Jennifer Siegal, Architect & Designer • November 19, 2015

it’s my pleasure today to introduce Jennifer Siegel to you an artist architekten to known for her work in creating the mobile home of the 21st century and who is the principal of Los Angeles based firm office of mobile design which is dedicated to the design and construction of ecologically sound dramatic structures and architecture Jennifer’s interest in concepts of Portability and sustainability began with a very practical application and that also has some ancestral roots I’ve come to learn that as a graduate student at Los Angeles is a southern california institute of architecture she in fact owned and operated a hot dog cart her father also if I’m understanding it correctly your grandfather operated a hot dog cart at Coney Island which I love by the way is the very idea of that is incredible to me this was I would assume before the ubiquitous presence of nathan’s on Coney Island which is not a good dog by the way not that I would know necessarily she also spent some time in high school studying in the Middle East and encountering among other cultures the better ones of the Sinai desert and one can deduct in all of this I would argue an ongoing fascination with something like the perfection of the concept of impermanence which is in essence why I was really interested in bringing her here the very idea of that was fascinating to me and your work is fascinating to be in that regard she earned a master’s degree from Sark in 1994 and was a 2003 Loeb fellow at Harvard Graduate School of Design she has been an adjunct associate professor at USC her innovative design sensibilities and expertise and futuristic concepts of prefabricated structures and green buildings and technologies were recognized by the popular media in 2003 when Esquire magazine named her one of the design world’s best and brightest and the architectural League of New York included her in the acclaimed emerging voices program please welcome Jennifer Segal thank you so much i just had to say something about hot dogs one time in boston because i had the cart in boston as well before i went to graduate school the sausage king we were in the territory of the sausage king as it turns out which i don’t think that was pre Nathan’s I think they were competitors and their vendor pulled a knife on us and said you know this is my territory and you have got to leave and that’s when I thought oh man this is not the i don’t have the stomach for this i’m going to be an architect instead Oh anyway I’m so pleased to be here I don’t often get to speak to a group of a super creative talented individuals outside of the architecture world so it an architect’s are very boring sometimes in dry so i actually prefer the art world and have an incredible appreciation for industrial design and materiality and hopefully some of this work will you know show you those ideas tonight and thank you Michael and Ian and an for braving the airport today for picking me up okay here we go the title of this talk tonight it has a couple titles but i’m going to call it generation mobile the death of distance anyone who lives in Los Angeles on some level is aware of issues of mobility at the risk of restating the obvious getting around requires vehicles as a nomad and occasional Angelino I have been consumed with this question of what kind not only am i concerned with environmental consequences of auto mobility or draw mala G a term coined by

Paul Verrilli Verrilli o meaning the science of travel but I’m equally interested in using design to affect social mobility I love this quote by Benjamin Bratton from his essay iPhone city where he says sitting in traffic on the Los Angeles freeway looking at my edits on this essay I reminded of Joan Didion’s revelation that this is the most authentic Angelino social experience we are not going to any place all lined up behind our windshields we are already there this is certainly a concept that applies to most American cities today as well but in particular Los Angeles where I probably spend an hour every day going to to teach at USC every other day and some of the best ideas you know come during that time I’m also interested in ideas of alternative energies and I’ll show you some examples of this and this is an example that the from sorry the MIT Media Lab which was called the city car and it was really one of the very first ideas about I probably you’re familiar with this of a kind of alternative vehicle that are an autonomous vehicle that we’re hearing so much about today that could easily be picked up almost like a shopping cart and swipe your car to take it and then reposition it in a small urban context and they were looking at this for of initially for Vietnam in fact you could say that my preoccupation with devising portable structures came out of my family’s own economic history my grandpa other this image on your left had a hot dog cart in Coney Island and two generations later while putting myself through graduate school at sci-arc I did as well so it was not really a leap but it was rather a logical move when I founded office of mobile design in 1998 as a way to actively engage in designing non permanently cited structures that move across and rest lightly upon the land the image on your right is a live-work colony in downtown Los Angeles called the brewery where I spent about five years living up against a very active train yard so and when the trains would couple together the whole building which was just a corrugated metal shed would essentially shake and would always startle clients but it became just a passe and sort of part of the work that we did and a kind of a reminder of what we were doing so my work seeks to rethink and reestablish methods of building that contrast with a generic clutter that increasingly crowds our landscape I’m inspired