagram Building, receptivity of this region of Japan to cultural experi- see William H. Jordy, American Buildings and Their mentation as indicated by the opening in 1995 of artist Architects: The Impact of European Modernism in Shusaku Arakawa’s Site of Reversible Destiny–Yoro the Mid-Twentieth Century (Garden City, NY: Anchor Park. Books, 1972), 221–78. 8 Christine Hawley, interview, May 17, 2011. 20 Robert A. M. Stern, Thomas Mellins, and David 9 See Ann Waswo, Public Housing in Postwar Fishman, New York 1960: Architecture and Urbanism Japan: A Social History (London and New York: between the Second World War and the Bicentennial RoutledgeCurzon, 2002); and Hisaakira Kano, “Public (New York: Monacelli Press, 1995), 348. Housing in Japan,” Annales of Public and Cooperative 21 Sabine von Fischer, “Im Seagram Building,” Bauwelt 27 Economics 30, no. 1 (1959): 76–80. (July 27, 2001): 12–15. 10 Kano’s discussion of the steel frame and reinforced 22 Quoted in Meryl Gordon, “Table Stakes,” New York concrete structure in these buildings with main beams Magazine, January 10, 2000, 37. at every third floor sheds light upon Isozaki’s criticism 23 Mimi Sheraton, “From Haute Cuisine to Brasserie of them. Style,” New York Times, January 30, 1981. 11 Isozaki, “The Kitagata Housing Complex,” 45. 24 Interview with Phyllis Lambert, June 19, 2008. 12 See Kazuyo Sejima in Gifu (Barcelona: Actar, nd). 25 Ibid. 13 See Diller + Scofidio, “Slither Housing—Kitagata 26 Gordon, “Table Stakes,” 37. Apartment Reconstruction Process, Gifu,” Dialogue 40 27 Quoted in Peter C. Jones, “Killer Diller: Elizabeth (September 2000): np. Diller and Ricardo Scofidio bring Brasserie Back to 14 Statement on Slither, nd, Archive of Diller Scofidio + Life,” Shuttle Sheet, June 2001, 18. Phyllis Lambert Renfro, New York. notes that Johnson himself understood the Seagram 15 Interview with Paul Lewis, July 8, 2008. Building as a Gesamtkunstwerk. See her “Stimmung at 16 Already in a fax to Koji Itakura of May 24, 1996, they Seagram: Philip Johnson Counters Mies van der Rohe,” allude to these difficulties: “We are having great Grey Room 20 (Summer 2005): 38–59. bureaucratic nightmares with the housing project and 28 “The Four Seasons,” Interiors 119 (December 1959): 82, we are coming [to Japan] to rescue a little architec- 86. ture for our project, as the government is eliminat- 29 Brasserie tear sheet, Diller Scofidio + Renfro archi- ing it all piece by piece.” Archive of Diller Scofidio + tects. This description evokes the argument of Renfro, New York. Few discussions of Slither have been Gottfried Semper that the wall evolves from textiles. It published, but see Arian Mostaedi, New Apartment also anticipates his tectonic theory and its emphasis Buildings (Barcelona: Instituto Monsa de Ediciones, upon architecture as dressing (Bekleidung). See 2001). Gottfried Semper, Style in the Technical Arts; or, 17 From original research conducted by journalist Emiko Practical Aesthetics, trans. Harry Francis Mallgrave Wada in June and July 1998 with thirty-six residents and Michael Robinson (Los Angeles: Getty Research of Slither. Portions of this quote appeared in Wada, Institute, 2004), esp. 242–50. “Gifu Hi-Town Kitagata Housing Project: Living 30 Interview with Nick Valenti, June 7, 2011. Style Research,” 10 + 1 (Tokyo: Inax, 2002), 107–13. 31 Suggestive precedents are the aspirin-shaped bar Translated by Karen Severns and Koichi Mori. stools Damien Hirst designed for his restaurant 18 The architects developed six other installation Pharmacy that operated in London from 1997 to 2003. proposals for the Philadelphia Museum, which 32 As suggested by the numerous reviews posted on included a video screen in the central pediment, a www.yelp.com. printed and molded rubber carpeting in the main 33 “Why aren’t the various video projections, visible stair, a two-sided “mirror wall” across the museum at this time only to those in the restaurant itself, courtyard, mobile vitrines on the main stairway, multi- available on the Internet? Since Diller + Scofidio have scalar projection screens in front of its main facade, used this strategy before, what are they waiting for? and message-bearing helium inflatable balloons teth- The short leap to the Internet would not only raise the ered to the building. Philadelphia Museum of Art, glamour level of the Brasserie—it would transform the Centenary Installation Proposals, Archive of Diller restaurant into a fascinating global stage.” Jan-Willem Scofidio + Renfro, New York. A suggestive precedent Poels, “15 Minutes of Fame,” Frame 14 (2000): 95. for the motorized grass rounds that Diller and Scofidio 34 Perhaps the most effusive was by Paul Goldberger, eventually proposed are the self-propelled fiberglass “Comfort Zone,” Metropolis, May 2000, 139–40, all the 225 N

otes to more striking given his earlier criticisms of work by the built form the conceptual elegance of the ‘alterna- architects. tive’ architecture for which Diller and Scofidio are best 35 Travelogues description, www.dsrny.com accessed known. . . . Diller and Scofidio have rendered Eyebeam’s

P July 2009. An early alternate title was In Evidence. Utopian outlook into concise urban form. No architects ages 141–150 36 Wendy Feuer, interview, July 16, 2010. For a review today can match their elegance in translating social of the piece, see Celestine Bohlen, “Being Met at the analysis into space.” “An Elegant Marriage of Inside and Airport by New Art; Big, Bold Installations for a Rebuilt Outside,” New York Times, October 2, 2001, 34. See also Kennedy Arrivals Terminal,” New York Times, May 24, Nina Rapaport, “The Gallery: Visions of a Shapeshifting 2001. Museum,” Wall Street Journal (Eastern Edition), 37 Project description, DS+R website. October 10, 2001, A14; Julie V. Iovine, “An Avant-Garde 38 For an overview of the organization and the competi- Design for a New-Media Center,” New York Times, tion, see www.eyebeam.org, accessed August 29, March 21, 2002, B1, B5; Shonquis Moreno, “Rewriting 2008. the Museum,” Frame 24 (January–February 2002): 118– 39 On the competition, see Marc Kristal, “Measuring the 26; and Douglas Davis, “Museum of the Third Kind,” Art Competition,” Metropolis (November 2002): 96–99, in America (June 2005): 75–81. For the most detailed 128–31. published version of the design, see Keith Mitnick, ed., 40 Phase 3 brief, fax from Eyebeam to Diller + Scofidio, Diller and Scofidio: Eyebeam Museum of New Media, June 21, 2001. Archive of Diller Scofidio + Renfro, New Michigan Architecture Papers (Ann Arbor: University of York. Michigan, 2004). 41 John S. Johnson, letter to Diller + Scofidio, March 8, 50 In the first, new construction would be added to the 2002, archive of Diller Scofidio + Renfro, New York. existing Twenty-First Street structure. The second 42 Cyril M. Harris, Dictionary of Architecture and scenario envisioned a new building. And the third Construction (New York: McGraw Hill, 4 ed. 2005), proposed combining the building with a garage front- 1046. ing Twentieth Street. All emphasized flexibility and 43 Likely in dialogue with the 1998 design by Rem proposed different sets of spatial attributes—quasi Koolhaas for the extension to Museum of Modern Art methodologies—for realizing the program. Although in New York. less widely known than the competition entry, these 44 Ricardo Scofidio, e-mail to the author, December proposals are equally rigorous and suggestive of 28, 2011. “Eyebeam Museum of Art and Technology,” considerable research. Deane Simpson and Dirk Hebel Architecture, January 2003, 76. worked on them. 45 On this tendency in contemporary design, see Folding 51 See the interview with David Rockwell on the design in Architecture, ed. Greg Lynn (London: Architectural and construction of the viewing platforms, http:// Design, 1993). Diller offers her perspective on the www.ted.com/index.php/talks/david_rockwell_ copying of architectural designs in Fred A. Bernstein, builds_at_ground_zero.html. See also Herbert “Hi, Gorgeous. Haven’t I Seen You Somewere?,” New Muschamp, “A Nation Challenged: An Appraisal; With York Times, August 28, 2005. Viewing Platforms, a Dignified Approach to Ground 46 Eyebeam proposal, archive of Diller Scofidio + Renfro Zero,” New York Times, December 22, 2001, who architects. writes: “But the design does hold meaning. It embod- 47 A suggestive precedent for this spiderlike robot is The ies stoic principles. It treats the need for design as a Senster (1969–71) by Edward Inhatowicz. See Edward reduction to essentials. The result has substance. Stop A. Shanken, Art and Electronic Media Art (London: the mystification, the grandiosity, the use of architec- Phaidon, 2009), 141. ture to disconnect our history from ourselves. These 48 Among the unrealized projects by the studio that sug- ideas deserve to outlive the limited duration of the gest these aspirations are the Wooster Group Theater platforms themselves.” (2002); Biblioteca de Mexico Jose Vasconcelos, 52 Quoted in John Leland, “Letting the View Speak for designed in collaboration with TEN Arquitectos Itself,” New York Times, January 3, 2002. (2003); the Liauning Collection (2004); the Learning 53 Quoted in ibid. See also the interview in Incerti, Ricchi, Center (2004); the Russian Jewish Museum (2007); and Simpson, Diller + Scofidio + Renfro: The Ciliary the Staedel Museum Expansion (2008); the Hudson Function, 126–27. Railyards (2007); the Aros Sky Space (2007); and 54 Interview with Kevin Kennon, May 20, 2011. For a the Taekwando Park, designed in collaboration with review of the platform, see Joshua Decter, “A Strangely Hargreaves Associates (2008). New New York,” Flash Art (March–April 2002): 53–55, 49 Most ebullient in his review of Eyebeam was Muschamp: who praises it for not competing with Ground Zero and “Diller and Scofidio’s project is Olympic class. The most being humble and provisional. fully developed piece of architecture their office has 55 Diller + Scofidio, Blur: The Making of Nothing (New 226 produced thus far, the design extends into durably York: Harry N. Abrams, 2004), 44. This book remains N

the most extensive discussion of the project. For an Project” in which the studio proposed purifying the otes to overview of the Swiss Expo, see Imagination. Das water of a Venetian canal and drinking it as espresso. offizielle Buch der Expo .02 (Zurich: Neue Zürcher 64 For a representative review see Ned Cramer, “All

