>> PRODUCTION OF BROAD AND HIGH FUNDED IN PART BY GREATER COLUMBUS ART COUNCIL, FOSTERING TALENT AND CONNECTED THE COMMUNITY TO ARTIST, CONCERTS, PUBLIC ART AND MORE AT WWW.COLUMBUSMAKESART.COM.

FROM THESE CONTROLLING SPONSORS, AND VIEWERS LIKE YOU .

THANK YOU.

>> THIS TIME OF BROAD AND HIGH WE MEET OUTPOST OFFICE AND LEARN HOW THEY ARE PUSHING THE BOUNDARIES AND DEFINITION OF ARCHITECTURE.

VISIT A MUSEUM IN NEW MEXICO.

AND HERE THE SULTRY SOUNDS OF A LOCAL SINGER-SONGWRITER.

THIS AND MORE RIGHT NOW ON BROAD AND HIGH .

>> WELCOME TO BROAD AND HIGH.

ASHLEY AND ERIC ARE THE PRINCIPAL AND COFOUNDERS OF OUTPOST OFFICE.

AT ITS CORE THEIR DESIGN PRACTICE IS CONSTANTLY QUESTIONING AND RETHINKING TRADITIONAL IDEALS, NOT ONLY IN ARCHITECTURE, BUT SOCIETY AS WELL.

LET'S LEARN MORE ABOUT THIS DUAL WHO THRIVE ON COLLABORATION AND DROP INSPIRATION FROM THE BEAUTY OF THE WORLD THAT SURROUNDS US.

>> WE ARE AN EXPERIMENTAL ARCHITECTURE PRACTICE.

WE DESIGN BUILDINGS LIKE TRADITIONAL ARCHITECTS WOULD, WE ALSO DESIGN PUBLIC SPACES, FURNITURE, LANDSCAPE AND EVERYTHING IN BETWEEN THOSE WE TRY TO BE EXPERIMENTAL AND PUSH THE BOUNDARIES AND ALSO THE DEFINITIONS OF EACH ONE OF THOSE THINGS AND ARCHITECTURE ITSELF.

>> IT IS A CLEARINGHOUSE OF OUR IDEAS, BUT ALSO IDEAS BROUGHT TO US BY COMPELLING CLIENTS, COLLABORATORS, CONSULTANTS.

>> I THINK ONE OF THE MOST IMPORTANT THINGS IS THAT WE DO NOT SEARCH FOR PROBLEMS, WE CHASE HUNCHES.

THE REASON IS IF THERE IS SOMETHING THAT MAX AT US, IT IS SOMETHING THAT IS WORTH WORKING OUR WAY THROUGH.

THERE IS ALWAYS A SPRING OF NEW IDEAS.

IT IS A MATTER OF UNDERSTANDING HOW THOSE MIGHT GET INSTRUMENTAL LIES.

ONE OF THE THINGS WE ARE ALWAYS WORKING WITH ARE TRYING TO FIND NEW TECHNIQUES OR NEW MEANS TO WORK WITH.

EXECUTED WITH A STRIPING ROBOT.

IT IS GPS CONTROLLED AND NOT TOTALLY AUTONOMOUS.

WE COMMUNICATE THROUGH COORDINATES.

>> WE CALL THEM DRAWING FIELDS.

THERE IS SOMETHING BETWEEN PAINTING, LANDSCAPE INSTALLATION AND ARCHITECTURE.

THEY ARE SPATIAL AND SPATIAL PROTOTYPES.

WHAT WE ARE INTERESTED IN IS UNDERSTANDING AND LOOKING AT HOW PEOPLE BEHAVE WITH THE KIND OF SIMPLE ACT OF DRAWING A LINE ON THE GROUND.

>> WE ARE TRYING TO EXPERIMENT WITH TEMPORALITY, THINKING ABOUT OUR DRAWINGS AS MORE THAN REPRESENTATIONS PREPARING FOR THE ACT OF BUILDING, BUT ARE ACTUALLY THINGS THAT CAN BE EXPERIENCED IN SPACE.

IN THE PAINTING THEORIES, IT HAS BEEN A REALLY INTERESTING WAY TO ENGAGE INSTITUTIONS THAT WANT TO USE THEIR LANDSCAPE OR CAMPUSES IN UNIQUE WAYS.

>> WE HAVE BEEN USING THIS TECHNIQUE WORKING WITH AND AROUND THE PRESETS AND ALSO WRITING OUR OWN CODE THAT CAN INTERFACE WITH THE ROBOT.

