Hollywood Bowl Renovation – Completed 2003 (Photo: Courtesy Hodgetts + Fung)
COMPETITIONS: Pursuing architecture as a profession apparently was not a foregone conclusion for either one of you when you began your college educations. It was somewhat of a winding road for both of you. Although industrial design and fine arts are not that far removed from the workings and aesthetics of architecture, it evidently took some time before you both decided to pursue it as a profession.
Ming Fung: I was always interested in the arts and in theater. Also, my background in anthropology led me to have a strong interest in how people live in a space. That interest in theater has always been in the background, in the work Craig and I do.
Craig Hodgetts: When we started our practice together, what really bonded us was this idea of human narratives, theater, and architecture as a setting for that. Ming was coming out of a background of film and theater, and I sort of came to it in a similar path, because I actually studied theater and did a lot of play writing. I got into architecture, because I wasn’t making any money as a playwright or as a scenic designer. A friend of mine had a drafting job where he was making ten dollars an hour. I thought I better learn how to draft. Then Charles Moore seduced me in terms of his humanistic view of what architecture was all about. I had no clue. There was a kind of resonance with Moore’s approach to architecture and the more theatrical approach. I think that’s a common D&A that Ming and I have: it’s not about the building, it’s about what happens in the building. You make the building frame these various scenarios, exchanges, and interludes.
There is another layer that went on top of that when we started working together, because we did do a lot of TV commercials and things like that. That brought us into contact in a serendipitous way with this incredible array of fabricators and technicians that exist in LA, and not anywhere else. That became a great resource, which came out of the theater and film background. This gave a certain flavor to the ideas that we have about how to fabricate a building.
COMPETITIONS: It has occurred to me that students studying architecture should be required to take a course in set design.
CH: We both press for that in our individual schools.
MF: Set design and theater lighting. Architects often don’t know how to light a building, and theater really sets the mood. There is a lot to learn from that.
CH: It can get over amplified to the point where your design becomes so particular in trying to control what people feel—which is inappropriate in an architectural framework.
Los Angeles Public Library, Hyde Park – Miriam Matthews Branch (Photo: Courtesy Hodgetts + Fung)
COMPETITIONS: Craig, you were working in Stirling’s office before he became a star. What led you to that office, what was it like in those days, and what did you take from that experience?
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