[music playing] adam kalkin: at the end, iwant to close this thing. so you guys can-- maybe i'lltrap some of you guys in it. because it's pretty cool-- - this has room for people? adam kalkin: yeah, you candefinitely get some people in it. - really? adam kalkin: yeah.
the basic shell islike a container, like a recycled container. we were originally going tobring the first push button house into the building,but they were having a lot of trouble-- andrea illy: becauseof the size. adam kalkin: becauseof the size. -when did you debut the pushbutton house for illy? is this the debut?
adam kalkin: i took the one fromart basel, and redid it. and shipped it to thevenice biennale. then we were going to bring itback here and we realized that there's a huge elevator, butthe door coming out of the elevator is like-- so we couldn't actually getit in the building. adam kalkin: we designed itspecifically for this space. so it does open and close. i'm adam.
james rosenquist: adam what? adam kalkin: kalkin. james rosenquist: hi, adam. adam kalkin: adam kalkin. hi. francis ford coppola: i'vebeen long interested in shipping containers asalternate dwellings. but this is amazing. adam kalkin: thank you.
drew nieporent: so you actuallypress a button? adam kalkin: you do press-- drew nieporent: and thewhole thing opens? adam kalkin: you dopress a button. the button is well hidden due tothe public nature of this. and the potential-- people running aroundwith a push button could be a little volatile. adam kalkin: how high is thatshit off the ground?
34? -34 inches. that's like an additionalactuator inside or something. adam kalkin: you know. -i know, i know, i know. adam kalkin: you can build upthe floor like three inches and then that's it forthe build out. here's a project in salt lakecity, that's kind of vertical, apartment buildings.
and here are some other ofthese push button house concepts, which some ofthem are really good. this one's really good. these are three variantson the idea, all of which are good. yeah, here's some good shit. this is the house that we'rebuilding in bedford, new york, which is like three quickhouses put together. that's pretty good.
[inaudible] said that they'regoing to fax back the engagement. rita: ok. adam kalkin: so. rita. rita: yes. he's too strange. but you gotta lovehim, you know. adam kalkin: ultimatelyarchitecture
has to capture life. so i think it needs to be opento all the processes of life, which goes back to thechoreography that's implied in the push button houses. because they're literallyin movable pieces. not are they only mobilethemselves, but the pieces themselves move. it's really nice if architecturecan incorporate some of that impulsiveness andsome of the temporality and
impromptu qualityof being alive. [hammering] [metal falling] [sawing and hammering] -there is no metal in there. -no metal? -not in there. -fuck, yeah, there is. - i saw the last one in 2005in miami during the
december art basel. and that was the beginning ofour beautiful relationship. adam kalkin: hey, dudes. - morning. how you doing, sir? adam kalkin: hey, how'sit going, man? good to see you, bro. - that's the old school way. this is the new school way.
adam kalkin: all right,how's it going here? this is looking good. - it's coming. 'cause i'd like to use thesepotentially for lighting. - that's expensive. adam kalkin: hey, you knowwhat might be good? like those chemical lights. they've got like alimited lifespan. you crack them open.
kids use them sometimes. - oh like the-- yeah. - certainly low tech. adam kalkin: well it'shigh tech, low tech. never say low tech, please. -oh. [laughs] sorry.
adam kalkin: i don't worry toomuch, or if i do worry, then i just make some shit. and then i don'tworry anymore. you have some anxiety or worryor whatever about something, and then you transfer that intosome kind of constructive or productive kind of output. it's a repurposingof a neurosis you could call art making. -ok.
you're at 25, 50,105, 130, 140. 4,000 ish. quill hyde: that is8,000 pounds. so we're good. that's all we needed to know. fuck, yeah, motherfucker. all right. i didn't really know aboutadam until i-- but once i heard his name, i lookedhim up and
obviously was intrigued. adam has much more of adesign-as-you-go sort of philosophy, whereas before icould do anything, i like to have everything completelythought out. adam kalkin: you don't want tohave the feeling like you're staring at some kind of thingthat someone's worked over with a pencil and eraserfor seven hours. before i did architecture,i was a painter. i was like a painter,but i couldn't get--
whatever. i just couldn't to getit to work for me. when you're a painter, you'relike in a studio. the whole thing is like totallyisolated, and you want to be in the worldand doing shit. this is much harder becauseyou got to-- you just deal with a lotof people, money. it's just like making paintingtimes 1,000. and plus you can also makemuch more scary shit.
so is that it? [background chatter] - yeah, yeah. just go back to theparking garage. and you'll see thisgiant loading dock entrance right there. - what are you guysdoing over here? adam kalkin: push button house. - huh?
what's that? adam kalkin: you press a buttonand a house opens. myra fiori: it's a shippingcontainer-- - ok. myra fiori:-- madeinto a house. and you push the button, and theshipping container opens and you have a fullyfurnished-- adam kalkin: six room house myra fiori:--gorgeous house.
- so you can ship thishouse anywhere? adam kalkin: that's right. myra fiori: yes. -i'll take that house. adam kalkin: jesus christ. [laughing] -straight out. - bring it out. - hold on boys.
- man on a ladder. man on a ladder. adam kalkin: i don't know thatmuch about brands, and corporate think is totalanathema to me. but i do think, in certain caseswhere corporations or companies are driven by anindividual's vision, that there are possible parallelsbetween the way an artist works and the way abusiness can work. myra fiori: because it has to befully functioning tomorrow.
adam kalkin: oh, it does? myra fiori: in the morning, at10 o'clock, this house has to fully functional. adam kalkin: ok. myra fiori: with themachines in it. people able-- absolutely. 10:00 am. adam kalkin: oh, i thoughtwe had 'til tuesday. myra fiori: oh, absolutelynot.
adam kalkin: oh, good. myra fiori: does yourteam know that? adam kalkin: no. myra fiori: you wantto make that announcement real quickly? andrea illy: i likeit very much. i prefer this one to the otherone because it's bigger. andrea illy: it's more open. andrea illy: gives you more asense of different spaces.
adam kalkin: it does. andrea illy: i like it very,very, very much. myra fiori: i have to tell you. i confess. this is so much betterthan the other one. adam kalkin: yeah, it is. andrea illy: it's beginningof long journey. adam kalkin: cool. i'm ready for long journey.
andrea illy: thisis incredible. - aw, sick. - look at that. look how big that one is. [applause] where did they go? - that's crazy. [hydraulic motors] -they're like machine toys.
adam kalkin: and then whatdo they turn in to? - people-- like weights,boats, ships-- -flying parts. but they're very industrial. they're like robotic arms. but then they all fold out-- adam kalkin: i shouldcheck those out. - oh, yeah. they're really cool.
adam kalkin: yeah, they'remaking a documentary. - oh, great. he doesn't know whattransformers are. "more than meets the eye?" i'm tryingto explain them, but-- adam kalkin: i don't know. i haven't had a tv for,like, 10 years. are they on television? - oh, i don't havea tv either.
3d printing salt lake city,-you would have at least boughtthem when you were ten.
- yeah, you should havecollected them. adam kalkin: yeah,i didn't play. i played with dirt.
