2012 EVOLO- Keller interview

8/11/2019 2012 EVOLO- Keller interview

http://slidepdf.com/reader/full/2012-evolo-keller-interview 1/11

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$!%%!&I N TERV I EWER : BENJAM IN R I CE ( BR )

I N TERV I EWEE : ED KELLER ( EK )

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Bio: Ed Keller is a designer,

professor, writer, and musician/

multimedia artist.

He is an Associate Dean of

Distributed Learning and Technology at Parsons The

New School for Design, and

Associate Professor in the

Parsons School of Design

Strategies, in NYC.

He is co-founder and principalof AUM Studio [2003-present],

an architecture and new media

firm whose work includes

residential projects in Europe,

d i i titi

Precis, ANY, Metropolis, and

Wired.

In academia, he has taught

advanced graduate design

studios and seminars at theColumbia GSAPP [where he

was an adjunct professor

1998-2010]; in 2000-01 he

was the acting director of

the Advanced Architectural

Design AAD one year Masters

program at the GSAPP. The work of his graduate

design studios 1999-2003

at Columbia GSAPP was

published in the book

Ch h l K ll



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Kane shines the l ight ins ide. With shocking violence,

a small creature smashes outward. Fixes itself to hismask. Attaches itself to Kane’s face. Kane tears at the

thing with his hands. His mouth is forced open.”

(Walter Hi l l and David Giler, Al ien screenplay)

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H R G i ge r ’ s A l i e n ( 1977 ) . C on ce p t D r aw i n g s f o r F ace h u gge r I I I .

eVolo / Issue 5 / 2012 / Editorial8 eVolo / Issue 5 / 2012 / Editorial



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“(Architecture) reminds ‘us ’ – whoever i t might be –

that in order to recla im the xeno-culture of l i fe, the

al ien origins of l i fe cannot be unearthed s ince such

al ien depths have always been here, nested within l i fe

itself. Ins tead it is the establ ished culture of l i fe that

needs to be repos ited and deeply entombed so that i t

can be dredged and rediscovered as an al ien art i fact

once again.”

(Reza Negarestani, in Xeno-Culture Viv i f ied,

reproduced in eVolo5: Architecture Xenoculture)

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I r i s V an H e r pe n

D av i d c l o v e r s an d C ase y Re as ’ r e se a r ch w i t h D u pon t / C o r i a n

Tomas S a r ace n o . C l o u d C i t i e s

M ae s i l l a s u l u t u s ;

C . S e n a t u s i n t e r e o




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M ich e l an ge l o An t on i o n i . E n d i n g t o Zab r i s k i e P o i n t .

M a r i l y n M i n t e r . G r e e n P i n k C a v i a r

C ase y Re as . S o f t S t r u c t u r e s

Edw a r d Bu r t i n s k y . C h i n a




()# D& :*2+;+";/=59+

“’In a work of art, I rather l ike to f ind thus transposed,

at the level of the characters, the subject of the

work itself… what would be more accurate would

be a comparison with the device from heraldry that

involves putt ing a second representat ion of the

original shield ‘en abyme’ with i t ’ (p.7 in The Mirror in

the Text by Lucien Dal lenbach cit ing Andre Gide)…

The plat form on which we f ind ourselves on today is

most apt ly def ined as a mise-en-abyme: a condit ion

not unl ike s tanding between two oppos ing mirrors,

mult ip ly ing into inf inity, perpetual ly zooming recurr ing

doubles of doubles. What once was a device for

texts, plays, paint ings and hera ldry shields is now

embodied and coded into the prof i le of the actual,

the governing logic of capita l, seamless ly ingra ined

into the fabricat ion of experience.”

(Matter Management in Five Coordinates to the

Seam: a Five Act Play, publ ished in Pulsat ion In

Architecture by Goldemberg p. xxx)

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Ra f ae l Lo zan o -H e mme r : P u l se P a r k

Ra f ae l Lo zan o -H e mme r : P u l se P a r k

X . Th e Eme r a l d Tab l e t o f D e s i g n :

H e r me s T r ime g i s t u s ’ S ma r agd i n e Tab l e a n d J oh n H e j du k ’ s M

S t an B r a k h age . F i lms t r i p s f o r M o t h l i g h t .

O l l i n S t u d i o & J o se ph Kos i n s k i : TRO N


2012 EVOLO- Keller interview

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