Privacies Infrastructure explores the physical, social, and embodied structures of privacy and privatization in the residential landscape of East Los Angeles by inviting four artists and designers: Besler & Sons, Tanya Brodsky, Fiona Connor, and Gwyneth Shanks, to observe, respond, and activate through public installation, performance, publication, and programming.
The Kid Gets Out of the Picture is a contemporary update on the aesthetic principles of early 19th century English landscape architecture. By the early-nineteenth century, practitioners of the English picturesque had invented a catalog of objects (follys, ha-has, viewpoints) that worked to produce the pictorial effects of landscape painting within real space. Lumps, clumps, and masses made it possible, in a sense, to occupy the picture.
TURF: A Mini-Golf Project explores the meaning of terrain and territory in Los Angeles through the architecture of mini-golf. The mini-golf course becomes a playful trope of the city of Los Angeles, articulated through artificial terrains, winding territories and fantastical architecture.
The Superscript installation utilizes hundreds of Tyvek squares fastened to a braided stainless steel net that spans the center’s reading yard. That net is suspended from 8 dock whips, engineered to absorb the movement of the canopy and make adjustments and maintenance easy.
Eddy Sykes’ Yakuza Lou was a site-specific installation that uses the relationship between the natural and mechanical notions of landscape, to create a unique garden with pushing and folding topographic surfaces and a robot cloud that floats overhead which created a volume in constant pseudo-natural flux.
This installation hypothesizes that in zero-gravity, one can rotate (in) architecture and treat all elevations as plans – i.e., walls, ceilings and floors. Without gravity, all surfaces can be occupied. In essence, the distinctions between orthographic drawings become obsolete.
The Here There Be Monsters installation explores the challenges of synchronizing the aesthetics and intrinsic characteristics of natural materials into a built environment completed with the latest computer aided design tools and embedded control system technologies.
The weather garden investigates architecture’s invisible elements: space, ambiance, atmosphere and how people experience them. The place itself is an urban void, an empty stage. The events that will activate this space are an integral part of the project. A weather forecast will announce the program (film screening, lecture, musical performance, party, reading …) using a silver screen facing the street as a billboard. What does it mean to generate a climate, to build with the air, to create space? When we inhabit a place, we do not live inside the concrete, the glass or the wood, but in the space that they surround. The project is an “inverted architecture” , it reveals the condition of the air, the effects of the material, the light. It is more specifically a garden of air; the climate ( light, water, occurrences…) is generated, preserved or avoided. It can function as a greenhouse, a plant park, a public stage, a winter garden, a café… The house extends itself into an outdoor living room as the street extends itself into the courtyard to become a public space open to everyone. Like the medieval pleasure gardens or ladies gardens, it becomes a place to find shade, smells and sounds. Conceptual art fought against the preeminence of vision. The weather garden is an environment built around senses and organs other than the eye, around the invisible layers that create a space and our perception of them.
François Perrin is an architect who lives and works in Los Angeles. During the time of this installation, he taught at Art Center School of Design and had a concurrent exhibition at the Storefront for Art and Architecture in New York City.