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  • eco-sino
    philadelphia PENNSYLVANIA

    suckerPUNCH: describe your project.

    johnny LIN, david ETTINGER, + adam FENNER: the project develops a fluid architectural language in concert with radical structural and mechanical systems, space and mechanisms co-evolve.  while developing a coherent fusion with a diversified landscape, the fluidity of the architectural form also comes into a relationship with the fluidity of the interiorized environmental conditions.  literal mass runs in parallel to thermal mass.  the radical pragmatics of the building systems simultaneously operates as the spectacle of the casino.  mechanized bladders expand and contract with the daily fluctuations of atmospheric pressure at the site. allowing the building to inhale and exhale once per day.  in addition to developing controlled environments through alternative means, the micro climates extend the range of sensations to the extremes of experience.

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  • excess | liquidity
    los angeles CALIFORNIA

    excess | liquidity opens january 30th with reception 4pm – 7pm.

    SUPERFRONT LA is proud to present excess | liquidity, an exhibit on the 5th floor of the pacific design center, during the inaugural art los angeles contemporary fair.
    sited on the 5th floor of the pacific design center, excess | liquidity presents a survey of recent work by experimental architectural practice x|a, exploring liquid form as architectural vocabulary. x|a deploys film-maker’s special effects software to generate architectural form through animated movement and fluid behaviors. works are exhibited as physical prototypes, drawings, and animations.

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  • still life
    dusseldorf GERMANY

    rosecrans BALDWIN: take us a few steps into your process—i assume producing these images requires an extraordinarily controlled environment?

    martin KLIMAS: yes, the shooting environment must be controlled and kept consistent. the lighting is clear and direct, head on. my background is neutral, but bright enough so that the shattering object completely stands out. i drop the figurine from the same height in complete darkness while the lens of the camera is open. when the figurine hits the ground, the sound triggers the lights to go off for a fraction of a second. i do this procedure many times or until i find the one frame that is just right. i keep just one such picture for every figurine. every attempt yields a unique outcome, so i need to look for the one that best expresses a transformation of the figurine into a new form.

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  • typological silk stretching
    los angeles CALIFORNIA

    suckerPUNCH: describe your project.

    qi SU & shenyuan GUO: the contemporary city’s development is nothing but the future designed by predictability and limitation. however, in fact, people have already got tired of the intended purpose mode of space and invariable architectural materials, and they are trying to look forward to new breakthrough. so from this point on, there is no doubt that what contemporary architects did is funny and ridiculous. the complexities of society and technical development have made our urban life “out of control”. people should live in a new world with random growth and great diversity, rather than rigid pre-established planning. thus, in our project, based on adaptive scenario, an open porous and self generating structure is created. the rampant and illusive silks weave an urban future formatted by unpredictability and mystique.

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  • trespassing
    stuttgart GERMANY

    gabi SCHAFFNER: nathalie GRENZHAEUSER’s photographs are not subject – although they appear to be – to central perspective, but are rather the result of an internal journey through a landscape charged by the imagination, while the varied angles of perspective and objects are redefined and incorporated onto the surface. there, where this internal image world comes into contact with the quasi-documentation – still regarded as real and recognizable by the viewer – is where the flexible border runs, on one side of which is the mirror of the photographic tableau, on the other the uncanny element in the subconscious of the beholder.

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  • lattice archipelogics
    new haven CONNECTICUT

    chris PERRY, kahn visiting assistant professor
    “networks and environments”
    thursday, january 28
    6:30pm, Paul Rudolph Hall

  • la débâcle
    chambly québec CANADA

    suckerPUNCH: describe your project.

    andrée-anne DUPUIS BOURRET: la débâcle is a paper installation made of 1700 silkscreen printed modules of folded papers. the project was conceptualized during my master’s degree in visual and media arts at université du québec à montréal (uqam). la débâcle takes form through many aspects of production, including an installation (modules of encasable folded papers), numeric images (as results of the installation) and stop motion animations.

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  • branching morphogenesis
    philadelphia PENNSYLVANIA

    suckerPUNCH: describe your project.

    sabin + jones labstudio: branching morphogenesis explores fundamental processes in living systems and their potential application in architecture. the project investigates part-to-whole relationships revealed during the generation of branched structures formed in real-time by interacting lung endothelial cells placed within a 3d matrix environment. the installation materializes five slices in time that capture the force network exerted by interacting vascular cells upon their matrix environment.

    design team: jenny SABIN and andrew LUCIA with peter lloyd JONES and annette FIERRO

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  • tom WISCOMBE lecture
    london ENGLAND

    tom WISCOMBE
    extreme integration
    friday 22 january, 7.00 at the architectural association school of architecture.
    this lecture follows on from the drl phase ii jury which takes place in the lecture hall during the day.

  • reparative [excess]ories: ornament as a precursor to design
    los angeles CALIFORNIA

    suckerPUNCH: describe your project:

    sandra e. JOHNSON: throughout generations of architecture, ornament has been applied within the final stages of design, becoming a secondary two-dimensional surface application rather than a transcendiary mechanism. within my project, ornament is rethought and reconfigured to become a generative force; reconciling its eagerness to surpass beyond a product of façade to a relevant author of design. ornament therefore initiates all phases of the architectural argument, developing the formal and aesthetic logic, while also organizing the volumetric and programmatic parameters.

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