Lebbeus Woods

Lebbeus Woods (May 31, 1940 – October 30, 2012) was an American architect known for experimental and innovative architectural designs, his projects often theorizing architecture in areas experiencing crisis. Woods was the founder of the Research Institute for Experimental Architecture (RIEA). He also served as a professor of architecture at the Cooper Union School of Architecture, and later, as a professor of Visionary Architecture at the European Graduate School (EGS).

Career Born in East Lansing, Michigan, Woods studied architecture at the University of Illinois and engineering at Purdue University. While Woods called himself an architect he never received a degree in architecture nor was he ever licensed to practice architecture. He first worked in the offices of Eero Saarinen as a field representative on the Ford Foundation building designed by Saarinen in New York City. After leaving Saarinen's office he worked for a short period for the Champaign, Illinois firm of Richardson, Severns Scheeler & Associates. He also produced paintings for the Indianapolis Art Museum during that period. In 1976 he turned exclusively to theory and experimental projects. He designed a light pavilion in the Sliced Porosity Block, Chengdu, China with Steven Holl, and buildings in Havana, Cuba. In 1988, Woods co-founded the Research Institute for Experimental Architecture, a nonprofit institution devoted to the advancement of experimental architectural thought and practice while promoting the concept and perception of architecture itself.

As an artist, Woods illustrated Wagner's Ring of the Niebelung, and Arthur C. Clarke's 1983 short-story anthology, The Sentinel. An exhibition of Woods' work, including his drawings, was organized by the San Francisco Museum of Modern Art in 2013. The opening included a conversation between Southern California architects Thom Mayne and Neil Denari, who remembered Woods as a mentor and friend. This was a touring exhibition, presenting during 2014 at the Eli and Edythe Broad Art Museum at Michigan State University and Drawing Center, in New York.

The author of nine books, he was a 1994 recipient of the Chrysler Design Award.

Philosophy While the purpose of most architects is the construction of their designed work, for Woods, the essence of architecture transcended these limits by seeking something other than an idea expressed as a built form. Interested in what would happen if the architect was freed from conventional restrictions, he did not intend to generate and construct a design proposal of a specific geometrical form in order to approach an existing architectural problem. To the contrary, his work consists of intricately complex drawings and designs, envisioning and exploring new types of space. Yet, he considered his architecture neither utopian nor visionary but an attempt to approach reality under a radical set of ideas and conditions.

In his visionary world, architecture instrumentalizes the continuous transformation of the human being as its user who becomes its creator, giving it meaning and content through their way of acting in space. All individuals, whether they have an architectural background or not, should become creators of this new world. A person devoid of architectural education is called upon to act as an architect and in parallel, the architect needs to act upon as a person with no architectural background. To this end, Woods saw a parallelism between the designer of a building and the creator of a pyramid who follows forms imposed by those who represent, express, dominate, and exploit others’ obedience to regulatory rules. On one hand, at the lowest level of the structure Wood places the inhabitant of the pyramid as the bearer of its full load. On the other hand, the architect who designs building non types, or else the freespace of unknown purpose and meaning, inverts the pyramid and creates new building types. Every resident of this inverted structure becomes a top. In the undefined darkness of the void where this structure is located, many pyramids interpenetrate and dissolve, one in the other. They generate a flow; a form of indeterminacy; a contradictory plan; a city of unknown origin and destination; a state of continuous transformation. This can as also be seen in Woods's project Horizon Houses about which he states:

The majority of his explorations deal with the design of systems in crisis: the order of the existing being confronted by the order of the new. His designs are politically charged and provocative visions of a possible reality; provisional, local, and charged with the investment of their creators. He is best known for his proposals for San Francisco, Havana, and Sarajevo that were included in the publication of Radical Reconstruction in 1997 (Sarajevo after the war, Havana in the grips of the ongoing trade embargo, and San Francisco after the Loma Prieta earthquake).

Architecture and war are not incompatible. Architecture is war. War is architecture. I am at war with my time, with history, with all authority that resides in fixed and frightened forms. I am one of millions who do not fit in, who have no home, no family, no doctrine, no firm place to call my own, no known beginning or end, no "sacred and primordial site." I declare war on all icons and finalities, on all histories that would chain me with my own falseness, my own pitiful fears. I know only moments, and lifetimes that are as moments, and forms that appear with infinite strength, then "melt into air." I am an architect, a constructor of worlds, a sensualist who worships the flesh, the melody, a silhouette against the darkening sky. I cannot know your name. Nor you can know mine. Tomorrow, we begin together the construction of a city.

Realizing the need to redefine the meaning of human existence by means of architecture, Woods envisioned the creation of spaces sheltering the diverse material and immaterial needs of each of their inhabitants. In his works, terms of a conventional architectural vocabulary, such as the void, wall, volume, and surface, give their place to combinations of heterogeneous and radical interpretations of their content including the "freespace", "multiplicity", and "heterarchy".

In a similar way, Michel Foucault identified transitional spaces that accommodate diversity or else the other pertaining to each inhabitant as opposed to the entire community. For him, these heterotopias are real and institutionalized spaces lost within the grid of the urban fabric. However, they constitute "a kind of dislocation or a realized utopia, in which all the real spatial arrangements, all other spatial arrangements encountered within society, are simultaneously represented, challenged and overturned".

Freespace Woods introduced the term freespace to propose an architectural approach freed from its conventional, predetermined and deterministic character, or else an architecture that instrumentalizes the ever-changing landscape of the modern era which is exposed to natural and man-made changes. In contrast to the model of organization and development of the modern city, the freespace was for Woods a field of unpredictable forces and continuous transformations of both its user and society which is characterized by morphological fluidity and ideological liberation.

Terra Nova - Korean Demilitarized Zone In 1988, as part of the Kyong Park exhibition at the Storefront for Art and Architecture in New York City, Woods proposed a solution of an architectural and political nature to address the crisis in the Korean Demilitarized Zone (DMZ), a strip of land that runs through the Korean Peninsula and almost bisects it, forming a neutral zone between the northern and southern part. It was created in 1953 de facto under the Korean Reconciliation Agreement between North Korea (Democratic People's Republic of Korea) and the United Nations, requiring the troops of each side to descend from the front's line by 2 km, thus leaving a neutral 4 km-wide strip between them. To this end, he developed three architectural proposals. Woods won a "six figure sum", and allowed the film to continue to be screened. The end credits state that his work "inspired" the Interrogation Room set.

Woods is credited as the "conceptual architect" for Alien 3, establishing the look and feel of the film, especially the opening sequence.

Woods's works have inspired the art designer Viktor Antonov's personal style that is portrayed in several video game franchises, including Half-Life and Dishonored. Afterlight, from Silent Road Studios, is also known to use Woods's ideas both aesthetically and thematically.