MUSIC PLAYING ADAM KALKIN At the end, I want to close this thing. So you guys can maybe I’ll trap some of you guys in it. Because it’s pretty cool This has room for people ADAM KALKIN Yeah, you can definitely get some people in it. Really ADAM KALKIN Yeah. The basic shell is like a container, like a recycled container. We were originally going to bring the first push button house into the building, but they were having a lot of trouble ANDREA ILLY Because of the size.
ADAM KALKIN Because of the size. When did you debut the Push Button house for Illy Is this the debut ADAM KALKIN I took the one from Art Basel, and redid it. And shipped it to the Venice Biennale. Then we were going to bring it back here and we realized that there’s a huge elevator, but the door coming out of the elevator is like So we couldn’t actually get it in the building. ADAM KALKIN We designed it specifically 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’ve been long interested in shipping containers as alternate dwellings. But this is amazing. ADAM KALKIN Thank you. DREW NIEPORENT So you actually press a button ADAM KALKIN You do press DREW NIEPORENT And the whole thing opens ADAM KALKIN You do press a button. The button is well hidden due to the public nature of this. And the potential people running around with a push button could be a little volatile.
The incredible unfolding home a film about illys Push Button House tutorial
ADAM KALKIN How high is that shit off the ground 34 34 inches. That’s like an additional actuator inside or something. ADAM KALKIN You know. I know, I know, I know. ADAM KALKIN You can build up the floor like three inches and then that’s it for the build out. Here’s a project in Salt Lake City, that’s kind of vertical, apartment buildings. And here are some other of these push button house concepts, which some of them are really good. This one’s really good. This one’s really good. These are three variants on the idea, all.
Of which are good. Yeah, here’s some good shit. This is the house that we’re building in Bedford, New York, which is like three quick houses put together. That’s pretty good. INAUDIBLE said that they’re going to fax back the engagement. RITA OK. ADAM KALKIN So. Rita. Rita. Rita. Rita. Rita. Rita. Rita. RITA Yes. He’s too strange. But you gotta love him, you know. ADAM KALKIN Ultimately architecture has to capture life. So I think it needs to be open to all the processes of life, which goes back to the choreography that’s implied in.
The push button houses. Because they’re literally in movable pieces. Not are they only mobile themselves, but the pieces themselves move. It’s really nice if architecture can incorporate some of that impulsiveness and some of the temporality and impromptu quality of 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 2005 in Miami during the December Art Basel. And that was the beginning of our beautiful relationship. ADAM KALKIN Hey, dudes.
Morning. How you doing, sir ADAM KALKIN Hey, how’s it 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. ADAM KALKIN Yeah. ‘Cause I’d like to use these potentially for lighting. That’s expensive. ADAM KALKIN Hey, you know what might be good Like those chemical lights. They’ve got like a limited lifespan. You crack them open. Kids use them sometimes. Oh like the.
Yeah. ADAM KALKIN Yeah. Certainly low tech. ADAM KALKIN Well it’s high tech, low tech. Never say low tech, please. Oh. LAUGHS Sorry. ADAM KALKIN I don’t worry too much, or if I do worry, then I just make some shit. And then I don’t worry anymore. You have some anxiety or worry or whatever about something, and then you transfer that into some kind of constructive or productive kind of output. It’s a repurposing of a neurosis you could call art making. OK. You’re at 25, 50, 105, 130, 140.
4,000 ish. QUILL HYDE That is 8,000 pounds. So we’re good. That’s all we needed to know. Yeah. Fuck, yeah, motherfucker. All right. I didn’t really know about Adam until I but once I heard his name, I looked him up and obviously was intrigued. Adam has much more of a designasyougo sort of philosophy, whereas before I could do anything, I like to have everything completely thought out. ADAM KALKIN You don’t want to have the feeling like you’re staring at some kind of thing that someone’s worked over with a pencil and eraser for 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 get it to work for me. When you’re a painter, you’re like in a studio. The whole thing is like totally isolated, and you want to be in the world and doing shit. This is much harder because you got to whatever. You just deal with a lot of people, money. It’s just like making painting times 1,000. And plus you can also make much more scary shit. All right.
So is that it BACKGROUND CHATTER Yeah, yeah. Just go back to the parking garage. And you’ll see this giant loading dock entrance right there. What are you guys doing over here ADAM KALKIN Push button house. Huh What’s that ADAM KALKIN You press a button and a house opens. MYRA FIORI It’s a shipping container OK. MYRA FIORI made into a house. And you push the button, and the shipping container opens and you have a fully furnished ADAM KALKIN Six room house MYRA FIORIgorgeous house.
So you can ship this house 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 that much about brands, and corporate think is total anathema to me. But I do think, in certain cases where corporations or companies are driven by an individual’s vision, that there are possible parallels between the way an artist works and the way a business can work.
MYRA FIORI Because it has to be fully functioning tomorrow. ADAM KALKIN Oh, it does MYRA FIORI In the morning, at 10 o’clock, this house has to fully functional. ADAM KALKIN OK. MYRA FIORI With the machines in it. People able absolutely. 1000 AM. ADAM KALKIN Oh, I thought we had ’til Tuesday. MYRA FIORI Oh, absolutely not. ADAM KALKIN Oh, good. MYRA FIORI Does your team know that ADAM KALKIN No. MYRA FIORI You want to make that announcement real quickly ANDREA ILLY I like it very much. I prefer this one to the other one because it’s bigger.
ADAM KALKIN Yeah. ANDREA ILLY It’s more open. ADAM KALKIN Yeah. ANDREA ILLY Gives you more a sense of different spaces. ADAM KALKIN It does. Yeah. ANDREA ILLY I like it very, very, very much. MYRA FIORI I have to tell you. I confess. This is so much better than the other one. ADAM KALKIN Yeah, it is. ANDREA ILLY It’s beginning of long journey. ADAM KALKIN Cool. I’m ready for long journey. ANDREA ILLY This is incredible. Aw, sick. Look at that. Look how big that one is.
APPLAUSE OK. Where did they go That’s crazy. HYDRAULIC MOTORS They’re like machine toys. ADAM KALKIN And then what do they turn in to People like weights, boats, ships ADAM KALKIN Yeah. Yeah. Yeah. Flying parts. But they’re very industrial. They’re like robotic arms. But then they all fold out ADAM KALKIN I should check those out. Oh, yeah. They’re really cool. ADAM KALKIN Yeah, they’re making a documentary. Oh, great. He doesn’t know what Transformers are. More Than Meets The Eye I’m trying to explain them, but.