REALLY FIGURING OUT HOW YOU MAKE AN INDUSTRY PARTNERSHIP WORK WHEN YOUR MAIN APPLICATION IS ARTISTIC AND NOT COMMERCIAL USE.

>> I THINK THE PREMISE IS TEMPORARY WORK BUILDS TOWARD MORE LONG-TERM WORK.

THAT ESTABLISHES THE VALUE SCALE WERE THINGS THAT DO NOT LAST AT --AS LONG AS VALUABLE.

I THINK WE USED TO UNDERSTAND THAT VALUE SYSTEM AS PRETTY CONCRETE.

AFTER DOING THESE PAINTINGS AND EXPERIENCING THE WAY THESE TEMPORARY THINGS CAN HAVE A LASTING IMPACT, WE ARE QUESTIONING A LOT MORE.

IT IS A PREMISE THAT BIGGER THINGS ARE BETTER THAN SMALLER THINGS.

THAT IS A SIMPLE WAY TO LOOK AT THINGS.

THERE ARE A LOT OF PRECIOUS THINGS THAT ARE VERY SMALL.

WE ARE LOOKING AT TIMESCALE IN THE SAME WAY.

THE PAINTING WAS OUR FIRST ENGAGEMENT.

IT DEALT WITH UNDERSTANDING HOW THE EXTERIOR LANDSCAPE COULD BE ACTIVATED.

THE FURNITURE PIECES THAT ARE ON DISPLAY ARE A LITTLE BIT MORE OF AN OPPORTUNITY TO ASK THOSE SAME QUESTIONS BOTH INSIDE AND OUTSIDE THE BUILDING.

>> YOU ARE ALMOST NEVER ALLOWED TO TOUCH THE ART.

AS ARCHITECTS YOU CAN ALWAYS TOUCH A BUILDING.

TOUCHING FOR US IS A VERY IMPORTANT ASPECT OF WHAT WE DO.

WE WANT PEOPLE TO PHYSICALLY ENGAGE.

IT IS SOMETHING BETWEEN THE SIZE OF A ROOM AND THE PEACE OF FURNITURE.

WE LIKE THE TERM SUPER FURNITURE.

IT SUGGESTS THAT PEOPLE INTERACT WITH IT .

BUT ALSO SUGGEST THAT IT IS NOT A TABLE AND IT IS NOT A CHAIR.

HAVE ANGLED SURFACES, BUT WE REALLY MAKE SURE THEY DO NOT LOOK LIKE FURNITURE THAT YOU HAVE SEEN OR USED BEFORE.

WE WANT PEOPLE TO IMPROVISE, TO INVENT NEW USES , TO USE THEIR BODIES IN DIFFERENT WAYS.

WE ALSO WANT TO CONFORM TO BODIES OF DIFFERENT SIZES OR ABILITIES AND REALLY BE VERY INCLUSIVE OF DIFFERENT AGES AND DIFFERENT POPULATION GROUPS .

>> A LOT OF OUR HUNCHES HAVE TO DO WITH COLOR, A FASCINATING TOPIC.

IT IS A LITTLE UNDERSERVED IN THE WORLD OF ARCHITECTURE.

PART OF THAT IS WHAT PEOPLE CALL COLOR PHOBIA.

OBJECTS THAT ARE KIND OF AFRAID OF COLOR .

ALL OF THESE EXPERIMENTS, WHAT WE ARE TRYING TO DO IS UNDERSTAND HOW COLOR CAN PERFORM A FAX --EFFECTS.

WE ARE INSPIRED NOT BY ART, HISTORY AND ARCHITECTURE.

WE ARE INSPIRED BY DIFFERENT GEOGRAPHIC CONTEXT, TRADITIONS AND CULTURE.

SOME OF THOSE WE HAVE WITNESSED FIRSTHAND LIVING IN DIFFERENT COUNTRIES.

MANY WE ENJOY LEARNING ABOUT AND EXPANDING ON OUR OWN HORIZON ADDED TO THE COURSES WE TEACH OR LEARNING FROM OUR STUDENTS .

REALLY JUST SEEKING OUT NEW KNOWLEDGE AND NEW FORMS OF INSPIRATION WHEREVER THEY HAPPEN TO COME ALONG.

>> ONE OF THE TERMS THAT WE USE IS THINKING ABOUT HOW ARCHITECT --ARCHITECTURE CAN BE EXPERIENCED OR BUILT.