by Santa Leah’s futures manifesto I share in his philosophy that we have that we quote no longer believe in the monumental the heavy and static and have enriched our sensibilities with a taste for lightness transients and practicality an image here Road between Jerusalem and Tel Aviv where you get an idea that there’s a potential upheaval and so this mobil gas station can easily be removed when necessary this desire for the active mobile and everywhere dynamic that characterized the Italian futurist machine aesthetic infuses my work at omd shown here is the rock climber whose dynamic form responds to the static rock face or the parcours efficient and quick ability to overcome obstacles while architectures purpose remains constant providing inspiration and shelter from the natural and vellum ins and community among its inhabitants mobile and portable structures Herald the dawn of the age of new nomadism the applications and uses are limitless these buildings have no borders which is actually a statement that I wrote maybe 20 years ago but today given the politics of the moment it’s it’s actually an incredibly important idea that you know borders are invisible and have a lot of heaviness that come along with them and that our structures and people shouldn’t necessarily be tied to those invisible boundaries so diversity of material palette design style and transportation method are varied shown here buckminster fuller’s Dymaxion dome and a take-off from nineteen ninety

eight of an artist named Stephen Brower and he playfully came up with an idea of what kind of rethinking the trailer park using the Dymaxion car which was a three kind of precursor to the RV three wheeled vehicle that didn’t take its corners very well given the the location of its wheels so mobile architecture then can be defined not merely in terms of movable structures but rather as a way of intelligently inhabiting a specific environment at a specific time in place in a way that better reacts to increasingly frequent social and environmental shifts these fluval forms are expressed best in the extreme sports world where surfers meld with the braking surface or the sea becomes the form giver or the intuition and innovation of the skateboarder working off the urban infrastructure lastly the Information Age whet our appetite for the exploration of the unknown as inquisitive social beings and innate explorers of the universe we are standing at a new threshold of curiosity and movement biological and technological advancements reveal themselves in our everyday lives echoing prophecies and environmental visions from American pulp science fiction architecture today roles flows inflates breathes expands multiplies and contracts finally hoisting itself up as ARCA Graham predicted at the end of the 1960s to go in search of its next user so these images should be familiar to some of you the walking City from the late 60s early 70s Michael Webb and a group of provocative thinkers based in London talking about the beginning of the end in some ways and then the critical which was a kind of independently driven wearable piece of architecture that really part of the same group that I have always been fascinated by and had the opportunity to meet with Michael Webb who’s actually still alive and lives outside of New York City and and some of his ideas are incredibly applicable today like you know car he thought about cars that could drive into apartments and become part of the dwelling not even almost a rethinking the way that we would be living today where you know I just heard today on the radio that the LA Auto Show is dead because it’s all about the Electronic Show now because the cars are all electronics so that is really where the car manufacturers are now going so it’s interesting to think about the moment that you live in and look back on you know how smart you were without even knowing so I’ve been really thinking a lot about this for a number of years and thinking about technologies and you know cnc milling rapid prototyping 3d printing all of these things are ubiquitous now within our universities but we’re up you know maybe two were three or even five years ago not something that you would have seen in the design readily available in the design world however it’s been happening like that in the automobile industry in the aerospace industry for quite a while and so my question has always been why is architecture so slow to catch on to what’s been happening with technology and a lot of this work is driven by some of those ideas ultimately I feel you know that it will be embedded within our skins and you know the intelligence that we carry in our pockets right now will become smaller and smaller and V chips and and that almost like the critical project from ARCA Graham that our environments will be smarter that we won’t be just heating and cooling large vast spaces but it will be more about our bodies and how our bodies respond to or how space responds to our bodies I do a lot of thinking and playing around with ideas but it’s really important to me that I build what I talk about as well there’s an incredible history of mobile architecture and you know dating back to nomadic dwellers Native Americans you know any species of human being has has had it started in a kind of nomadic environment and has been progressively moving forward I was mentioning to one of your professors that when i first started a lot of this work it was not a popular topic and