Zeitung, 2002). Natural,” Architecture, July 2002, 53–65. P ages 150–158 56 Projecting text onto clouds was proposed by Vladimir 65 Vogue, September 26, 2006, 554. This enthusiasm was Tatlin in a design for his 1919–20 Monument to the echoed by other reviewers. “The Cloud is . . . a great Third International. See Camilla Gray, The Russian place to chill out in the current heat wave. Its bar has Experiment in Art: 1863–1922 (New York: Harry N. some 20 kinds of bottled water, a nice idea. If only the Abrams, 1971), 226. rest of the arteplage were as cool.” Ed Ward, “Have 57 Diller + Scofidio, Blur, 162–63. They Gone Cuckoo? Swiss Expo .02 Proves Bizarre,” 58 Ibid, 204. Wall Street Journal Europe, June 28–30, 2002. 59 Ibid. One might note Dutch architect Lars Spuybroek’s 66 For a checklist of the exhibition, see the catalog 1999 SoftSite project in which the form of skyscrap- Scanning (New York: Whitney Museum of American ers emerges in response to information and visitor Art/Harry N. Abrams, 2003), 169–70. behavior as an intriguing precedent for the brain coat. 67 On the transportation of the Duchamp Wall from the 60 For the reaction of one member of the Direction Museum of Modern Art and its clandestine inclusion Technique to the design process, see Henri Rochat, in the Whitney show, see Arthur Lubow, “Architects, “Eine künstliche Dunstwolke,” Schweizer Ingenieur in Theory,” New York Times Magazine, February 16, und Architekt 33/34 (August 22, 2000): 12–16. For an 2003, 36–41. Although it did elude the check list of the account of the 1970 Pepsi-Cola Pavilion at the Osaka Whitney, the wall also provided tremendous publicity Expo ’70 that prefigures Blur, see Fujiko Nakaya, for the exhibition once written about in this article and “Making ‘Fog’ or Low-Hanging Stratus Cloud,” and undeniably gave the architects greater control over Thomas R. Mee, “Notes and Comments on Clouds their retrospective. and Fog,” both in Experiments in Art and Technology, 68 Patricia C. Phillips, “A Parallax Practice: A Pavilion, ed. Billy Klüver, Julie Martin, and Barbara Conversation with Elizabeth Diller and Ricardo Rose (New York: E. P. Dutton, 1972), 207–27. Scofidio,” Art Journal 63, no. 3 (Fall 2004): 64. 61 Interview with Dirk Hebel, September 1, 2008. 69 See Noah Chasin, “Blurring Boundaries: The Whitney 62 Most notable perhaps was the article by Hubert Showcases Cutting-Edge Architects Diller + Scofidio,” Damisch, “Blotting Out Architecture: A Fable in Seven Time Out New York, March 13–20 2003, 72, who Parts,” Log 1 (Fall 2003): 9–26, in which he investi- laments the minimal attention given the ICA and gated the structure and materiality of the cloud. Also Eyebeam. Herbert Muschamp criticizes the subtitle notable is Mark Dorrian, who analyses the history of the show, the didactic wall texts, and the absence of the figure of the cloud in recent architecture via of computer models of Lincoln Center. His overall its manifestations in the work of Gehry and Coop reaction to the show was ebullient: “Our time has Himmelblau and reads the piece as “a new develop- been rich in cross-disciplinary encounters between ment in the sociopolitical history of air conditioning— art, architecture, photography, fashion, and computer which takes the form of a localized air conditioning of imaging. Ms. Diller and Mr. Scofidio are the major environmentally manipulated zones, no longer encap- connectors. No one has conducted traffic between sulated within building envelopes, secured against these productive zones more skillfully than they a generally degrading environment.” See “Clouds of have.” “The Classicists of Contemporary Design,” Architecture,” Radical Philosophy 144 (2007): 32–38. February 28, 2003, B41. A more critical assessment Carey Wolfe analyses the cloud utilizing the systems by Scott Rothkopf, which chastised their interest theory of Niklas Luhmann, to suggest how it subverts in Duchamp, appeared in Artforum 41, no. 10 (June traditional mass-mediated communication. See his 2003): 180. By far the most negative response was What Is Posthumanism? (Minneapolis: University of Jerry Saltz, “Architectural Follies: Second Hand Minnesota Press), 203–38. Philipp Ursprung interprets Conceptualism at the Whitney,” Village Voice, April Blur as a species of event architecture that resists the 18–22, 2003, 51. For Scofidio, Saltz’s review confirmed logic of commodification. See his “Weisses Rauschen. the border wars between art and architecture were Elisabeth Diller und Ricardo Scofidios Blur Building far from over. und die räumliche Logik der jüngsten Architektur,” 70 Elizabeth Diller, “Mural,” unpublished ms., nd. Kritische Berichte 3, no. 29 (2001): 5–15. 71 In May 2010, the piece was reinstalled at the MAXII art 63 It is likely through their familiarity with the work of museum in Rome, this time as a printing device that Hans Haacke, who himself realized works involving drilled a large image of the BP oil spill in the Gulf of the pumping of water, including the 1972 “Rhine Water Mexico with the words “Drill Baby Drill.” Purification Plant.” Visitors breathing the filtered Swiss 72 For an overview of the project, see The Snow Show, ed. lake water in Blur prefigures the unrealized 2008 “PH Lance Fung (London: Thames and Hudson, 2005). 227 N

otes to 73 Description of Pure Mix, www.dsrny.com, accessed from Rebecca Barnes, chief planner; Kairos Shen, July 28, 2010. director of planning; and Richard McGuinness, senior 74 File on The Snow Show, Archive of Diller Scofidio + waterfront planner to Mark Maloney, director, Boston

P Renfro, New York. Redevelopment Authority (November 14, 2002), ages 158–168 75 E-mail from John Roloff to Lance Fung, January 22, Boston Redevelopment Agency. I am grateful to 2004. Richard McGuinness for making a copy of this memo 76 For a thoughtful reviews of The Snow Show, see Tom available to me. Vanderbilt, “The Unsettling Art of Building a Snow 86 See www.fanpierboston.com for a potent example of House: Lessons from Lapland,” ID, June 2004, 62–69; the rhetoric of the waterfront view (accessed August and Douglas Cooper, “Ultimate North: Lapland,” Travel 28, 2008). For a criticism of the decision by the ICA to and Leisure, November 2004, the latter available omit the lenticular glass window from the building, see online at http://www.travelandleisure.com/articles/ Jeffrey Kipnis, “Director Medvedow,P UT BACK THAT ultimate‑north, accessed August 16, 2011. Justin SCREEN!!! ICA/Boston,” Harvard Design Magazine 28 McGurk praises Pure Mix by claiming “but for all of (Spring/Summer 2008): 90–94; Sarah Amelar, “Boston its cleverness the best thing about it is the way it ICA,” Architectural Record, Mary 2007, 109–15; and looks like a graveyard during the day and then turns Edgers, “The New ICA.” into a 1970s disco floor at night” in his essay “Marble 87 The members of the architecture committee expressed Dust Crunches Underfoot, Frost Is Forming on Your initial concern that the pitch of the design might Eyelashes, and You Can’t Feel Your Thumbs,” Icon 11 induce vertigo in the visitors. “Issues and Questions (UK), April 2004, 80–84. Concerning the New ICA Conceptual Design (Questions 77 “An Eco-House for the Future,” New York Times for both ICA and/or for Design Team), January 31, Magazine, May 20, 2008, 85. This project is also repro- 2002.” Archive of Diller Scofidio + Renfro, New York. duced in Elizabeth Diller, “Phantom House: Sustaining 88 Quoted in the DVD of the ICA competition. the American Dream,” in Engineered Transparency: 89 On the construction of the ICA, see Michelle Hillman, The Technical, Visual, and Spatial Effects of Glass, ed. “New ICA, Ex-builder Tangle over Construction,” Michael Bell and Jeannie Kim (New York: Princeton Boston Business Journal, October 12, 2007, www. Architectural Press, 2009), 250–55. boston.bizjournals.com/boston/stories/2007/10/15/ 78 “An Eco-House for the Future.” story3.html, accessed August 3, 2010; Ted Smalley 79 See Ayan Sen, “Private Capital for Public Benefit: Brown, “Boston’s ICA Still a Work in Progress,” Strategies in the Real Estate Development of Fan Pier, Architectural Record, February 28, 2008, http:/ Boston,” MA dissertation, MIT, 2001. archrecord.construction.com/news/daily/ 80 Patti Hartigan and Anthony Flint, “City Selects ICA’s archives/080225boston; and Geoff Edgers, “Museum Museum Proposal” Boston Globe, November 11, 1999, to Pay $2.2m to Builder Who Sued,” Boston Globe, A1. December 5, 2007. 81 Sarah Goldhagen, interview, April 15, 2008. See also 90 For a more critical view, see Hal Foster, “Architecture Geoff Edgers, “The New ICA: How They Did It,” Boston Eye,” Artforum (February 2007): 247–53. Foster won- Globe, December 6, 2006, K6, and the DVD Making ders, “How will art fare in a museum that makes such the ICA (Branka Bogdanov, 2006). an insistent claim on our visual attention? Although 82 For a reading of the aesthetics of the ICA interior that the galleries are given pride of place in the cantile- emphasizes the agency of the architects in the face of vered pavilion, they might seem secondary to other budgetary constraints, see Sylvia Lavin, “Peripatetic space-events of the building . . . and as artists explore Invisibility, or Not Enough Ado about Nothing: ICA/ the building as stage and/or site, might they also feel Boston,” Harvard Design Magazine 28 (Spring/ a little subordinate to it?” See also the discussion of Summer 2008): 86–89. the ICA in Hal Foster, The Art-Architecture Complex 83 Diller + Scofidio, ICA Final Concept Phase, January 28, (London: Verso, 2011), 87–103; and Antonello Marotta, 2002, np. Diller + Scofidio: Blurred Theater, trans. Christine 84 Vernon Mays, “The Art of Building for Art: Diller Tilley (Rome: Edilstampa, 2011), 66–71. In the citation Scofidio + Renfro Traded One Side of the Gallery Wall for the award of the Boston Society of Architects 2007 for the Other at the Institute of Contemporary Art, Harleston Parker Medal, the jury noted, “The decision Boston,” ARCHITECT Magazine, March 12, 2007, www. to recommend the ICA for this award was a polar- architecturemagazine.com/curtain-walls/the-art-of- izing one for the committee. The dissenting voices building-for-art.aspx, accessed August 28, 2008. found the building to be an unnecessarily showy 85 On this agreement, see the memo “Authorization effort that happened to benefit from a beautiful site. to Submit an Amendment to the South Boston The galleries, which were purposely understated to Waterfront District Municipal Harbor Plan for the avoid competition with the art, were perceived by 228 Development of the Institute of Contemporary Art,” some jurors as lost opportunities. Nevertheless, the N

building’s powerful relationship to the water and its “Lightness of Being,” Newsday, April 14, 2004, A8. otes to inventive economy of means give it a special quality.” 99 On the deteriorating infrastructure of Lincoln Center “2007: The Year in Review,” Architecture Boston 11, no. as a prime motivation for the redevelopment project,

