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By Juan Maria Songel

One of many 20th century's most vital layout visionaries, German architect and structural engineer Frei Otto(b. 1925) made his mark with a chain of super-light tensile structures—such because the West German Pavilion for Montreal's Expo sixty seven and the Olympic Stadium in Munich (1972)—that are celebrated for his or her technical ingenuity and fabric potency. but regardless of Otto's achievements, rather little has been released on his paintings. A dialog with Frei Otto incorporates a accomplished interview with Otto in addition to his serious textual content Fundamentals of a destiny Architecture in its entirety. In his dialog with Juan María Songel, Otto talks freely approximately every little thing from his early connections to the Bauhaus to his options at the present kingdom of engineering and structure. the newest in our Conversations sequence, this ebook additionally comprises pictures of Otto's most vital and recognized works.

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One can think of everything, one can calculate everything using the computer. It can be said that the computer has created this form, but I think that’s a lie because the artist or the mathematician who is behind the computer has created it by using calculation methods to obtain something that he likes, that speaks to his artistic sensibility. I reject the lie that says that the computer A Conversation with Frei Otto Graphic representation of the minimum surface formed by soap film and supported by a loop, obtained through computer calculation.

I believed that it was necessary to introduce a certain systematization; without it, how could one address teaching from such a vast field? The teaching commitment demanded a certain order, but, at the same time, I also had to address or take into account both the issues of extension and concentration; I had to concentrate on some places to be able to put forward real advances towards the future, something that interests me more than making history. I have always considered the attention to history the responsibility of my specialist colleagues, and in the institute there has always been at least one collaborator, assistant, or professor who has seriously dealt with this issue, specifically Rainer Graefe, Eda Schaur, and Berthold Burkhardt.

Other systematizations of forms— such as those of Paul Klee or Iakov Chernikhov—seem more abstract, more geometric, perhaps more influenced by the artistic vanguards of the first third of the twentieth century, while your criteria reflect your search for a close relationship between form and strength. I think you’re referring to the possible influence of the formal inventions of classical modern architecture or of painting on my work. Naturally I know, among others, Piet Mondrian; I don’t know whether he has influenced my work or not: both yes and no.

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