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Yoav FRIEDLÄNDER, "A Form Of View."
queens NEW YORK

School of Visual Arts (SVA)

suckerPUNCH: Describe your project.

Yoav FRIEDLÄNDER: My work presents the chaotic perception of an “Americanized Israeli”; it is composed of mediated American culture, desert landscapes, and war (an integral part of life).

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Sydney BROWN, Ava FARAB, & Steven SCHARRER, "Antumbra."
ann arbor MICHIGAN

University of Michigan, Taubman College of Architecture and Urban Planning
critic: Matias del CAMPO.

suckerPUNCH: Describe your project.

Sydney BROWN, Ava FARAB, & Steven SCHARRER: Antumbra is a concept for a housing, divorced from the context of place. It is a moody object—a beast in a field we imagine coming to life through a combination of novel construction techniques, future materials, and nuance.

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ALLTHATISSOLID, "Plushscape."
los angeles CALIFORNIA

suckerPUNCH: Describe your project.

ALLTHATISSOLID: Plushscape is an immersive installation which also functions as lounge seating for viewers of experimental short films. Typically, galleries and museums construct black-box environments where single-channel video installations seek to disembody the viewer within the diegetic space of the film. In response to the curatorial agendas of Interspace Dialogue, this project seeks to agitate and amplify the somatic conditions of the viewers’ bodies providing more spatial possibilities in their haptic response to the screening films.

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Kinch, "Baryatric Caryatids." Exterior perspective, rendering.
los angeles CALIFORNIA

suckerPUNCH: Describe your project.

Kinch: This proposal for a new library in Copenhagen explores the use of figurative elements in multiple performative scales to produce an architecture that defies totalistic readings.

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Isidoro MICHAN, "Towards a Promiscuous Object."
ithaca NEW YORK

Cornell AAP
critics: Jenny SABIN & Sofia KRIMIZI.

suckerPUNCH: Describe your project.

Isidoro MICHAN: This project integrates the overused clichés of the “duck” versus the “decorated shed” in interaction with the car, along with Graham Harman’s notion of the aesthetic tension between real and sensual objects and their multiple accidents, qualities, relations and moments, creating an object made out of fissions and fusions between the objects.

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Yihan LI, "Atmospheric Research Center." Model.
philadelphia PENNSYLVANIA

University of Pennsylvania, PennDesign
critic: Brennan BUCK.

suckerPUNCH: Describe your project.

Yihan LI: The design of a global atmospheric research center employs the sphere for both its iconic and volumetric qualities. . . .

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Rebecca BRAUN & Tyler SMITH, "Foldout Couch, Somewhere Between a Couch and a Spaceframe."
ann arbor MICHIGAN

University of Michigan, Taubman College of Architecture and Urban Planning
advisors: Glenn WILCOX & Wes McGEE.

suckerPUNCH: Describe your project.

Rebecca BRAUN & Tyler SMITH: It has always been the work of the designer to make sense of technological change, to be in control of the perceptual effects new industry has on a culture. . . .

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Image: Nicholas MURAGLIA.
new haven CONNECTICUT

​Yale School of Architecture (YSOA)
Patternism Seminar, 2015
critic: Brennan BUCK.

One of the more striking shifts in our discipline in recent years has been a re-emerging focus on representation—drawing in particular.

students: Emau VEGA, Hui Zhen NG, Jessica ANGEL, Junpei OKAI, & Nicholas MURAGLIA.

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Oscar ABRAHAMSSON & Jacob WAAS, "El Bulli Gastronomical Innovation Center."
los angeles CALIFORNIA

SCI-Arc
critic: M. Casey REHM.

suckerPUNCH: Describe your project.

Oscar ABRAHAMSSON & Jacob WAAS: The Innovation Center is a speculative proposal for the El Bulli Research Campus in Cala Montjoi, Catalonia that explores complex systems and Baroque geometry as tools in creating an artificial rival to nature.

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Andrea YOAS & Karen MARTIN, "Museum for Useless Objects."
philadelphia PENNSYLVANIA

University of Pennsylvania, PennDesign
critic: Ferda KOLATAN.

suckerPUNCH: Describe your project.

Andrea YOAS & Karen MARTIN: The Museum of Useless Things investigates the thinking of design parts as estranged objects within the context of the building.

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