1 (January/February 2008): 25. see Ralph Blumenthal, “Midlife Hits Lincoln Center P ages 169–183 91 The fact that Boston had recently spent $25 billion with Calls for Rich Face Lift,” New York Times, June 1, improving its highway and transportation infrastruc- 1999, A1. ture through the so-called Big Dig tunnel and I-90 100 2 × 4 contributed the building signage, way-finding, extension making Fan Pier more accessible and the and website menus. city less gridlocked must also be understood as a key 101 For an argument in support of the restoration of North prerequisite for the successful redevelopment of Fan Court, see Nina Rappaport and Ken Smith, “Modern Pier. Interview with Richard McGuinness, October 3, Landscape Architecture, a Forgotten Art: The Case 2008. As Vivien Li of the Boston Harbor Association of Lincoln Center,” Future Anterior 2, no. 11 (Spring notes, the ICA was also the fortunate beneficiary of 2005): 50–57. The controversy about preserving the the political acumen of Bob Dorran, then secretary of North Court is described in Alex A. Ulam, “Saving an environmental affairs in Massachusetts. Interview with Altered Landscape,” Landscape Architecture, May Vivien Li, October 3, 2008. 2001, 28–38. 92 Clive Barnes, “Lincoln Center,” Holiday 44 (September 102 On the notion of the social condenser associated with 1968): 36–44, 92–96, quoted in Stern, Mellins, and Soviet constructivist architect Moisei Ginzburg, see Fishman, New York 1960, 716. Victor Buchli, “Moisei Ginzburg’s Narkomfin Communal 93 Wallace Harrison quoted in Wesley R. Janz, “Building House in Moscow: Contesting the Social and Material Nations by Designing Buildings: Corporatism, Eero World,” Journal of the Society of Architectural Saarinen, and the Lincoln Center for the Performing Historians 57, no. 2 (June 1998): 160–81. Arts,” Working Monographs in Architecture and Urban 103 The library at the Technical University in Delft (1997) Planning, University of Wisconsin–Milwaukee, August by the Dutch firm Mecanoo is another precedent 1995, 6, quoted in Samuel Zipp, Manhattan Projects: for a lawn roof, one with which DS+R was doubtless The Rise and Fall of Urban Renewal in New York (New familiar. York: Oxford University Press, 2010), 178. Zipp’s book 104 Quoted in Richard Lacayo, “Looking Around: provides the most detailed reconstruction of the Reflections on Art and Architecture,” www.look- cold war context of Lincoln Center. A useful general ingaroundblogs.time.com, accessed February 18, overview of the project is found in Stern, Mellins, and 2009. Fishman, New York 1960,, 674–724. For accounts by 105 See Meredith Claussen, Pietro Belluschi: Modern those involved in its realization see Edgar B. Young, American Architect (Cambridge, MA: MIT Press, 1999), Lincoln Center: The Building of an Institution (New 257–59, 326–33, for a more positive assessment that York and London: New York University Press, 1980); cogently argues for the functional sophistication of the and Robert Moses, Public Works: A Dangerous Trade building. (New York: McGraw Hill, 1970), 513–33. A recent 106 Jane Moss quoted in Jeff Lunden, “Music Returns to history commissioned by Lincoln Center is Stephen Renovated Alice Tully Hall,” www.npr.org/templates/ Stamas and Sharon Zane, Lincoln Center: A Promise story, accessed February 27, 2009. Realized, 1979–2006 (New York: Lincoln Center and 107 For the most thorough discussions by the architects of John Wiley, 2006). the expansion of the Belluschi building, see “Morphing 94 John D. Rockefeller III, quoted in “The Rockefeller Lincoln Center: Interview with Elizabeth Diller and Touch in Building,” Architectural Forum 108, no. 3 Ricardo Scofidio by Jorge Otero-Pailos,” Future (March 1958): 90–91, quoted in Zipp, Manhattan Anterior 6, no. 1 (Summer 2009): 84–97; and the Projects, 161. interview with them by Stefano Casciani in Domus 926 95 For assessments of the role of Moses, see Hilary (June 2009): 26–27. Ballon and Kenneth Jackson, Robert Moses and the 108 “Morphing Lincoln Center.” Transformation of New York (New York: W. W. Norton, 109 Elizabeth Diller, “Two Thoughts,” Log 10 (Fall 2007). 2008), 279–89; and Robert Caro, The Power Broker: 110 Jeff Lunden, “Music Returns to Renovated Alice Tully Robert Moses and the Fall of New York (New York: Hall.” Vintage, 1975), 1013–16. 111 E-mail to author, November 4, 2009. 96 For a recent critique of its centralization of the per- 112 Nicolai Ourossoff, “Boxy to Bold: A Concert Hall Burst forming arts, see Anthony Tommasini, “Lincoln Center: Out,” New York Times, February 19, 2009. Mixed Reviews,” New York Times, May 10, 2009. 113 Quoted in Sheila Kim, “Diller Scofidio + Renfro’s Alice 97 All quotations come from the DVD of this lecture that Tully Hall Opens,” www.interiordesign.net/index, Benjamin Prosky kindly made available to me. accessed February 23, 2009. 98 Ricardo Scofidio, quoted in Justin Davidson, 114 Interview with Tom Tschoff, July 31, 2008. 229 N

otes to 115 See Robin Pogrebin, “More Room to Pirouette at of New York City’s Park in the Sky (New York: Farrar, Lincoln Center Studios,” New York Times, January 19, Straus and Giroux, 2011). 2007. 123 Andrea Lynn, “Chelsea: The Greening of the High Line,”

P 116 On the acoustic richness of Alice Tully Hall, see Community Gazette for District 3, March 10, 2004. ages 183–188 Barrymore Laurence Scherer, “Alice Tully’s Pleasing 124 John Freeman Gill, “The Charming Gadfly Who Saved Makeover,” Wall Street Journal, April 14, 2009, D7; the High Line,” New York Times, May 13, 2007. and Ellen Lampert-Greaux, “Alice Tully Hall Acoustics 125 Between 1979 and 1982, Steven Holl designed a Win Rave Reviews,” Live Design, March 2009. For a “Bridge of Houses” intended for construction over the critique of its sound as dry and without reverbera- High Line. As Amy Sillman brought to my attention, tion, see Allan Kozinn, “Tully Hall Makeover, Warts the abandoned railway inspired many student design and All,” New York Times, July 2, 2009. Praise for projects at Cooper Union during the 1980s. the renovation as a “bold operation with bravery, 126 See Anne F. Garreta, “The Secret Garden,” New York skill, and panache” is found in the review by Suzanne Times, August 21, 2005. Stephens, Architectural Record, June 2009, 63–66. 127 J. A. Lobbia, “One-Track Mind,” Village Voice, Paul Goldberger writes, “It’s somewhat amazing that December 27, 2001–January 2, 2002. Lincoln Center hired Diller Scofidio + Renfro, instead 128 Adam Gopnik, “A Walk on the High Line,” New Yorker, of opting for any one of several starchitects who were May 21, 2001, 44–49. The essay later was reprinted shortlisted . . . they have turned out to be just what the in Joel Sternfeld, Walking the High Line (Göttingen: place needed.” “Center Stage,” New Yorker, February Steidl Verlag, 2001). Sternfeld’s photographs are 2, 2009, 74–75. For a compendium of negative criti- available on the High Line website, http://www.the- cism of the renovation, see Carter B. Horsley, “Bad highline.org/galleries/images/joel‑sternfeld, accessed Cosmetic Surgery at Alice Tully Hall,” http://www. September 13, 2011. thecityreview.com/atully.html, accessed September 129 Interview with Robert Hammond, June 21, 2011. 14, 2011. 130 J. A. Lobbia, “One-Track Mind.” 117 Nicolai Ourossoff calls the LED risers “distracting 131 Elizabeth Brennan, “Judge Rules against Demolition and pointless” and sees the project as “an unwitting Plans for New York’s Historic Elevated Rail,” metaphor symbol of an atomized culture.” See “The Preservation Online, March 14, 2002. Greening of Lincoln Center,” New York Times, May 21, 132 Michael Killeen, “Seven to Save,” Metropolis, February 2010, C19, 22. 2002. 118 See http://www.time.com/time/arts/arti- 133 David W. Dunlap, “On West Side, Rail Plan is Up and cle/0,8599,1880668,00.html. Walking,” New York Times, December 22, 2002. 119 For a review, see Linda C. Lentz, “Lincoln Center 134 Ibid. Restaurant Pavilion & Lawn,” Architectural Record, 135 David W. Dunlap, “Millions Set for Public Space,” New June 2011, 46–53. On the turf roof at Hypar, see York Times, July 10, 2003. Robin Pogrebin, “New Art at Lincoln Center: Lawn 136 “Effort to Turn Old Rail Line into ‘Park in the Sky,’” Care,” New York Times, April 27, 2011. Designed as a transcript of radio broadcast aired on 1010 WINS, New completely rational structure without any curved ele- York, July 17, 2003. ments so as to simplify the installation of finishes and 137 Anne Michaud, “City Announces High Line Plan,” infrastructure, the lawn was tested in a mock-up in a Crain’s New York Business, September 24, 2003. Jersey City parking lot in 2005. 138 New York City, Department of City Planning, Special 120 Interview with Jane Moss, July 11, 2011. West Chelsea Rezoning District, http://home2.nyc. 121 Observers of public architecture in Washington, gov/html/dcp/html/westchelsea/westchelsea3c/ DC, have already registered the accomplishments shtml, accessed April 12, 2008. at Lincoln Center. See Philip Kennicott, “Kennedy 139 Kenneth T. Jackson, “From Rail to Ruin,” New York Center and Others Should Take Note of Lincoln Center Times, November 2, 2003. Redesign,” Washington Post, January 10, 2011. 140 Choire Sicha, “Hanging Garden of Bable-On,” New York 122 Two overviews of this history on which I have Observer, March 28, 2008. depended are Robert Hammond and Casey Jones, 141 Luiz Perez, “Bold Visions for Rusty Icon,” New York “Reclaiming the High Line,” www.thehighline.org; and Newsday Online, July 16, 2004, accessed April 2, Designing the High Line: Gansevoort Street to 30th 2008. Street (New York: Friends of the High Line, 2008). 142 Ibid. A useful account is also found in Karen E. Steen, 143 Adam Sternbergh, “The High Line: It Brings Good “Friends in High Places,” Metropolis, December 2005, Things to Life,” New York, April 30, 2007. 118–23, 149–57. For an indispensable history by the 144 On the entries to the competition, see Justin founders of Friends of the High Line, see Joshua David Davidson, “Remaking Tracks,” Newsday, July 29, 2004; 230 and Robert Hammond, High Line: The Inside Story and Gavin Keeney, “The Highline and the Return of N

the Irreal: A Second Competition for a Real Project,” Reminder of the Impermanence of New York City,” otes to Competitions 14, no. 4 (Winter 2004/05): 12–19. New York Post, June 19, 2011. The $2 billion in private 145 Designing the High Line, 7. investment around the park is discussed in Patrick

