Backcountry, Taos, New Mexico
Scraping Metal, Willow Springs
Desmosedici on Mulholland Highway
1951 Vincent Black Shadow, New Mexico
1990 Honda RC30, New Mexico
1995 Bimota YB9- Amalfi Coast, Italy
2002 MV Augusta F4 Senna
Top to bottom, "Tension",
"Membrane", and "Greening", directed by Jennifer
Linnell, co - direction and scene design by Antoine Predock.
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Architecture is a fascinating journey toward
the unexpected. It is a ride, a physical ride and an intellectual
ride. I like to think about machines and technology in relation
to landscape and architecture. The idea of a motorcycle in the landscape
confirms a kind of closure for me, a technological, experiential
closure.
When I was a student at Columbia
University I became very involved in dance and with the body
in space through the work of Jennifer Masley, Merce Cunningham,
Yvonne Ranier and, later, Anna Halprin. This influenced
my work profoundly. I think of my buildings as processional
events, as choreographic events; they are an accumulation of
vantage points both perceptual and experiential. At the
Mandell Weiss Forum one comes though a eucalyptus grove and there,
in a clearing, stands a two hundred and seventy foot long mirror.
One is suddenly part of an expectant crowd, a building of tension
that has to do with the arrival of the audience and the anticipated
arrival of the performers. It is a ritual - the encounter
with this giant mirror, the collective straightening of the tie,
and the passage through the looking glass to what lies beyond.
The Nelson Fine Arts Center seems initially
to be a single event, but it is actually a processional route that is
open-ended. Visitors can create their own paths to unexpected destinations
that provide respite from the sun while, simultaneously, a celebration
of the sun. The building offers an array of sensory possibilities
throughout the day and the night. Its nocturnal life is very different
from its sun-drenched daytime life.
Here and Now Dance Studio/ Theatre 1966
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