architecture it was sort of you know why I was kind of questioned I remember from some of my teachers and there was a moment when Frank Gehry came to speak at or it was on a jury when I was at Zurich and he had said to one of the students that was presenting you know the prop the problem with your generation is that none of you are interested in making monuments and I thought about that I thought yeah that’s probably true and that’s probably the direction I’m going to take this is a recent project I just completed for the Art and Design Museum in Los Angeles it a rethinking of the Barbie pop-up trailer at full scale Barbie scale and it was a kind of thinking a lot about my what inspired me and my childhood you know I grew up in New Hampshire or grew up in the woods and so we’re constantly moving things around and making spaces but there was always some kind of a character that was involved in those dwellings and so I was really excited to have this opportunity to kind of rethink the shelter that Barbie might inhabit in 2015 and then a little nod to Wally Lyman and the students that have been working on rethinking the Airstream it’s something that I’ve been fascinated with as well and this was a project that was conceptualized for our local radio station KCRW which is an amazing station in Los Angeles they were wanting to do a mobile soundstage and so I was coming up with a skin that would actually be responsive on the outside so if someone was inside recording or speaking you would be able to visualize or see the change how clear that is yeah you could actually see the sound that was emanating or through the skin of the building so that the building was also responsive to to the space for the space responsive to the need this project are just going to show you a bunch of conceptual ideas this was done for the cooper-hewitt Museum and they had asked me to rethink the the Globe Theatre Shakespeare’s Globe Theatre and of course I couldn’t resist taking on that as a trailer and kind of offering this idea that something could be easily manipulated manipulated and open up onto the road with pneumatic pods that would pop out of the back of it become changing rooms or ticket sales and fully integrated with PV panels so could you know usually go to Burning Man or you know whatever is the newest event that’s going to be happening in your lives and something that I think is actually super doable today I look back as much as I look forward this project was by Claude proved a witch who’s the son of John prove a and it was built between the 72 and 74 in outside of France and it was 60 units of a prefabricated housing structure it was then dismantled unfortunately but I’ve always been interested in this idea and this project at the same time 1972 the naka gene capsule hotel this is in by kurokawa in tokyo this was also dismantled but the same concept of someone like most yourself deal so played around with these ideas for Habitat same time period very interesting very rich moment in history the kind of early 70s even there were a lot of people in without knowledge necessarily that they were all doing it we’re playing around with these these concepts that kind of smaller pieces that could be made off site and then stacked and a much more affordable much more efficient way to build so I’ve taken on that idea for a project I’m doing right now in Seoul Korea it’s kind of hard to see that one but I’ve added a kind of new twist to it so it’s you adaptive reuse of shipping containers stacked this company does imports extreme sports goods but it was important for me that the building could operate on many levels so this building has pieces of it that can be peeled off and move around the city almost like a pop-up retail situation where you know what’s happening with the food trucks right now and in Los Angeles and

around the country where you just you know where the truck is because you know it’s on your feed and this same thing would happen where you know where a new event is happening over the store is taking place around your city because you’re getting some kind of communication and then people are gathering in those locations you’re no longer going to a brick and mortar location and these are the elements that make that up because I do so much traveling I’m always fascinated by airports and scissor lifts and jet ways and I just think that that whole collection of utilitarian items are you know a great way for architects and designers to you know deal with this these ideas of adaptive reuse in a kind of mobile economy so this is kind of where we’re at right now with the building just kind of looking at the section what’s public what’s private what would be coming out of it and what would be how to make it sort of how does how does it work it’s really the question it was in some ways an inspiration for a project i just finished for an exhibition called trek a texture that was at connect o museum which is in omaha nebraska Jun Kaneko who’s a fantastic ceramicist who studied in Los Angeles and then went back to Omaha and bought up almost every building in downtown Omaha and converted those into his art studio if you haven’t seen his work it’s just phenomenal and he funds this museum we’re about four or five of us were asked to come in and do pieces that had to do with mobility and since I was thinking about the way that this project in Korea would work this was a great venue for me to try out a kind of smaller piece that so this little electric truck has something called a uld sitting on its back and I put a little scissor lift on it a vehicle this electric vehicle then can pop up and become a retail space as needed these unit load devices in case you haven’t seen these these are what go inside the underbelly of any aircraft and this is where your luggage is stored that’s why they have these kind of odd shapes and it just turns out that the manufacturer of those is in my backyard in Los Angeles so I had a good fortune of getting a kind of number of these via T’s devices given to me so I could play around with them much like the airstream project you guys have been doing this then went on tour I guess and landed at Google which was great and they’ve had a kind of interest in it for a