146 Interview with Robert Hammond, June 21, 2011. McGeegan, “The High Line Isn’t Just a Sight to See; It’s P ages 188–196 147 Ibid. Also an Economic Dynamo,” New York Times, June 6, 148 James Corner, in Designing the High Line, 7. Although 2011. invisible to visitors, the infrastructure of the High 157 Although less recognized than the physical structure Line, especially its drainage, planting, and lighting of the High Line, the rezoning of West Chelsea facili- systems, are the most complicated and innovative tated by Amanda Burden, director of the New York City elements of the project. The design team included Department of City Planning, that created a 30-foot lighting specialist L’Observatoire International and easement around the rail track, was an essential structural engineers Buro Happold, whose work element in the realization of the park. On the High Line included stripping the industrial contaminants in as a vehicle of gentrification, see Kim Moody, From the railway bed, introducing new soil, and replanting Welfare State to Real Estate: Regime Change in New much of the original vegetation in the High Line, some York City, 1974 to the Present (New York: New Press, of which included plant species not native to New York 2007), 228. That David, Hammond, and community introduced by seeds spread by railroad cars. On Piet members implemented the project from the bottom Oudolf’s contribution to the landscaping of the High up, against the Giuliani administration and initially in Line, see Piet Oudolf and Noel Kingsbury, Landscapes conflict with neighborhood property owners, discred- in Landscapes (New York: Monacelli Press, 2011), its this analysis. 188–215. 158 For a Marxian analysis of the Bloomberg administra- 149 Lisa Le Fevre, “Rail Revival: Designs for New York’s tion in relation to the politics of neoliberalism, see High Line Unveiled,” New York Times, April 15, 2005. Julian Brash, Bloomberg’s New York: Clash and 150 Justin Davidson, “Abandoned Rail’s an Urban Dream: A Governance in the Luxury City (Athens: University MoMA Exhibit and a New Website Dare to Envision an of Georgia Press, 2011). Sharon Zukin recognizes the Oasis That Meanders Down the West Side,” New York virtues of the High Line as a public space while citing Newsday.com, April 21, 2005. it as an instance of the privatization of public parks 151 Hammond recalls that High Line donor Mike Novogratz since the Reagan era. See her blog http://blog.oup. immediately grasped the relationship between the com/2010/09/high‑line/ (accessed June 10, 2011) spaces of the ICA Mediatheque and the Tenth Avenue accompanying her book, Naked City: The Death and Overlook. See David and Hammond, High Line, 104. Life of Authentic Urban Places (New York: Oxford 152 See Hugh Hardy, “The Romance of Abandonment: University Press, 2010). Industrial Parks,” Places 17, no. 3 (Fall 2005): 32–37. 159 See http://pentagram.com/en/new/2011/06/ For an assessment of the High Line as “postindustrial” the‑high‑line‑case‑study.php (accessed June 22, 2011) park, see Nicolaus Mills, “New York City Reclaims Its for a discussion of the design of the High Line logo. Ruins,” CNN Opinion, June 10, 2011. 160 Ricardo Scofidio, “These Trees Are Like people,” www. 153 Designing the High Line, 38, 118. biennial.com/content/LiverpoolBiennia12008MA, 154 Ibid., 7. accessed January 3, 2009. Abigail Doan wrote, “The 155 See Mark Wigley, Constant’s New Babylon (Rotterdam: installation included rotating trees that engage view- 010, 1999). ers in a totally eerie spin on human nature, emotions, 156 For representative reviews, see Karrie Jacobs, and choreographed interaction.” Inhabitant, October “Beyond the Hype,” Metropolis, June 2009, 58, 60, 18, 2008. Oliver Basciano claimed, “The effect is 62; Steve Cuozzo, “High Line,” New York Post, June subtle, contemplative, and almost magical,” in his 9, 2009; Justin Davidson, “The Twin Pleasures of review “The New Face of Liverpool,” September 28, the High Line: A Petite New Park, and a District of 2008, Www.artinfo.com/news.story/28731/the-new- Lively Architecture,” New York, June 15–22, 2009, face-of-liverpool/?page=1. 134–37; Jeff Byles, “Spur on the High Line,” Architects 161 See the catalog YouPrison. Reflections on the Newspaper, April 15, 2009, 5. Nicolai Ourosoff, in Limitations of Freedom and Space (Turin: Fondazione “On High, a Fresh Outlook,” New York Times, June 10, Sandretto Re Rebaudengo, 2008). 2009, called the park “one of the most thoughtful, 162 Coincidentally, around this time a private corporation sensitively designed public spaces built in New York involved with the construction and running of correc- in years.” Cuozzo summarized the praise by noting, tional institutions approached Diller Scofidio + Renfro “Everyone loves the High Line—Its fabulousness has with the invitation to design an actual prison. Finding been proclaimed by architects, landscape designers, incarceration an unacceptable strategy for address- and by just about every human being who’s walked ing social problems and the space of the prison cell upon it.” in “A Walk among the Dead: High Line Is a architecturally limited, they declined the invitation. 231 N

otes to 163 The exhibition catalog was published as Raymond Depardon and Paul Virilio, Native Land, Stop Eject (Paris: Fondation Cartier pour l’art contemporain,

P 2008). ages 196–201 164 For a transcript of the installation, see “Exits: Texts and Maps by Diller Scofidio + Renfro, Mark Hansen, Laura Kurgan, and Ben Rubin,” in Urban China Bootlegged for Volume by C‑Lab, ed. Jian Jung, Mark Wigley, and Jeffrey Inaba (New York: Columbia University Graduate School of Architecture, Planning, and Preservation, 2009). Reviewer Violaine Boutet de Monvel thought the first installation “lacks the strength of Virilio’s discourse” but praises the second “as absolutely fascinating.” See her review in Art Review (London) 30 (March 2009). More negative was the assessment of Vicky Richardson who found “there is nothing challenging or informative about the display. It is simply shocking that the curators and designers should present such a dim view of humanity and fail to see any potential in the act of migration, which after all, represents human beings trying to make a better life for themselves.” See her review in Blueprint, February 2009. Michel Guerrin claimed the circular video installation was as beautiful as a film by Georges Lucas. See his review in Le Monde, December 16, 2008.

Conclusion

1 Interview with Douglas Cooper, July 20, 2011. 2 Elizabeth Diller, Architecture 503B Syllabus, Fall 2002, Princeton University School of Architecture. 3 Interview with Jane Moss, July 11, 2011. 4 Anthony Vidler, “Architecture after Modernism: Post-Modern or Post-Histoire,” in Die Revisione der Moderne. Postmodernism Revisited (Frankfurt: German Architecture Museum/Junius, 1984), 59.

232 Index

The letter f following a page number denotes a figure.

