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Spring 2018<br />

Do you have an example of<br />

something like that?<br />

M: I made something a while ago, it's a<br />

series of lamps. They don't really look<br />

like lamps, they're these weird objects<br />

that are kind of white and shiny that<br />

have all these holes in it and look like<br />

you want to touch them but they do<br />

have a light and they are small lamps<br />

that can be carried with you wherever<br />

you go, kind of like a camp light. They<br />

have human characteristics to them<br />

because they have eyes and faces,<br />

so it's just objects that have a little bit<br />

more play to them. Things that have<br />

blurred characteristics that people<br />

can associate with could be a tool for<br />

encouraging open ended relationships.<br />

So, earlier you mentioned certain<br />

architectural philosophies. Do<br />

you think that there are certain<br />

ones that people are studying and<br />

reading about that have become so<br />

prevalent, appearing in modernizing<br />

cities outside of the US and Western<br />

Europe. Are you noticing that the<br />

newer buildings in these cities are<br />

sharing a lot of traits that might not<br />

seem like they match the cultures<br />

that they're from?<br />

M: Yeah. It's actually the idea of<br />

Formalism. One of the architects<br />

that does it the best is Bjarke Ingels<br />

from BIG. He actually wrote a really<br />

important architecture school book<br />

when I was in school titled Yes is More.<br />

It’s an architecture comic book that I<br />

actually totally despise now because it<br />

has dumbed down architecture almost<br />

too much. Formalism is a multi-faceted<br />

concept, but mainly it's buildings that<br />

look so obviously like what they are. So<br />

Zaha Hadid is kind of a formalist in that<br />

she creates a shape and then shoves<br />

all the program in it instead of it being<br />

something that is informed by how you<br />

walk into the space and how you live in<br />

it. So, it’s top down instead of bottom<br />

up. I’m more of a bottom up person I<br />

think.<br />

And there are amazing things that<br />

have happened with that because that<br />

style of explaining things has totally<br />

infiltrated our architecture schools<br />

and so when you go to any sort of<br />

presentation, like, every kid's diagrams<br />

look like a BIG diagram. Or at least<br />

they did when I was in school! Now<br />

buildings are starting to come up that<br />

are very like much like this is a circle,<br />

this is a square, this is a pyramid. Very<br />

basic top down concepts, and I think<br />

that's great because it's kind of opened<br />

up the conversation of architecture a<br />

little bit more. Bjarke Ingels gets so<br />

many projects because of his ability to<br />

talk to people who don't understand<br />

architecture in a non intimidating way.<br />

And in such a basic manner, but I think<br />

that there's a middle ground that's<br />

starting to come up in a lot in schools<br />

where you're like, okay, we can take<br />

this base thing but also integrate some<br />

sort of intellect into that and some<br />

substance so that we aren't totally just<br />

like making buildings that are just kind<br />

of ridiculous.<br />

Would you recommend to read<br />

that comic book, Yes is More: An<br />

Archicomic on the architectural<br />

evolution?<br />

M: That’s a difficult question. I think<br />

it's better to read it when you do have<br />

a little bit more knowledge as to what<br />

it's talking about. But any architecture<br />

book that acts as a catalyst for<br />

someone wanting to know more is<br />

important, and so I would say everyone<br />

should read it if it's going to make them<br />

excited about architecture. There was a<br />

story I was reading the other day by the<br />

curator at the Serpentine pavilion, Hans<br />

Urlich Obrist. He was writing about<br />

the Serpentine pavilion and how there<br />

was a girl who was there who's dad<br />

was a taxi driver. On their one day that<br />

they go out every week they go to this<br />

pavilion that is designed by a famous<br />

architect every year and after she saw<br />

it, she immediately started studying to<br />

go to architecture school. So it was just<br />

like something that sat with her really<br />

well. And so anything like that inspires<br />

you is important. Books do that all the<br />

time for me. Wabi Sabi for Artists was<br />

that for me. I would never have picked<br />

up and read the Serpentine Pavillion if<br />

I hadn’t read about it in Apartamento<br />

Magazine, I actually read a lot of<br />

magazine and consume publications<br />

more than I read books.<br />

Thanks, Marki - we'll chat with you<br />

about Kim K anyday. To read more<br />

Farsighted, visit us online.<br />

Farsighted<br />

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