while too like I said I’m a big believer in doing it yourself fascination with trucks trucks I think are some of the most interesting designs that are out there dump trucks and pickup trucks and mixers I just think that you know their kinetic they do so many things there’s so much smarter again then buildings we need to be learning from truck culture this is my house in Venice and I’m showing it because it you’re going to see a kind of number of iterations of this I’m in the middle of a new project on it this was a early morning probably about four or five or six in the morning where i craned in a truck over the house and attached it to the back and used it for a number of years as an art studio which then became my daughter’s art studio and and then recently it was taken away so that I could put a new project in its place and that’s a little bit of kind of showing ideas of how you know inexpensively and quickly you can do additions to your your building same concept same truck manufacturer this was a project done with a group of students at Woodbury University where I taught for about 10 years credible place in Los Angeles real hands-on approach to education all of these materials were donated and we created this mobile classroom for a group in Hollywood that teaches children about the nature and kind of the life of a tree so this was built out in about 15 to 12 to 15 weeks with recycled materials from film sets because there’s a lot of waste in the film industry I’ll tell you and and then they you know are often will just give

it to you if you ask them politely and on the heels of that another design-build project again with a group of students that is taking an old manufactured home or trailer and converting that into another type of classroom one that teaches people about construction technology so that you can practice something and rip it out and practice and rip it out all of the materials are meant to be exposed so you can see the joints you can see the connections one of my favorite parts of this project are is the flooring which was a bunch of old carpet tiles that we had gotten and we decided to turn them upside down so the rubber faced up and which just made for a you know a better looking surface but also a kind of understanding that materials have two sides shipping containers for some reason I have I’m definitely have a kind of reputation as the hot dog girl but i also have a reputation as a shipping container person because i get so many requests for this kind of construction probably because of this house that i did for the owner of the brewery at the artist loft where I worked and lived for many years and it’s made up of materials that were all found on his property he was actually the supplier of a lot of these trucks that you saw before as well so it’s good to be friends with your landlord this is made from for shipping containers and to grain trailers and a bunch of other found items the site is it’s about 10,000 square feet it sits across the street from the brewery which is in the lower part of the screen the house itself sits at the back of the property which every good Angelino drives to work which this guy does as well so he walks the property gets in his car and drives across the street makes sense to me but it was really important that you know that he had that moment of a kind of a natural experience and as we removed some of the the concrete and the tarmac from the site it exposed the alluvial plain of the LA River which it’s not too far from the LA River which is a very you know there it just it attracts all kinds of migratory birds and butterflies and egrets and so it was a pretty and he created this pond as well so it didn’t just pop up but it really kind of thrives in this in its setting and then all of the materials that you see on the right hand side was the boneyard essentially that we salvaged all of those materials from you can see the containers here ones aluminum and one is steel there’s a waterfall that acts to turn the water in the grain trailer which is a koi fish pond and as some of you might know koi fish don’t have stomachs so that they’re constantly anything that’s coming in is going out really quickly so there’s a kind of aroma and you want to constantly be moving the water in this place he spends a lot of time in the tropics so he likes that and then there’s a guy here in the lower right-hand corner I don’t know if you’re familiar his name is David Makovsky he’s the head of the industrial design department i believe at art center in pasadena and he’s also a resident at the brewery and he did all of the furniture for the house so everyone it was a really gratifying project because everyone that lived and worked in this colony also worked on this house and it happened in a three-month period so that’s not typically what I do I only occasionally working with shipping containers mostly I work with modular construction and steel construction and for you know the students out there who are wondering how do you get started in your practice or your your life you know you meet someone in publishing that helps a lot and then they publish your project and that’s what happened to me and this image was published first in dwell and I didn’t really have a plan for how to build it i just knew i was interested in creating and rethinking trailers and rethinking modular buildings and turning them into residential structures and when i created these images and they were published i had a lot of people calling and asking how to buy it and that’s how i taught myself how to communicate with the manufacturing the world of trailer manufacturers which is a small world but it’s a hard world to break into I’ll