A Delay in Glass, or The Rotary Notary and His Hot Plate: design details, 40–43; Duch- amp and, 7; prevailing themes, 40, 41; set design, 39f, 40–41; text on the project, 37–38, 40; use of prostheses, 41–42, 214nn94–95 Abraham, Raimund, 18, 19, 28, 215n103 Acconci, Vito, 8 active display panel glazing, 217n20 Addington, Michelle, 217n20 Ader, Bas Jan, 223n158 Agrest, Diana, 14 Agri-Tecture system, 191 “AIDS and the Practice of Architecture” (Dunlap), 220n100 Alberro, Alexander, 211n4 Alice Tully Hall: bodily metaphors used to describe, 181–82; design details, 179; design’s contribution to the commercial success of the site, 184, 230n121; expansion of the Belluschi building, 179, 229n107; goal of the design, 177, 179; historical indeterminacy of addition, 179; photos, 178, 179, 180–81, 182; visual and acoustic accomplishments, 179–81, 183, 230n116, 230n117 All Vision (Steina), 216n128 Alsop, William, 217n20 Alternative Art New York (Ault), 211n9 Ambient Television: Visual Culture and Public Spaces (McCarthy), 221n119, 221n134 American Century exhibition, 114, 223n161 American Lawn: Surface for Everyday Life, 4, 51; architects’ role in, 114, 116–17; design details, 117–20, 224n173; design proposal, 114, 116, 224n16; location, 113–14; prevailing themes, 119; reviews of, 224n174; Teyssot’s aim for the proposed project, 114 American Mysteries, 30–31 Anchorage of the Brooklyn Bridge, 32 Anderson, Laurie, 8, 221n115 Ando, Tadao, 158 Andre, Carl, 193 Anemic Cinema (Duchamp), 41 Ant Farm, 217n30 ANY (journal), 137 Arab World Institute, Paris, 214n96 Arakawa, Shusaku, 225n7 Arbores Laetae, 195, 231n160 architecture of Diller + Scofidio: addressing the image culture of global capitalism, 109–10; architecture as a regulation of climate (see Blur; Pure Mix); attempts to leave the gallery and move to the urban environment, 81; basis of according to the architects, 5, 6, 9–10, 35, 56, 90, 214n83; broadening of the definition of architecture, 8; buildings used as display surfaces, 7 (see also Facsimile); com- 233 227n56;to contribution expo management, 153–54; conflicts with 155;reputation, of, 152; definition proposal, design Scofidio’s and Diller 153, photos, 227nn62–63; 154–55, of, 227n59; interpretations 151–53, 155,154; to, 227n65reaction public 140; 225n29, 225n31; emphasis on theatricality, design details, 139–40, 225n33; 140, the camera, to reaction and, 8; patron relations gender 225n34; 140, tec- 138, of, 225n27; reviews themes, 138–39, prevailing 225n29; use, 139–40 139, video monitor of, tonics 22; Building, Colorlab Delsener Office, 22; Duffy House, 22; High Line (see High Line park); Hochman House, 22; of Con- ICA (see Institute Lincoln Center House, 22–25; Art, Plywood Kinney temporary Boston); House, 160–61; Arts); Quadrant for the Performing (see Lincoln Center Hotel, 148; view- WTC Two-Way 84, House, 65–71; Slow 129–34; Slither, 226n51 148–49, ing platform, Bloomberg, Michael, 186, 187, 194, 231n157 187, Michael, 186, Bloomberg, 150–51, of the project, 31; conception vision and, 1, Blur: architectural Michael, 222n143Bo, 50 Body Buildings, Joshua, 141f Bolchover, 195 Bonami, Francesco, 187 Boone, Mary, Janet, 111f Borden, Resort, 161 Scottsdale, Boulders Violaine, 232n164 de Monvel, Boutet 13 Systems (Rosler), Bowery in Two Inadequate Descriptive M. Christine, 62 Boyer, 153 coat,” “brain 136; background, 136–38; process, selection 84;Brasserie, architect Robert, 225n18 Breer, Brigham, Linda, 219n70 14 Geoffrey, Broadbent, Samuel, 136 Bronfman, of Music (BAM), 149–50 Academy Brooklyn 218n41 Denise Scott,Brown, 7, J. R., 223n157 D. Bruckner, 136 Brush, Fred, 229n102 Buchli, Victor, Buijs, Jan, 7 Association, 111 Builders 84, Hall); Brasserie, 136–40; Hall (see Alice Tully Alice Tully buildings: 119 Bunshaft, Gordon, Alan, 98 Burden, Amanda, 231n157Burden, 231n148 Happold, Buro Bussell, Mark, 177f A.Bye, E., 16 Cincinnati, 113, 120 Arts Center), (Contemporary CAC 171 Santiago, Calatrava, 113 (CCA), Montreal, for Architecture Canadian Centre 121 Ĉapek, Karel, Room, See withDrawing project. the Capp Street Isabel,Carlisle, 221n117 Art, 196 121, 9, for Contemporary Paris, Cartier Foundation 219n70 80, # 00-17164/003841983, Case Riva,Castleman, 52 82 France, de Castres, Contemporain d’Art Centre 147 Pompidou, Centre 139 Chafkin, Marty, 197 Chain City, 21 20, 19f, Termed, Loosely Chair, Vishaan, 191 Chakrabarti, Jessica, 111 Chalmers, 89 Heather, Champ, 107 106, Danses, Belgium, Charleroi 25 Chatham, Walter, Chelsea Girls, 79 Association (CPO), 185, Owners 187 Chelsea Property mentary on themes in architecture, 85–87; critical treatments of their of their treatments critical 85–87; architecture, on themes in mentary Lawn: American (see exploration of the lawn work, culture 209–10n4; 3–4; making, movie in interest Life); Diller’s Surface for Everyday mention of a earliest written 8–10; in their projects, dominant themes modes, 32; and sections perspectival space with multiple elevations with tourism, fascination 66–67; 45–46, in designs, 20–21, investigated interior 51; first display, commercial into foray first 140–42; 71–73, Room, (see withDrawing the); first client restrictions space without together, 65; project first technology, liquid crystal employing project exploring from gains 143–46; in Eyebeam, architecture folded 20–21; inspira- House, 23–25; of Kinney review performance, 43; Hejduk’s 160–61; installations House, in Quadrant and nature tion of culture of merging bodies and motion, 105–13; and performances exploring 140; modernism and 138, at the Brasserie, and theater architecture trees motorized 112–13; in Jet Lag, (see modernism); motion simulation designs, 135, 195; work in a city space (see Jump Cuts); to opportunity 109; “reductive environment, of issues of uniformity in the built raising of their projects, exhibit retrospective binaries” in Indigestion, 94–95; 216n2, of projects, 221n118, 227n69; reviews 227n67, 82, 155–58, 222n143, 227n69 224n174, ); 223n151, specific projects (see also 223n157, nature unconventional commission, 73–75; an unrealized revisiting among of the relations 212n43; understanding of their work, 21–22, 19–20, ); use of duality, (see Facsimile images and moving architecture of domestic 217n23; 161, vacation house exploration 138, 76, 65, 67, as architectural employed language House); verbal space (see Slow vision for 64–65; of, analysis 72, 218n43; Vidler’s form in Tourisms, MysteriesBlur;the American piece, 31; water motif in their work (see recurring Mix ); windows, Art, Pure of Contemporary Boston; Institute about, writings 210n20 theme of (see windows); 11, 71 Tomorrow, Architecture Tim, 89–90 Armstrong, 221n125 (Shanken), Art Media and Electronic Art exhibit, 75–76 Occupied Territory at the Armory: Art 213n56 26–27, exhibition, on the Beach” “Art M., 91 Artsis, Steven 161 10, Atelier 195 Bow Wow, Atelier 223n150Atlas, Charles, 109 Attatürk Airport, Turkey, Ault, Julie, 211n9 101 Paul, Avery, 182, 180f, 192f 178f, 190f, 177f, Baan, 164f, Iwan, 10, 219n79 219n74, 8, 82–84, Series, Housework Bad Press: 14, 75 George, Baird, Balance, 31 191 Balázs, Andre, 107 Lyon, Opera, Ballet of Music), 149–50 Academy BAM (Brooklyn 149 Corporation, BAM Local Development 16 Ban, Shigeru, for New Media, Canada, 94 Banff Centre 75 for the Arts, Canada, Banff Centre 170 Barnes, Clive, Jon, 195f Barraclough, 13, 72,Barthes, Roland, 211n4 11 Bauhaus, 177 Pietro, Belluschi, 221n127 Benjamin, Walter, 25 Deborah, Berke, Berkowitz, 220n100 Raphael, 90, 122f, 124f Berlin, Valérie, 15 & Scofidio, Berman, Roberts, 155 Aaron, Betsky, 153fBettinelli, Ennio, 190 Blinder Belle, Beyer 221n119 96, Dara, Birnbaum, Natalie de, 85–86 Blois,

