Luisa Lambri, Karina Nimmerfall, Lorenzo Rocha Cito, Bernhard Sommer
Wed, 18.09.2002–Sun, 29.09.2002
MAK Center L.A., Schindler House
Luisa Lambris photographs explored her subjective experience of built space. Selecting modernist subjects, Lambri worked
with the architecture of Louis Kahn, Alvar Aalto, and Mies van der Rohe, among others. At the Schindler House, she presented
a photographic survey of works by R.M. Schindler and Richard Neutra in which she sought to document not the architectural
object, but rather, a sense of place. Focusing on the details of a building, she pictureed corridors, stairwells, and textures.
Ultimately, Lambris physical document was an inversion of the traditional photographwhat was being captured was
not the exterior space on the other side of the lens, but rather the interior experience of the photographer. Lambris
images were, in a sense, self-portraiture.
Artist Karina Nimmerfall engaged questions of mediation and manipulation through a sculptural installation on the grounds
of the Schindler House. Through a series of projections onto the skin of her built structure, the work sought to confound
questions of perspective. Using footage shot at Albert Frey's Tramway Station in Palm Springs, the work created a feeling
of dissonance in the viewer that spoke to how built space is mediated by filmic reality, even as it confirmed the primary
importance of the viewers perspective by breaking with ideas of illusionary pictorial space.
"Missing Room," a temporary room addition to the penthouse of the Mackey Apartments by Lorenzo Rocha Cito, explored transparency
in the relationship of public to private space. As with "Desert Cloud," the project of Bernhard Sommer, "Missing Room" was
a denial of the stability and permanence that architecture usually seeks. By creating a public platform for private activity,
Rocha involved the buildings neighbors as they became active witnesses to and participants in the interactions of the
temporary enclosure. Artist Selva Barnis contribution of a documentation of a fictitious missing person created a residue
in the space that suggested a prior habitation that had been disrupted or partially erased. "Missing Room" was represented
at the Schindler House with documentation materials and was available for viewing at the Mackey Apartments from September
18 through September 29.
Architect Bernhard Sommer had been working since 1999 on his Transformer series, an attempt to make real the promise
of a fluid architecture. Sommer approached the problem literally, devising computer-generated systems that could
generate a diversity of shapes from a single construction. With "Desert Cloud: Transformer 3," he presented a model for an
architecture light and changeable as clouds. Installed near one of the sleeping baskets on the Schindler House
roof, the model existed simultaneously as a rendering of its construction technique and as a sculptural object. Inspired by
Southern California topography, the work tethered together several balloon-like units with ropes that might be adjusted to
create innumerable forms, according to the desires of the user.