tell you but I was really thinking about this the system that they worked with but how do i change the materials how do you kind of change change the mentality within the the system which is not an easy thing to do as it turns out so this question that I’m posing or that Buckminster Fuller poses of Madame do you know the weight of your house is a question that has become a very important piece of what I do because everything I do has to move and it has to fit down the road and typically in California the greatest with you can the maximum with you can move a single module is 16 feet I’m sure you see that out here on your free ways as well highways and then you get up to 70 or 80 feet in length with about a 15 foot or 15 and a half foot wife and it’s all about like I said getting it down the road moving it off of a barge and when that becomes the definition of the building components it changes the game the process this morning is we’re going to first set up the crane on the street six you we’re going to pull out an existing pink truck trailer that I had on the property where I’d say about 10 years that i’ve been using as an art room that’s going to come out first second piece is going to be the install of the first Thor module we’re going to set up the crane and put in the second floor and then the top floor should be the penthouse now that we’re done I could be believed I’m happy smooth as silk it was just better than I could have ever imagined hmm that’s a reality TV I can’t but you know drones are where it’s at in case you haven’t don’t know that minute um so that was that’s a project I’m in the middle of right now you can’t go wrong when you install your house in a day it was 15 minutes per module the neighbors don’t hate you you know everyone except for the street being blocked off for a few hours you know other than that it’s pretty magical experience when you have

you realized that you can do things and much more efficient much less expensive and still maintain design so those three you know those areas of money design and time if you can make the three of those things work together then it’s a kind of golden triangle I also realized that I was kind of influenced by Corbusier in this project which I didn’t even realize this is a pretty famous building in the architecture world and when I started working on these modules and thinking about this stair system I didn’t know that so much of that had seeped into my head so the project when you come to Venice to visit will be on show it’s we’re probably like three weeks away from from completion and it’s a it’s an idea about verdict verticality and how we can work in tighter urban contexts and bring in kind of smaller units to densify our cities um a couple other examples i’m going to show you a kind of smaller more modular buildings that i have created and built for different clients this one is a 12 foot by 60 foot module that acted as a show house the other thing I found in my industry that it’s very important to have something that people can walk into and touch and feel the environment in order for it to be convincing I’m sure while Wally biman went through the same thing he was a little bit more successful sold a lot more but I’m getting there so this this idea shows you that within a small volume a 12-foot space you know if you have a 12 12 foot wide space but you have a 12-foot high ceiling you get a lot of natural light if you use a kind of polycarbonate panel on your wall you know you get insulated space but you also feel like you’re in a much bigger space so it doesn’t really take too much to change what has been an industry that really hasn’t changed much in quite a while that project was bought by a film producer of course and brought up to Joshua Tree on an 80 acre parcel where he’s been collecting architecture not a bad thing to do and he uses it now as I don’t even know what he uses it as a retreat I suppose from his other retreats it’s kind of it’s a good life Hollywood this project is for module so I use physical models I still build models in my office to show people how things come together I still think that that is one of the best ways for the layperson to understand space this shows a building that’s on a relatively small lot in Santa Monica it’s a 16-foot wide modules like I mentioned before maximum with you can go down the road and each one is built from a steel frame it’s a steel moment frame chassis and then the infill of the walls can be essentially whatever you want typically it’s wood stud this house came in needed two cranes to be put into place because there were so many electrical wires in that area so it was a little bit of a kind of choreography between rains which was pretty interesting and came together in about a three month period the finishes on this project some of it was done on site some of it was done in the factory the upper level is a a cement board that was painted in the bottom level is a stucco you can do a lot in the factory I definitely recommend the more in the factory the better you have a lot more control and things happen a lot more efficiently than they happen on a construction site and then the inside of the building this is a house that the clients pretty happy with she’s now has I think three kids living in this house this is a competition that I’m just finished yesterday last night actually and just sent it out and it’s for it’s my hometown of Peterborough New Hampshire and there’s an amazing artist colony called the macdowell colony I highly recommend that to any aspiring artists that are moving up in the world where they give you a housing and a place to think and work for up to three months and they came to me and asked me to participate in kind of rethinking a park and farmers market for the town so that was pretty exciting and I had to go back to my shipping container roots and kind