AT THE CORE ARE THESE VALUES.

ONE IS FIRMNESS.

THIS IDEA TO BE IN ARCHITECTURE SOMETHING HAS TO LAST.

WE ASKED A LOT OF QUESTIONS ABOUT EXACTLY HOW LONG THAT DURATION NEEDS TO BE AND HOW SOMETHING INDOORS.

DOES IT ENDURE AS A RELIC OR AS A MEMORY?

EXPERIENCE?

>> ATYPICAL ARCHITECT MIGHT WORK ON A PROJECT FOR 3-5 YEARS.

I AM OFTEN ANXIOUS TO MIX IN SHORTER-TERM PROJECTS ALONG THE WAY.

I THINK WORKING IN ACADEMIA AND MORE CALORIE CONTEXT AND MORE ART CONTEXT AND IN TEMPORARY ARCHITECTURE, IT ALLOWS ME TO EXPLORE THINGS THAT WORK ON THE DURATION OF TWO WEEKS OR TWO MONTHS OR TWO YEARS.

AS ARCHITECTS FOR MANY CENTURIES, WE IMAGINE OUR BUILDINGS WILL LAST FOREVER.

REALITY IS THE AVERAGE LIFESPAN OF A BUILDING IN THE U.S. IS 40- 50 YEARS.

ALTHOUGH WE MIGHT PLAN FOR A BUILDING THAT WILL LAST 200 YEARS, WE HAVE TO BE AWARE THE REALITY IS NOT THE CASE.

THE DEMOLITION AND DESTRUCTION OF A BUILDING OVER AND OVER IS REALLY CONTRIBUTING TO THE CLIMATE CRISIS.

A LOT OF BUILDING MATERIAL GOES INTO LANDFILLS WHEN BUILDINGS ARE TORN DOWN.

AT EVERY SCALE OF THE PROCESS, WE HAVE TO THINK DIFFERENTLY ABOUT THE WAY WE USE MATERIALS.

BECAUSE OF THIS WE CAN EITHER PLAN FOR EXTREMELY LONG TIME FRAMES OR EXTREMELY SHORT TIME FRAMES.

WE HAVE RECENTLY BEEN LOOKING AT BOTH ENDS OF THE SCALE .

WITH THESE DRAWING PROJECTS, THEY REALLY OPERATE ON A 2-6 WEEK TIME SPAN UP TO A YEAR IN SOME INSTANCES.

WHAT WE LIKE ABOUT THAT IS THERE IS NO MATERIAL WASTE ASSOCIATED.

WE CAN HAVE LARGE PUBLIC GATHERINGS, COMMUNITY ENGAGEMENT .

WE CAN THINK ABOUT ARCHITECTURE ISSUES WITH THE PUBLIC AND COMMUNITY.

AT THE END OF THE DAY NOTHING GOES INTO A LANDFILL.

IT IS BIODEGRADABLE AND NATURALLY DISSIPATES WITH THE SUN, THE WIND AND LIGHT.

WE ARE INCREDIBLY EXCITED ABOUT THE POTENTIAL OF DOING SHORT- TERM PROJECTS WHICH HAVE A BIG SOCIAL IMPACT, AND VERY LITTLE MATERIAL AND WASTE IMPACT.

WE THINK THAT IS NOT THE RIGHT APPLICATION FOR EVERY SINGLE PROJECT .

OBVIOUSLY WE STILL NEED NEW BUILDINGS THAT WE NEED, BUT WE ARE TRYING TO REFRAME OUR THINKING RELATED TO TIME AND ARCHITECTURE.

>> A LOT OF ARCHITECTURE IS ABOUT MAKING NEW GROUND OR INDENTING NEW SPACE.

ONE OF THE THINGS THAT IS EXCITED ABOUT THE WORK WE DO WHAT WE DEAL WITH FURNITURE AND LANDSCAPE PAINTINGS OR OTHER TYPES OF INSTALLATIONS, WE ARE ALMOST CONSTANTLY RENOVATING SPACES.

TAKING SPACES THAT ALREADY EXIST AND ASKING THEM TO BE LOOKED AT IN A NEW LIGHT.

WHEN THINKING ABOUT WHAT WE ARE GOING TO DO NEXT, IT IS USUALLY A HUNCH THAT COME OUT OF QUESTIONS THAT CAME FROM THE PREVIOUS PROJECT THAT DAISYCHAINED TOGETHER.

