The design of the classroom is a technology, and you can interpret that in a lot of different ways. Architects can make that look more, and less, typical. But the point is the instruction, the interaction in the classroom, not that it looks more like a circle or more like a square or whatever else.
Last weekend I was fortunate enough to see my brother Ryan Baum graduate from SCI-Arc, an architecture school in downtown Los Angeles.
Each student was responsible for presenting their thesis in front of faculty and special guests. For his final project, my brother put some renderings together over the Stahl House to recreate the iconic modernist house built by American architect Pierre Koenig in the hills of Los Angeles in 1969. He also redesigned the interior dining room and living room with sculpture.
You may have seen the Stahl house in fashion ads and movies like the Big Lebowski, or most famously in black and white photographs taken by Julius Shulman who helped spread modernist Southern California architecture with his “one-point perspective.”
Inspired by the technological blurred paintings of Gerhard Richter, Ryan 3D painted the house’s corrugated facade.
As you can see, Ryan’s contemporary redesign purposely blends in his with the house, making it look authentic. But it his short, hilarious Lebowski-esque film that takes the masquerade metaphor once step further, adding to the mystery of why the home could never sell. The Stahl House was finally declared a LA-historic monument in 1999, before becoming listed as National History place in 2013.
“Ray Kurzweil wrote about the Law of Accelerating Returns back in 2001, suggesting that the rate of technological evolution grows exponentially. This means we won’t experience 100 years of progress in the 21st century. It will be more like 20,000 years of progress at today’s rate. His work explains why we can build amazing structures faster today than ever before. What it doesn’t explain is how this impacts us as makers: how the immediacy with which we can create changes us.”
The urge to keep making, to keep shipping, means more creations will be forgotten and therefore less likely to be timeless.
It recognized the imperatives for user-friendly populism in its great glazed, covered garden foyer, “the living room of the city,” a lobby space opening to all major parts of the building as well as to the outdoors and the street.