of think about how I could do something that was a little bit more New England but also kind of using these same principles of a kind of reclaimed lumber photovoltaics and shipping containers that get used in this farmers market where you can host a variety of different pop-up shops as well so I’ve there’s a long text that goes along with this and part of it also is a theater space and performance space I was really lucky to work with an amazing landscape firm as well and you know we’re hoping we’re just hoping we went I’m also working with sip panels structurally insulated panels which came about when I was a Loeb fellow at Harvard and had been asked by dwell magazine to come up with a new idea for a competition for a prefab home and I started thinking about what would happen if you had sites that were harder to get a tour you wanted to kind of quickly put together a kid of part that could enter be interchangeable so this is called the swell house and it uses steel and the cips together and this was the image that was published in dwell at that time the good news was that somebody liked it and bought it and we built it using this system sips are structurally insulated panels really they come with different types of infills some of them are wheat and straw this is a Styrofoam really great if you have sensitivity to sound so this client is a film I’m sorry is a music producer he produced Bob Dylan’s last album here in his house and he has a recording studio so he really wanted to be able to control sound and they’re also great for insulation the sips went in in two days I believe and then the rest of the house took about 10 months but you know the idea is that the bones of it were pretty quick it’s kind of a big open space that again the sips come pre channeled for your electrical and essentially snap together and in a relatively short period of time what I liked about that project is it’s led me to Taliesin which is the Frank Lloyd Wright’s School of Architecture that’s this one is based in scottsdale arizona he also has one in wisco he is was but you know their school still exists it’s also in Wisconsin where the students travel back and forth every six months amazing education and they build their own shelter in the desert or back in Wisconsin this was a design-build studio i did with these students and it was the first new you structure that has been built at Taliesin since the death of mr. right so it was very controversial and we were pushed off to the edge but which was fine and we’re pretty happy with that and we we used a system of the sips and this kind of modular steel building and we created a small retreat space with a breezeway that passes through it we left the sips pretty much as they were and just give them coated them and gave them some paint this building also is meant to be off the grid and like I said lives over on the corner of Taliesin and you can visit it on the tour if you ask them to see it I’m not sure if you can stay there i think they usually let their artists and residents stay there and it’s it’s over a wash and which is what we liked about it that ultimately it was just cantilevered over the desert floor that’s the end can I take questions I’m sorry I feel like I was just rushing through it a little bit jet lag II ready for a beer honestly yes yeah I mean that’s a really interesting question i mean some of the criticism about you know hardcore modernism like emmys van der Rohe building is that you know it’s very austere and it doesn’t

have a lot of you know gentle softness to it mm-hmm well I mean you so just to respond to that I mean you could walk down the aisle of home depot and look at all the building materials in there and say none of that is very human esque you know but it’s really what you do with it so it’s what you do with the two-by-four it’s what you do with the SIP panel or the shipping container it’s how you finish it it’s how you you know it exfoliate its skin it’s how you know it’s what you as the designer brings to it it’s the natural light it’s taking something out of context and kind of repurposing it for another use and I think that’s really what a lot of this work is about how do you just take something like you know a cement mixer and kind of make it into a room I’ve seen there’s a great firm in New York called low tech and they did a great project like that so you know it’s I think we’re so trained often to kind of look in our industry at the kind of materials and the ideas within our industry but as artists or architects we need to look outside of our industry to invent you know like Steve Jobs it wasn’t looking at I don’t know what he was looking at I shouldn’t speak for him I don’t know any other questions I saw yes a lot of well so I mean I’m sure here you don’t have building codes super easy to do everything but um my advice often is especially you know it’s this student is that you just do it I always say you know it’s much easier to ask for forgiveness than to ask for permission so sometimes you get an amazing client who says you know I don’t really I know enough I’m responsible he was the GC on the project you know he knows how to build it’s like i’m i’m going to take full responsibility you just conceived of this and you know i’ll make it work I think that’s often the way it works in most in construction industry it’s everyone’s inventing it all the time you know if it’s if it’s new Frank area when you did disney concert hall they couldn’t build it or they over cost you know they said the cost was so extravagant because they had never built something like that before he figured out a way to make it affordable you know it wasn’t hard I mean it was hard but you know he did he figured that out you know so I i guess i’m not saying to you know to do illegal things i’m just saying that you know to really challenge yourself and to challenge norms you have to try things that are that were alternative he did actually get in trouble a little bit but he called it ah he