index 234 index 235 Twin Houses for One Resident, for One 40; Twin Houses in Glass, 37–38, for A Delay concept + Scofidio also Diller 19. See 182; the years, over choice view of architecture of their broadening abroad, collaborations 60; 16, commissions, ample versus of control 217n27; House, 66, Cooper Union and on the Slow comments 105–11; and Art); dedica- for the Advancement of Science (see Cooper Union 60; design of projects 11–12, signature, an undefined design tion to Diller’s 91–92; and mass culture, that comment on viewing positions 61–62; Princeton, to move 172, making, in movie 173; Diller’s interest 20; of architecture, culture the celebrity from distancing of themselves assessments of their work, 40; early 34,7, 37, on, influence Duchamp’s 210n8;6, work, emphasis on second chances in their 67; expansion 219n88; ad campaign, 87, fake 1990s, 127–28; in late of their practice 221n127; books, 96; favorite fascination with media transmission, view of 60, 158; Flamand’s 15–16, 59, 6, financial stability difficulty, of 223n150; of exploration goal 107, their conception of architecture, institutions, 56; of Graham, influence cultural to relation architecture’s 126; award, decade, Foundation 57; first MacArthur 15; after legacy of investigating documentation on, 11; new direction missing historical culture, with audiovisual of engagement range 81–84; standardization, to 3, 201; response with Hejduk, reputation, 5; relationship 16–18; 84; in detailing, self- overindulged criticism that their architecture 35, 214n83; start described basis of their work, 90, 5, 56, 9–10, 6, 22;of their practice, of architecture, world success in postmodern 216n2;60–61, about, texts 219n92; theory of the visual, view of 37; 90; water motif in their work, 67 (see also Blur; Institute architecture, 15 Mix); workspace, Art, Pure of Contemporary Boston; ethical stance toward 82; 199–201; their principles, commitment to system, the dynamics of the world 200; making visible architecture, use, 7; 4; name change the studio, work by screen media moving 197; 201; 209n2; as collaborators, 2, reputation 161; partnership, 5–6, to, 10–11; 224n3; of architecture, understanding 128–29, studio culture, 199 in progress, works 9–10; view of their classification as architects, House, 161; in Subtopia, 110; “Twin 76; in Quadrant 161; in Loophole, 19–20 Houses for One Resident,” Diller + Scofidio: accusations of being absorbed by the art world, 80; accusations + Scofidio: art world, by the of being absorbed Diller Hall, 181– Tully describing Alice metaphors bodily Renfro: Scofidio + Diller 153 Technique, Direction 190 Studio, D.I.R.T. 49 (Foucault), Discipline and Punish Daniel Doctoroff, L., 187 231n162 195–96, Fit the Crime?, Does the Punishment 34 exhibition, Domestic Project 9f Domestic Prophylactics, (Duchamp), 65, 217n22 11 rue Larrey Door, 229n91 Bob, Dorran, work, instances of doubling in Diller’s 138; theme: in Brasserie, doubles 119 Jim, 118f, Dow, 16 Arthur, Drexler, dualism 110 theme, 65, 41, 154, 40, 155 34, 37, 4, Marcel, Duchamp, 7–8, Duffy House, 22 222n143 105–6, Kyoto, Dumb Type, 220n100 W., David Dunlap, Dysfunctionalisme, 82 5, 124, 210n6 and Ray, Eames, Charles 186 Keller, Easterling, 191 Properties, Edison 18, 212n26 of an Architect, Education 143 Educatorium Koolhaas/OMA), (Rem 18, 25, 16, 215n103, 217n23 Eisenman, Peter, 223n151 EJM 1 and EJM 2, 5, 107–8, 85, (Warhol), Empire 219n84 Étant donnés (Duchamp), 154 151 “Europanto,” 3 Richard, Evans, 2, 1 and Part Exits: Part 196–97 184, 191; ICA, 167–69; Lincoln Center, 171, 173; for Nature Morte Gal- Morte 171, 173; for Nature Center, 184, Lincoln 191; ICA, 167–69; Villa Rotunda, 20–21 25–26; 51; Traffic, lery, on influence at the school, 20; Hejduk’s pedagogy architectural problem, nine-square 211n18, 212n24; Hejduk’s 16–17, architecture, and Scofidio of Diller relation 17–18; view of architecture, 17; Hejduk’s 18; sociopolitical teacher, impact as a 18; Scofidio’s Hejduk,to 16–17, point for the school, 19; as a vantage direction on Hejduk’s influences 14 view architecture, to 20; contribution to Termed, Loosely 2; Chair, biography, 171–73; 64; theme in her 20, at Princeton, doubles pedagogy architectural 161; fascination with film, 138, 4; Hejduk 110, and, 67, work, 19–20, in the study of 172, making, in movie 173; interest 18, 212n29; interest of teach- philosophy 61–62; Princeton, to 212n29; move architecture, on the 212n41; text 21, Goldberger, of her chair by review 62–63; ing, Cighélio, 153fCighélio, 65 soap, Mind Clean Body/Dirty 96 CNN Center, 155 Nigel, Coates, 91–92 War, Cold Colomina, Beatriz, 62, 114 22f NY, Building, Colorlab Alan, 14,Colquhoun, 62 Coma, 31 96; 143; Facsimile, High Line park, entry, competition entries: Eyebeam 185 Conrail, (CAC), Arts Center Cincinnati, 113, 120 Contemporary Conversation, (film), The 126 221n118 200, 197, 151, Douglas, 94, 125, 147, Cooper, 16 Peter, Cooper, 171 and Partners, Cooper Robertson and of Science and Art:Cooper Union for the Advancement Diller’s 14 10, Himmelblau, Coop, James, 184, 192, 191, 231n148 Corner, 89 Brendan, Cotter, J., 221n115Courtés, 221n134 Cox, Andy, Association), 185, Owners 187 CPO (Chelsea Property Jonathan, 62 Crary, Bruce, 173 Crawford, 37 Company, Creation 75 Time, 26, Creative 119 Gregory, Crewdson, 221n114 (Frampton), Critical Mass 223n158 Donald, 111, Crowhurst, 113 Crutch Lamp, 185, 186 Transportation, CSX de, 105f Fabien Cugnac, 214n88, 223n150Cunningham, Merce, 231n156 Steve, Cuozzo, Dadaism, 7 221n115 (Anderson), “Dark Dogs: American Dreams” 230n122 Joshua, 191, David, 186, 113, 147 studio, Dbox 223n158Dean, Tacita, 219n63 deconstructivist architecture, 84, Gilles, Deleuze, 143 Delsener Office, 22 De Monchaux, Nicholas, 128 Denari, Neil, 143 196 Raymond, Depardon, 139 Enno, DePasquale, Derrida, Jacques, 7 Space, 186 for Public Design Trust 113 House, The, 73–75, Desiring Eye: the Slow Reviewing 19 Detail: Special Task, The 211n11 Sexuality, and Representation On Difference: design, the Lincoln Center explaining to Elizabeth: approach Diller, house, 217n24; influence on architecture, 16–17, 211n18, 212n24; Kinney 16–17, house, 217n24; on architecture, influence 17; relation problem, nine-square House comments, 23–25; Plywood 213n66; on sociopolitical influences 16–17, 10, to, and Scofidio of Diller 17–18 for the school, 19; view of architecture, his direction 184–86, site, of the history design details, 191–93; the space, 191–93; 230n122, 231n148; 191, and plant preservation, 230n125; infrastructure 190; preservation 188–89, 193; photos, of the project, ownership 194, of, reviews themes, 193–94; 190; prevailing movement, 186–87, 190–91; windows and architects, of proposals selection 231nn156–58; in the design, 193 Ghirri, Luigi, 37f Ghirri, Luigi, 211n12 Gidal, Peter, 1 Giedion, Sigfried, 221n125 Frank, Gillette, 229n102 Moisei, Ginzburg, 186 Giuliani, Rudolph, 225n34, 212n41, 212n39, 21, 230n116 Paul, Goldberger, 162 Sarah, Goldhagen, John, 214n90 Golding, Ann, 219n93 Goldstein, Gopnik, Adam, 186 186 Jerry, Gottesman, 215n104, 56, 219n88 Dan, 8, 14–15, Graham, Michael, 61 16, Graves, NJ, 16 Camp, Green A.Greimas, J., 221n115 77 Grimes, Ellen, 148, 194 Zero, Ground 120 (Ziegler), Concern Growing Guerrin, Michel, 232n164 Museum, 218n61 Guggenheim 5 Tom, Gunning, 16 Charles, Gwathmey, Hans, 13, 15 Haacke, 191 Hadid, Zaha, 158, 190, 106, Hall, 223n158 Ron, 230n122 191, 190, Hammond, Robert, 187, 186, Hansen, Mark, 99, 196 Donna, 215n120 Haraway, Harborwalk, 165 229n93 170, Harrison, Wallace, Ann, 43 Hatch, 14 10, Haus-Rucker-Co, 142 For?, Ever Been Mistaken You Have 16 Laurie, Hawkinson, 130 Christine, 129, Hawley, K. Michael, 155 Hays, Hebel, Dirk, 154, 226n50 213n66; half in his architecture, Hejduk, of voyeurism John: exploration of experience slow 191; deliberate High Line park: commission award, 129 Ludwig, Hilberseimer, Hirst, Damien, 225n31 His/Hers 65 towels, Hochman House, 22 17 Hoesli, Bernard, 28, 213n60 Holl, Jim, 27, 230n125 185, 191, Holl, Steven, 190, 218n58 Jenny, Holzer, 227n71 Robotics, Honeybee 135 Trumbauer, Horace B., 230n116 Carter Horsley, 105–6 Copenhagen, Forma, Pro Hotel 217n30 House of the Century, Hubert, Christian, 25 Museum of Art, 26 Hartford Huntington 183, 230n119 177f, at Lincoln Center, Hypar Pavilian organicism, 146; cancellation of the project, 147; commission award, commission award, 146; 147; cancellation of the project, organicism, 144, photos, 145, 146; prevail- 145–46; 143, 144f, 143; design proposal, 226n49 147, of, 226n48; reviews ing themes, 147, 221n125; 100f, 7; design iterations, filming of the from, challenges 103–4, problems, installation and operation office scenarios, 4, 101–2; standing as an art installation, 102,221n140; legal potential 103; and moving among architecture relations impact of the piece, 104–5; and use, 99, 101; technical positions and camera in, 96; screen images 98–99 challenges, description, 88, 220n100; design and layout cover tion, 88–89; 87; page, to work with the printed opportunity first details, 87–88; themes, 88; prevailing monograph, positioning as an architectural 89 219n91; use of media imagery, of, reviews 219n98, 219nn94–95; 8; in the built environment, presenta- of relations nel, 28; exploration space 8; unisex restrooms, sink in Brasserie 78; shared Sell, tion in Soft Room,in the withDrawing 45 Experiments in Art and Technology (E.A.T.), 10 (E.A.T.), Technology in Art and Experiments 195 Weizman, and Ines Eyal of of a vocabulary adoption of Art and Technology: Museum Eyebeam Jean, 214n88 Fabre, 97–98; and Scofidio, Diller of the commission to Facsimile: awarding Game (film), 130 Family 162, 169, 229n91 166, Pier, Fan 79 Manny, Farber, 82f 81, Feed, 125 121, Rolf, Fehlbaum, 142 Wendy, Feuer, 184, (FO), Operations 190 Field 186 C. Virginia, Fields, Cinematheque, 79 Filmmakers The, 80 Final Frontier, City Bank, National First 119 223n150 107, 106, Flamand, Frédéric, 218n61 Dan, 77, Flavin, organiza- 89–90; contents aesthetic credo, Probes: Flesh: Architectural 225n18 (Breer), “Floats” 195 Italy, Turin, Rebaudengo, Re Sandretto Fondation 15, 150 Park, NY, Greene Fort Museum of Art, 114 Lauderdale Fort Norman, 171 Foster, 75 Falls, of Niagara Opportunity: Eight Strategies Foto Michel,Foucault, 49 139 Seasons, 138, Four 86–87 The,” Window, “Fourth Hollis, 221n114 Frampton, 28 Kenneth, Frampton, Sigmund, 219n95 Freud, Anne, 24 Friedberg, 71, 114 Mildred, Friedman, 230n122 190, 187, of the High Line, 186, Friends Emi, 129 Fukuzawa, 153 Buckminster, Fuller, Samuel, 79 Fuller, Lance, 158 Fung, 179 FXFowle, 73–75 Gallery Ma, Tokyo, Gandelsonas, 14 Mario, point, High Line, 193 Gansevoort lookout of America, Club 119 Garden Gate, 28–30 Geertz, 7 Clifford, 191 61, Frank, Gehry, 112 Gelfand, Howard, in Senti- depicted in A Delay in Glass, 41–42; bride and bachelor gender: 96–97 San Francisco, Center, Convention R. Moscone Center George 191 Partners, Georgetown