A CLEAR TRAJECTORY.

IN OTHER WAYS WILL REMAIN INTERESTED IN THE CORNERS OF THE PRACTICE.

>> TO LEARN MORE CHECK THEM OUT ONLINE.

>> CHARLES IS A CARVER AND A PAINTER OF IMAGES OF THINGS.

IN THIS SEGMENT WE MEET THE ARTISTS AT THE ALBUQUERQUE MUSEUM IN NEW MEXICO.

WE LEARN HOW HIS OWN WORKS CORRELATES HIS EXHIBIT AND HOW THEY BOTH ARE CONNECTED TO HISPANIC HERITAGE AND CULTURE.

>> NEW MEXICO'S RELATIONSHIP WITH SPAIN IS COMPLICATED FROM THE VERY BEGINNING, BUT I HAVE ALWAYS NOT ONLY AS AN ANTHROPOLOGIST, BUT AS A ARTIST AND NEW MEXICAN OF HISPANIC DESCENT HAVE ALWAYS SEEN NEW MEXICO AS A GRANDCHILD .

I HAVE ALWAYS THOUGHT MEXICO BEING THE MOTHER AND SPAIN BEING THE GRANDMOTHER FOR EVERYTHING NEW MEXICAN.

WHAT WE FORGET SITTING IN OUR ISOLATION IN NEW MEXICO IS SPAIN WASN'T JUST ONE THING, IT WAS THE HEINZ 57 OF EUROPE.

EVERYBODY WHO PASSED THROUGH EUROPE , EVERYBODY ENDED UP IN SPAIN AT ONE POINT.

ALL THOSE PEOPLE MADE WHAT WAS A SPANISH CULTURE TODAY.

PEOPLE FORGET IT IS MANY THINGS.

WHAT FASCINATES ME IF IT CONTAINS ELEMENTS THAT ARE BOTH CHRISTIAN AND MUSLIM.

IN A SENSE IT REMINDS ME OF NEW MEXICO, WHERE A CULTURE THAT HAS ALL KINDS OF INFLUENCES AND ALL KINDS OF MIXERS .

THE REALLY COOL THING IS THE HAND OF FATIMA AND THE ALL SEEING AND OF GOD -- EYE OF GOD.

I HAVE A CONNECTION .

IT IS NOT REMOTE, IT IS NOT AN IDEALISTIC CONNECTION.

IT IS MY HISTORY.

IT IS MY CHILDREN'S HISTORY, IT IS THE HISTORY THAT IS COMPLETED .

WHAT HISTORY BOOKS LOSE IS THE PERSONAL CONNECTION PEOPLE HAVE TO A PERSONAL PATH.

THE TAPESTRY BEHIND ME IMPRESSED ME BECAUSE RIGHT AWAY I THOUGHT NEW MEXICO.

I SAW THE STAR MOTIF .

WHAT THAT MADE ME REALIZE REALLY QUICKLY WAS THIS IS UNIVERSAL .

NOT ONLY NEW MEXICO, ALL OVER THE WORLD.

THIS PIECE DATES FROM THE 14th CENTURY.

I SEE THAT CONTINUITY.

THE FRONTIER COMMUNITY THAT NEW MEXICO WAS BEING THE FAR OUTPOST OF THE NORTHERN COLONY OR THE NORTHERN PART OF NEW SPAIN , WHAT PEOPLE FORGET IS THERE MEXICO FROM SPAIN AND BRINGING SOME OF THOSE LUXURY ITEMS INTO MEXICO AND THEN FROM MEXICO INTO NEW MEXICO.

NEW MEXICO HAD THE REPOSITORY OF SPANISH WORLD TRADE FROM MEXICO CITY ALL THE WAY TO SANTA FE, EXPOSING NEW MEXICANS TO THE REST OF THE WORLD.

IN NEW MEXICO WE HAVE A BEAUTIFUL PRAYER .

IT IS AN OFFERTORY PRAYER.

ONE OF THE ALLIANCE IS IT BASICALLY ELUDES TO THE NAVIGATORS OF THE SEA .

I CAME FROM A TIME WHEN MY ANCESTORS WERE STILL COMING ON SHIPS TO THE NEW WORLD.

I WORK AS A MAKER OF HOLY , RELIGIOUS ITEMS BOTH CARVED AND PAINTED.

THAT IS WHERE I REALLY MAKE THE CONNECTION.

