Internationally renowned artist Do Ho Suh works across various media to produce drawings, films, and sculptural works that explore notions of memory, displacement, individuality, and collectivity. Suh is widely known for his fabric sculptures that reconstruct former residences in Seoul, Rhode Island, Berlin, London, and New York. Suh is interested in how the body relates to and inhabits space, particularly domestic spaces, and how the concept of home can be represented through architecture.

York Chang: “The Signal and the Noise” considers relationships between images and text, and ways in which collective action is influenced by public spectacle and new forms of propaganda. In this project, Chang employs mixed media strategies, appropriating newspapers, graphic displays, found images, and sculpture, to create an immersive environment with artworks that question how information is disseminated and consumed.

A profile on Hsinming Fung [Principal and Co-Founder of Hodgetts + Fung / SCI-Arc, Director of International Programs and Institutional Relationships]. Fung discusses her work as an architect and the recently completed renovation of Robert Frost Auditorium in Culver City.

Please join Yunhee Min [Artist / UC Riverside Faculty] and Peter Tolkin [Partner, TOLO Architecture] on SCI-Arc Channel as they discuss and reflect upon the making of their immersive, site-specific installation “Red Carpet in C” at the Culver Center of the Arts in Riverside.

Join multimedia artist Won Ju Lim as she details the complex motivations behind her current exhibition at the San Jose Museum of Art.

A SCI-Arc Gallery installation that examines how in the presence of meaningless pictures we find the ever-present apophenia of the human being—the need to see meaning and relationships where none exist.

A conversation between Jing Liu [Principal So-IL] and David Eskenazi [Principal D.ESK] as they discuss aspects of playful modernism, multiple interpretations and elasticity in the recent work of SO-IL.

After an introduction by Hernán Díaz Alonso, describes the path of his career. After his first year in the undergraduate architecture program at Carnegie Mellon, he wasn’t sure he wanted to continue. He sought advice from all the Pritzker Architecture Prize laureates, of whom only Robert Venturi and Denise Scott Brown responded. He became their assistant and employee, which clarified what he needed to learn: how to put a building together, how to manage a business, how to talk to real estate developers, and also to define for himself his place within architectural discourse, the global world outside of design, and his social purpose. After experience working with big firms “with genius systems”, he went to graduate school at the University of Pennsylvania.

After Tom Wiscombe’s introduction, Dominic Leong outlines some ideas behind Leong Leong’s work: the unity of aesthetic and social practice, ambiguity in terms of form and material; convergence of multiple parts, functions, and structures; and an interest in boundaries, ritual and spatializing informal collectivities.

Kavior Moon identifies this Kappe Library talk as an event organized by the Korean-American arts organization Gyopo (“diasporia”), and introduces Kyong Park as an artist “in which the processes of research and art-making are conjoined”.

Marcelyn Gow introduces artist, architectural historian and writer Esther Choi.

Choi describes how discovering the menu for a banquet given for Walter Gropius in 1937, to mark his departure from London for the USA, suggested a new perspective on a historical figure she thought she knew. Food not only provides an index of status, taste, lifestyle, and class privilege, but has provided a medium for socially-engaged artists (Carol Goodden, Tina Girouard and Gordon Matta-Clark’s Food restaurant, projects by Womanhouse, Haus-Rucker-Co, Rirkrit Tiravanija, and Alison Knowles’ “Identical Lunch”),

John Enright introduces Shohei Shigematsu, head of OMA’s New York office, as a designer and thinker whose ability to bridge disciplines, from economics to architectural history, reclaims the central role of the architect.

Shohei Shigematsu begins with a quick review of OMA’s frustrated attempts to build in Southern California, from the project for a Universal Studios headquarters in 1996 through their proposal for the Broad Museum (2010), ending with three projects that are going forward.

Elena Manferdini introduces Jing Liu, principal with Florian Idenburg and Ilias Papageorgiou in the firm SO-IL.

Jing Liu begins by mentioning SO-IL’s recent book, Solid Objectives: Order, edge, aura (2017), and stresses how the three terms identify the territory of their practice: •Order (including elasticity, contingencies, and the creation of relationships) •Edge (including awareness of context or frame) •Aura (including ideas of personality, political agency, fiction)