index 236 index 237 interpretation of its use of windows, 24; potential of contemporary 24; of its use of windows, of contemporary potential interpretation and, 25 architecture 81 Skin, Second 98; 183, 230n117; Mix, 158–59; 175, Ventilator, Pure 174, teaching of architec- 34; to windows, relation in Diller’s 118; defined in of ice Resident, for One 21; exploration Twin Houses 62;ture, in Diller’s 173f, 158–59, 98, 119, 81, projects, as a medium, 158; LED text-display 183, 230n117; 175, 78 Sell, in Soft 174, of the com- 229n93; 170–71, complexity Hall); background, Alice Tully participants, design process 173–74; design mandate, mission, 171–73; 183– of the site, success the commercial contribution to 171; design’s North Plaza redesign, of the design, 174–75; 84; fundamental strategy 229n99 173–74, 229n101; vision for the redevelopment, 177, 176f, 175, space, 75–80 an architectural and, 217nn20–22; engage used to title 218–19n62; 77, of, 219n63; reviews aesthetic, 78, prevailing 75–76; 76 explanation, Kiley, Dan, 173, 175, 177 Dan, 173, 175, Kiley, 23–25; of, review Hejduk’s 22–23; House: design details, Plywood Kinney 129 Housing Project, Public Kitagata Kitchen, 15 the, NYC, 76 Paul, Josef Kleihues, 110 Naomi, Klein, 10 Billy, Klüver, 219n84 Stephen, Koch, 88, 219n71 70, Rem, Koolhaas, Carl, 160 Kopp, 119 Balthazar, Korab, Allan, 230n116 Kozinn, 223n145 106, Siegfried, Kracauer, 112 Sarah, Krasnoff, Rosalind, 128 Krauss, 219n93 87, Barbara, Kruger, Austria, 162 Kunsthaus, 196 Laura, Kurgan, 37 Company, La MaMa Experimental Theater Lambert, 223n160, 114, 225n27 Phyllis, 138, 136, 116, 218n58 (Holzer), Laments 221n118 Lamontagne, Valerie, 230n116 Ellen, Lampert-Greaux, 214n88, 214n90 40, (Duchamp), 37, Glass, The Large 228n82 Sylvia, Lavin, 229n103 177, roof, lawn 218n41 Izenour), Brown, (Venturi, Vegas Las from Learning Ledoux, 10 Claude-Nicolas, 173f, Lawn, American 119; at Lincoln Center, projects: LED text-display Thomas, 143 Leeser, 118f 117f, 116f, Michel, 115f, Legendre, Janis, 160 Leonard, Ralph, 19, 62 Lerner, Sherrie, 4 Levine, 173 Reynold, Levy, 16 Lewis, David, 218n47 127, 86, 81, 16, Lewis, Paul, Li, Vivien, 229n91 159 Gaspar, Libedinsky, Libeskind, Daniel, 211n20 16, Lawn, 183; in American Hall, 116f, 179, in Alice Tully light and shadows: Hall (see 2, Arts, NYC, 11; Alice Tully for the Performing Lincoln Center 136 Richard, Lippold, 65; smart glass employing, project 218n58; first technology, liquid crystal International, 231n148 L’Observatoire theme, 76; location, 218n61; doubles design details, 76–77, Loophole: 220n98 Sylvère, Lotringer, 211–12n24 Timothy, Love, 79 Ludlam, Charles, 143, 145 Greg, Lynn, 110–11 Institute of Contemporary Art (ICA), Boston of Contemporary Institute cess, 162–63; background to building project, 161–62; design details, design 161–62; project, building to background cess, 162–63; 228n82, themes, 163–66, 228n87; design proposal, prevailing 165–67; 229n91; 228n90, 169 of, success of the project, reviews 167–69; of in the with- exploration House, 66–67; in Slow changes elevation 214–15n99 Room,Drawing 45–46, 223n157; 111–12 told, stories complications, 93–94 93; technical of the project, realization 92–93; 82–84; Body Buildings, 195, 82–84; Laetae, 231n160; Bad Press, Life); Arbores 195–96, Fit the Crime?, Does the Punishment 197; 50; Chain City, Ever Been Mistaken 231n162; You Have 2, 1 and Part Exits: Part 196–97; 142; 109; Investigations, For?, Hotel, Interclone Indigestion, 94–95; Media 9, 121–25; 59; Master/Slave, Loophole, Jump Cuts, 92–94; 50–51; 232n164; Pageant, 109–10; Stop Eject,Cut, 196–97, Land: 151; Native Growth, Rapid Mix, 158–59; 135; Room ); Pure Para-Site (see Para-Site Skin, 105;Subtopia, 4, 110; Television, Sell, Soft 125–26; 78–79; 120, 5, Travelogues, 25–26; Traffic, Studies, 71–73; suitCase 51; Tourisms: X,Y, Room,140–42; the withDrawing 43–49; Institute for Architecture and Urban Studies, 25 Architecture for Institute pro- selection 3, 11; architect Art (ICA), Boston, of Contemporary Institute 50 Art, of Pennsylvania, of Contemporary University Institute 109 Hotel, Interclone 138 Interiors (magazine), 110 Tokyo, Gallery for Communications of the NTT, Center International in the design of Villa Rotunda, 20–21; and separations: intersections Commission (ICC), Commerce 185 Interstate with Douglas Cooper”“Interview (Lamontagne), 221n118 Investigations, 50–51 Investments, 105 43 David, Ireland, 16 Irwin S. Chanin School of Architecture, 129 110, Arata, Isozaki, Istanbul Biennial, 109 110 65–66, Koji, Itakura, Johannes, 11 Itten, 218n41 Steven, Izenour, 187 Kenneth, Jackson, 218n45 Jealousy, 14 Charles, Jencks, of, themes, 112; prevailing reviews design details, 112–13; Jet Lag: Airport, International 140 Kennedy John F. House, 215n100 John Marshall 214n88 Johns, Jasper, Johnson, John S., 143, 147 159, 221n127 147, 101, Johnson, Matthew, 225n27 138, 18, 25, 136, Johnson, Philip, 60, 230n122 186, Jones, Casey, 217n30 Jost, Richard, 32f Juggler of Gravity, 183 School of Music, 177, Juilliard work in a city space, 92;Jump Cuts: opportunity to plan for the project, 143 Koolhaas/OMA), (Rem Jussieu Library Michael,Kagan, 28 Anish, 158 Kapoor, 217n20 (Alsop and Störmer), des Nordens Kauhauf Gwynne, 128 Keathyley, 92 and Partners, Rodrigues Kenneth 148 Kevin, Kennon, 195 Bernard, Khoury, IBM Research Building, 119 Building, IBM Research ICA. See Commission), 185 Commerce ICC (Interstate 129 Imanishi, Koji, 195 Inaba, Jeffrey, 221n118 221n115,Indigestion, 221n117, 94–95, 226n47 Inhatowicz, Edward, Lawn: Everyday Surface for American (see Lawn installations: American design details, 3–4, 84–85; location, 84, location, 219n81; technical 219n80, 84–85; design details, 3–4, 86 during assembly, challenges 55;seeing, of the blind spot as the limit of total investigation 52–53; purpose 54, themes, 55,prevailing 55; 215–16n123; published reviews, 216nn127–28 56, for using video surveillance, Eyebeam, bodies and motion, 105–13; exploring 1 and EJM 2, 5, 107–8; Jet Lag, ); Gate, 28–30; Probes (see Flesh: Flesh Architectural 143–47; Target, Moving 223n158; 223n157, Business Class, 105–6; Monkey 111–13, 26–28 Sentinel, Overexposed, 84–85; 106–7; MVDRV, 143 MVDRV, 43 Mylar screen, 142 Mira, Nair, 154 Nakaya, Fujiko, 210n10 7, and Scott Brown), (Venturi of Fame Hall National Football Act, Systems 185 National Trails 232n164 Stop Eject, Land: 196–97, Native 51 NY, Gallery, Morte Nature Bruce, 8, 56 Nauman, 142 Chicago, Neocon fair, 80 Art, NYC, New Museum of Contemporary Sabine, 221n140 Niederer, Constant,Nieuwenhuys, 194 223n148 Vaslav, Nijinsky, 212n24 31, 17, problem, nine-square 7 Oskar, Nitzchke, 110 (Klein), Logo No perfume, 65 Yes Means No 214n96 Nouvel, Jean, 121, 106, 231n151Novogratz, Mike, Stina, Nylen, 222n143 185 Obletz, Peter, 216n128 Observation: Uncertainty (Weibel), Observing Ockman, Joan, 25, 219n84 162,Office dA of Boston, 163 Les, 98 Okreglak, 118, 119 Nicholas, 116, Olsberg, OMA, 219n71 96 Omni Center, 121 1 monde réel, 56 in Time Delay (Graham), Monitors and Video Opposing Mirrors Oppositions, 25 154, 225n18 Fair, Osaka World’s 64 Ottagono, Piet,Oudolf, 184, 231n148 191, 190, Nicolai, 182,231n156 Ourossoff, 230n117, 85–86; in architecture, Overexposed: commentary on transparency Pageant, 109–10 Paik, Nam June, 8, 216n128 Philadelphia, 37 Bride Art Center, Painted 105 Arts, Brussels, de Beaux Palais 212n24 20–21, style, architectural Palladian 32 George, Palumbo, 99, 221n127 George, Pappas, 215n122; 215n120, 3; design details, 53–55, location, exhibit Para-Site, 216n124 (Serres), The Parasite, 50 Park, Kyong, 137 Pasanella, and Berg, Stolzman, Klein, 180 Peña, Richard, EJM A Delay in Glass, 37–43; Mysteries,performances: American 30–31; 220n107 91–92, Phaedra, House, 161 Phantom 135, 225n18 Philadelphia Museum of Art, 37, 147 Renzo, Piano, 85, Time (Tati), 219n84 Play Pleasure/Pain, 65 and surveillance themes in, 121, 124–25, 224n177 124–25, themes in, 121, and surveillance relations investigating designs (see video monitors/surveillance); into 6–7 and exteriority, among spatial interiority 7–8, and Scofidio, on Diller influences 2, and, 179; indeterminacy 6, 4, 121; postmodern- and, 171,11; Lincoln Center 182; 175, in Master/Slave, 95 ism and, 61, 135, 195 trees, motorized 112–13; in Jet Lag, 105–13; MacCannell, Dean, 218n42 MacLean, Alex, 119 32, 30, 105, 91, 220n107 Matthew, Maguire, 210n10 7, (Nitzchke), Maison de la Publicité 118 Malkin, Helen, Sweden, 105–6 Theatre, Malmö Musical 79 Mann, Anthony, 141 Man Ray, Jill,Manton, 102 Christian, 151 Marclay, 108 Étienne-Jules, Marey, 151 Mariani, Diego, 221n140 Martin, Meredith, 224n174 Martin, Reinhold, MassMoca, Massachusetts, 111 124; 122–23, transparency photos, 9; design details, 121–24; Master/Slave, 215n104 46–47, Gordon, Matta-Clark, Maxwell, Robert, 62 16 Jürgen, Mayer, 212n43, 215n113 Robert, 50–51, McAnulty, Skeet, 119 McAuley, Anna, 221n119, 221n134 McCarthy, McGurk, Justin, 228n76 25, 128 McLeod, Mary, 219n93 McLuhan, Marshall, McQuaid, Matilda, 53 Scott, 221n140McQuire, 52 McShine, Kynaston, 229n103Mecanoo, Cut,Media 151 of video 9, 11; incorporation 2–3, of use of, breadth media in projects: Jill, 162 Medvedow, Mee Industries, 154 171 16, Richard, Meier, The, 32–34 of Giulio Camillo, Theatre Memory 216n2 Metropolis, Hannes, 11 Meyer, 191 190, Associates, Valkenburgh Michael von 219n80 Michelson, Annette, Ben, 128 Mickus, 34 Milan Triennale, 187 Gifford, Miller, Utopia, The: Another 110 City, Mirage 34, 35f Half, Off with Backing Rubbed Piece Mirror 129, 134 Misaki Design and Architects, 129 Miyawaki, Aiko, 9, 201; of, modernism: commentaries on, 34, 85, and execution 90; grasp Business Class, 105–6 Monkey 7 (Tatlin), International the Third Monument to 157f 137f, 134f, 132f, 131f, 78f, 10, Michael, 8f, Moran, Susan, 37 Mosakowski, Moses, Robert, 170 201 Moss, Jane, 179, bodies and motion, motion in installations and performances: exploring 223nn148–49 106–7, Target, Moving 142 Multitasker, 227n71 156–58, Mural, 226n49 Herbert, 79, Muschamp, 60, 219n72 75–76, Art (MCA), Chicago, Museum of Contemporary 52Museum of Modern Art, NYC, 5, Eadweard, 108 Muybridge,