IN MY ARTWORK I SEE THE CONNECTION TO SO MANY THINGS SPANISH.

THE TRADITIONS, THE ART FORMS, ALL THOSE THINGS FILTER THROUGH GENERATIONS AND END UP IN NEW MEXICO.

THE FILTERING PROCESS SOMETIMES OBLITERATES THINGS COMPLETELY AND SOMETIMES THAT FILTERING PROCESS AMPLIFIES THINGS VERY COMPLETELY.

WE SEE THAT IN SOME OF THE PAINTINGS.

THERE ARE THINGS THAT I DO AS AN ARTIST THAT I CAN REFERENCE FROM THE GREAT MASTERS IN THIS VERY ROOM.

I AM TAUGHT TO FOLLOW THE SAME PORNOGRAPHY -- ITEMS.

WHAT CELEBRATES ME IF I AM ABLE OF A ROOM WITH ALL OF HIS FAMILIES WORK.

IT IS THRILLING TO LOOK AT.

WHAT I LOVE ABOUT THIS PAINTING IS IT REMINDS ME OF THE THEOLOGY OF THE IMMACULATE CONCEPTION.

STARTING 325 ALL THE WAY TO 1854 WHEN THE DOGMA WAS ACCEPTED BY THE CATHOLIC CHURCH.

MORE EVEN THAN THAT IS THE FACT THAT IN THIS IMAGE I SEE THAT GREAT REVELATION THAT DESCRIBES THE WOMAN CLOSE HAD THE SUN WITH 12 STARS IN HER CROWN.

IT WAS CLASSIC AND WE STILL USE IT TODAY.

SHE IS ONE OF MY FAVORITE IMAGES.

I GUESS THE BOTTOM LINE ABOUT CREATED THE OBJECTS.

I WOULD LOVE TO BE ABLE TO IMAGINE MYSELF ON THE SAME BENCH .

I SIT THERE AT THE LOOM ASKED THE WEAVERS WITH THOSE SHADOWS OF SILK.

I SIT IN THE WORKSHOP WITH THE MARBLES AND THE DUST FLYING AROUND.

ONE OF THE SCULPTURES, HE GIVES THAT SAME ALMOST UNREAL HUMAN QUALITY .

I CAN DO THAT AND IMAGINE MYSELF BEING IN ALL OF THOSE PLACES.

I THINK IF I UNDERSTAND THEM I BEGAN TO UNDERSTAND MYSELF.

I BEGAN TO UNDERSTAND WHO HE IS PAST.

I BET YOU SOME OF THE ITEMS ARE COPYING OTHER WORKS THAT WERE HUNDREDS OF YEARS OLDER AND THEY WERE WISHING THE SAME THING.

I UNDERSTAND THE PERSON I'VE COPIED.

I THINK THE LONGEST JOURNEY THAT ARTISTS MAKE, AND I CAN SAY THIS NOT ONLY FOR NEW MEXICAN ARTISTS, BUT ARTISTS ALL OVER THE WORLD IS THE LONG JOURNEY BETWEEN THE BRAIN AND THE HEART.

IT IS A LONG JOURNEY BETWEEN WHAT I UNDERSTAND INTELLECTUALLY AND WHAT MY SOUL AND MY HEART FEELS ABOUT THE OBJECTS.

I WANT TO MAKE THAT JOURNEY.

IT IS THE SHORTEST DISTANCE .

>> SEYMOUR ONLINE.

THIS FINGER -SONGWRITER WITH DEEPLY INFLUENCED BY THE BRAZILIAN MUSIC OF THE 1960S.

HER VOICE IS REMINISCENT OF BILLIE HOLIDAY, PEGGY LEE AND JULIE LONDON.

WE HAD THE PLEASURE OF HOSTING HER FOR A RECENT BROAD AND HIGH SESSION.

TAKE A LISTEN .

[ MUSIC ] WILL >> TO HEAR MORE CHECK HER OUT ON INSTAGRAM OR TREE -- THAT IS OUR SHOW.

YOU CAN FIND ALL OF OUR STORIES ONLINE AS WELL AS OUR YOUTUBE CHANNEL.

THANK YOU FOR WATCHING.

>> PRODUCTION OF BROAD AND HIGH IS FUNDED BY GREATER COLUMBUS ARTS COUNCIL .

FOSTERING TALENT AND CONNECTING THE COMMUNITY TO EXHIBITIONS, CONCERTS, PUBLIC ART AND MORE .