had some crazy term for it he said that it was like a caretakers house on you know a piece of industrial or not it was a a Greek I’ll land and it was like the caretakers house for the agricultural land so that works for me yes yeah that’s a really i mean that’s interesting because we’re actually casting right now for a TV show everybody to uh to do a new show on mobile architecture and probably three or four years ago when this idea first one out there the TV people said Oh America is not ready for this idea you know they will not stomach that and now tiny houses have you know become the talk of the day you know I I always go back to this feeling of like look outside of the way everybody else is building you know like that those you LDS those unit load devices that I was so fascinated by just by being in the airports all the time you know finding a way to go into their world and then just pulling that thing out you know I had an

instant structure you know you could easily deploy those in so many different ways you know I think I’ve seen some of the shows about the tiny houses and you know it’s always about this kind of real minutia and intricacy intricacy of the detailing and like someone just slaved on this for 12 months you know in their back and someone’s field you know it doesn’t have to be that complicated Mooji you know Mooji the Japanese company just came out with a new Mooji house it’s very clean it’s very simple you know I think that there’s all kinds of ways to think about design and it doesn’t have to be overly complex and sometimes you know like the paperclip i think is one of the most interesting designs out there and you know someone did pretty well with that so it’s not it’s not complexity you know its simplicity but it’s finding the right formula yes we’re talking about it and a person here in your gross quickie about that what would it take to translate this not structure that help mmm-hmm such a big conversation you know like how do you deal with refugee housing how do you do with homeless population how do you deal with you know affordable how does students afford housing you know I’m a big this is a kind of segue but I’m a huge fan of trailer parks like why aren’t we rethinking trailer park so that you’re a student you come to school you buy your trailer you by your unit you know you you rent that that space for the time that you’re at school and then you take your house with you or you resell it to the next person and that there’s a you know again arca gram came up with this idea of plug-in city it’s not a new idea RV parts are essentially that but it’s a it’s just bloated so I know it’s not your question um I I don’t have the answer to that I mean clearly otherwise I would have done it it’s hugely challenging because you’re dealing with Paul you know political borders and you’re dealing with public space you know I’ve had this idea for like a kind of land air B&B that there’s all of this empty land why don’t we just let people lease it out and you can you know rent your your portable pod and stick it in there and then you know all of this land that’s kind of unused in cities or in around the world can be someone can make money off of it and it can be habitable so for me one of the challenges is a private property you know it’s um how do you deal with that you know we’re pretty stuck I don’t know la is having a huge crisis right now with its homeless population I mean it’s just and you know the winter is coming and no one’s no one knows what to do I don’t know you can solve it I mean you guys can solve it that’s your that’s your generations task yes mm-hmm and should you said sugar obon know that one yeah mm-hmm yeah right yeah i mean i i’m gonna guess you’re

kind of in your 20s somewhere around there something like that so um I know I’m not supposed to ask that in my school but um you know something happens when you’re like in your teens and 20s and you don’t have very much stuff any of your backpack and you have you know your thumb drive or whatever you have and then you get older and you have kids and i’ll send you stuff like anybody who has a baby realizes oh my god there’s so much stuff so you know I used to think we could just store our memories on our hard drives that you know we don’t need all grandmother’s attic to store our stuff in but there is a time in life where people are stuck with this idea of ownership you know and and and then you need a house to put all that stuff in you know how there’s certain cultures I mean I think a more Japanese aesthetic which is more about a minimalist you know aesthetic where you kind of things have multi purpose or multi-use or you know even the shakers you know like you could put you would hang your chairs on your wall you know and that there were a lot of different ways to inhabit space and goods you know it’s it’s time for a radical shifting of our of the nature and these McMansions in the way that we’re we’re living I think that you know it’s it’s changing I definitely think that the shared economy is thing is changing things i think that people are thinking about you know co coing in a lot of different ways but then what happens when you start to have a family you know how will you will you choose to live in a tent you know in off the grid well you know are you going to sort of get that corporate job and you know make that bacon so I’m not you know I don’t know what’s happening with America it’s but I know I’m interested in this and I try to kind of live it as much as I can and I know that there’s other people that are interested in it and I think that we will be seeing a shift definitely in the way we make things in the Latin the next five years you know you can 3d print anything now it’s like you know you don’t need an architect that’s great thank you all so much for coming i really enjoyed that great question