index 238 index 239 227n67, 227n69 227n67, + Scofidio also Diller See 18, 212n26. impact as a teacher, 15–16; 221n115tés), 26–27 team, 134, 225n16; 129, 225n7; location, purpose behind an all-women 134, 225n17 review, 225n10; resident’s 129–30, 73–75; of, 68–71; revisiting of, 68; reviews themes, 67, prevailing 217n30 videotape use in, 67, Schodek), 217n20 217n20 ter), 79–80 of, 80; reviews architecture, 13 (Haacke), Scher, Julia, 216n128 Scher, 186 Paula, Scher, 230n116 Laurence, Barrymore Scherer, 10 Karl Friedrich, Schinkel, 42, 214n93 Oskar, Schlemmer, 221n125 Ira, Schneider, Schodek, Daniel, 217n20 183 School of American Ballet, 182f, 131 House (Rietveld), Schroeder Schwartz, Martha, 129 practice, 2; architecture earlier work in his biography, Ricardo: Scofidio, 217n30 Scott, Felicity, 137 136, Building, Seagram 76 Armory, Second Artillery Art Biennial, South Africa, 109 Second Johannesburg Skin,Second 98 (Scher), 216n128 by Julia Security 129, 130 Sejima, Kazuyo, 211nn11–12 13–14, semiology, 89, 219n98 semiotext(e), and Cour- Dictionary (Greimas Analytical An Language: and Semiotics 225n29 Gottfried, Semper, 226n47 (Inhatowicz), The Senster, of, genesis Hejduk, 3; connection to Sentinel, 28; design details, 27–28; Michel, 216n124 Serres, A., Edward 221n125 Shanken, 148 Richard, Sheirer, Mimi, 136 Sheraton, 4 Sherman, Cindy, 214n88 (Fabre), Is, Even and She Was She (film), The 17 Shining, Shulman, Julius, 119 190 187, Sicha, Choire, 230n125 Sillman, Amy, Simpson, Deane, 125, 164, 226n50 225n7 (Arakawa), Park Destiny-Yoro of Reversible Site & Merrill, 140 Owings Skidmore, Skin, 105 with Japanese officials, 84; frustration details, 130–34; design Slither, design details, 66–67; 65–66; Itakura, from House: commission Slow 19 Robert, 17, Slutzky, smart glass, 217nn20–22 and (Addington in Architecture and Technologies Materials Smart and Design (Rit- Interior Architecture, in Architecture, Materials Smart Smith, Kiki, 158 219n74 Smith, Paul, Smith, Roberta, 216n123 128 + Hawkinson, Smith Miller Smithson, Robert, 193 The, 158, 228n76 Show, Snow 229n102 condenser” concept, 177, “social to relevance 79; of the site, history 4; Sell, Soft design details, 78–79; Downtown Manhattan,Soho: 211n9 Holdings Estate Real Manhattan Dilorenzo Goldman and Alex Sol 214n94 Sorkin, Michael, 60, J., 215n113 Edward Sozanski, and, 89; modernism and, and, 89; modernism 80; Flesh postmodern culture, of exploration Villa 25–26; 95; 120 and, 125;61, Room and, 68; House Slow Traffic, Rotunda, 20–22 ); in the Two- and the viewer (see Para-Site focus on the venue 6–7; 35; Windows, in Three in the rural design, 148; Hotel urban versus Way Room,withDrawing 44 156–58 Polshek Partners, 191 Partners, Polshek West, 98–99 Pol-X 62, Alessandra, Ponte, 64, 114 87; Blur and, 155; 60–61, 3, 8, 21, of, view architects’ postmodernism: 114 61–62, University, Princeton Monument,Prison Ship Martyrs 15 162 family, Pritzker 68 Architecture, Progressive 14–15 on a Gallery Window (Graham), Projections 62, 214nn94–95 in a piece, 41–42, prostheses (film),Psycho 125 and exteriority, divide: emphasizing of spatial interiority public/private 228n76 Mix, 158–59, Pure House, 160–61 Quadrant 128 and Associates, Ralph Applebaum Growth,Rapid 135, 225n18 Robert, 10 Rauschenberg, 47 (Matta-Clark), Estates Fake Properties: Reality the High Line,Reclaiming 187 143 137, + Umemoto, Reiser Koolhaas/OMA, 143, 149 Rem 2, Charles, Renfro Scofidio + 128, 224n1. also Diller See Renfro, Cinema,Rialto 78 41 Ricci, Vito, 128, 218n47 Rice, Lyn, 82 NY, Gallery, Anderson Richard 232n164 Vicky, Richardson, 79 Theater Company, Ridiculous Gerrit,Rietveld, 131 51 Larry, Rinder, 217n20 Axel, Ritter, Robbe-Grillet, Alain, 49, 72, 218n44 92 Architecture, Poeschl Robert 16 John T., Roberts, drills in Scanning, robotic 121–24; in an installation: Master/Slave, robots III, 170 John D. Rockefeller, 148, 183 Rockwell, David, 147 Richard, Rogers, John, 158, 159 Roloff, Stuart,Romm, 95–96 125–26 120, Room Joseph, 186 Rose, Martha, 13 Rosler, 25 Aldo, Rossi, (Duchamp), 41 Glass Plates Rotary Colin, 17 Rowe, 16 Lindy, Roy, 152, Ben, 99, 139, Rubin, 221n112 196, 93f César, Rubio, 88 (Koolhaas), S,M,L,XL 119 Saarinen, Eero, 96 Art Commission (SFAC), San Francisco Museum of Modern Art,San Francisco 82 92 Affairs, San Jose Office of Cultural Sansone, Robert, 119 68 Adele, Santos, de, 14 Ferdinand Saussure, 82, of Diller + Scofidio, 155–58, Architectures Scanning: Aberrant The - 110–11 4, 98; first use of moving images, 31; key precedent for, 221n125; for, precedent key simile, 31; 4, images, use of moving 98; first 55, 56, in Para-Site, 84–85; 3–4, in Overexposed, 76–77; in Loophole, 217n30; viewing House, 67, in Slow 125–26; 120, in Room 216nn127–18; 91–92 projects, on in commented positions and mass culture 228n76 22–25; use of, 228n86; House’s Plywood Kinney 193; in the ICA, 166–67, in Slow 21; partnering with video in a drawing, light and shadows piece, 34–37 exhibition three-dimensional House, 67–68; 49; design 47, images, and mirrored 215n104; of furniture deploying and separations, of intersections 215n103; exploration details, 43–47, themes, 14, 43; prevailing 49 for, impetus 214–15n99; 45–46, Venice Architecture Biennial, 197 Architecture Venice 219n72 81, Ventilator, 218n41 210n11, Robert, 7, Venturi, Dziga, 55 Vertov, Vice/Virtue 65 8f, drinking glasses, 108; Fac in EJM1, 139–40; at the Brasserie, video monitors/surveillance: (Nauman), 56 (Nauman), Video Surveillance Piece 114, 62, 224n177 201, 64–65, Anthony, Vidler, Villa Rotunda, The, 20–21 143 (MVDRV), Villa VPRO Viola, Bill, 51 196 Paul, Virilio, Virtual Office, The, 142 142 company, furniture Vitra 210n10 (Buijs), 7, Building Volharding Robert, 170 Wagner, Time, 214n88 Walkaround Minneapolis, 71 Art Center, Walker Canada, 75 Phillips Gallery, Walter 85, 219n84 Warhol, Andy, 218n43 Val, Warke, Wasiuta, Mark, 128 150–55; ICA, Mix, 158–59, 167; Pure 67; Blur, water motifs in projects, 18 Mike, Webb, Marianne, 94,Weems, 223n157 111, 216n128 Peter, Weibel, 158 Lawrence, Weiner, Program, 95–96 This Interrupt We (Atlas), 223n150Westbeth Rachel, 158 Whiteread, Museum of American Art,Whitney 4, 82, 155 Mark, 62, 114,Wigley, 200 18, 212n26 Williams, Tod, Room, 212n39 21, Furniture, Window, 28; in Sentinel, in depicted Gate,windows: 30; in the High Line design, and Schneider), 221n125 Wipe Cycle (Gillete work, 46–47, Room, with Matta-Clark’s withDrawing the, 9; contrast 212n24 Rudolf, Wittkower, 214n84, 218n47 127, Victor, Wong, Lebbeus, 50 Woods, 226n51 148–49, Viewing Platform, Site Center Trade World Stuart, 53Wrede, Wright, Beryl, 76 Wright, 82 79, Calvert, X,Y, Jud, 221n125Yalkut, 219n71 Urban Design Forum, Yokohama 195 YouPrison, 16 Alejandro, Zaera-Polo, 135 Borie, and Medary, Zantzinger, 216n128 (Paik), Glass) (TV Looking Zenith Mel, 120 Ziegler, 32 Zimmerman, Elyn, Samuel, 229n93Zipp, 162, 163 Peter, Zumthor, performances transparency and surveillance themes; video monitors/ and surveillance transparency surveillance 121, 124–25, 224n177; 124–25, 121, in Master/Slave, in High Line, 193–94; 85–86; use (see video monitors/surveillance) video surveillance ; Travelogues Class the Leisure 223n158 Swiss Expo, Yverdon-les-Bains, 150 Yverdon-les-Bains, Swiss Expo, 129, 130 Akiko, Takahashi, Dorothea, 37 Tanning, Jacques, 85, 219n84 Tati, 210n10 7, Vladimir, Tatlin, Delft, 229n103 University, Technical 62 (Crary), of the Observer Techniques 51 Television, High Line, 193 and Square, Overlook Avenue Tenth 191 190, Gram, Terra 17 Rangers, Texas 34, 62, Georges, 64,Teyssot, 113, 223n160 See theater architecture. Third International Biennial of SITE Santa Fe, New Mexico, 125 New Mexico, Biennial of SITE Santa Fe, International Third 34–37 Windows, Three Girls, 223n145Tiller 171 Copenhagen, Gardens, Tivoli 140 Carroll, Todd, 221n134 (Cox), Capitalism Defeat Can We Together Story (film), 130 Tokyo Nichols, 223n158 Tomalin, 218n49 218n41, 218n39, Studies, 71–73, suitCase Tourisms: (MacCannell), 218n42 Class, The of the Leisure Theory A New Tourist: 25–26 Traffic, themes: commentary on in Overexposed, and surveillance transparency 5, 140–42 Travelogues, of Theory A New Studies; Tourist: suitCase Tourisms: themes. See travel 216n9 Bernard, Tschumi, and OMA), 219n71 (Koolhaas diagram” “24-hour “Twin 19 Houses for One Resident” (Diller), 148 Hotel, Hong Kong, Two-Way 186 (ULURP), Procedure Uniform Land Use Review Artists Cineplex, 92 United 16 Urbach, Henry, 221n140 Martin, Niederer), (McQuire, Reader Urban Screens 183 138, Nick, 136, Valenti, 228n76 Vanderbilit, Tom, Mies, 136 van der Rohe, Adine K., 102 Varah, 224n174 Robin, Veder, Speaks, Michael,Speaks, 219n91 91 Harry, Spielberg, 136 Starbucks, 61 Philippe, Starck, E., 230n122 Karen Steen, Steina, 216n128 A. Robert Stern, M., 191 Joel, 186 Sternfeld, Stewart, 37 Ellen, 119 Ezra, Stoller, 26 Durrell, Edward Stone, 216n2 50, NY, Architecture, for Art and Storefront Jan, 217n20 Störmer, Hall), and (Tomalin of Donald Crowhurst, The Voyage Last Strange 162,Studio Granda, 163 Subtopia, 110 140–42 designs, 71–73, in suitcases 28 27, Sullivan, Kaylynn, 191 Board, Surface Transportation 28, 64, 223n146 106, 7, surrealism/surrealists, See surveillance.

index 240