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  • hol(e)y masses: wedding chapel

    hol(e)y masses: wedding chapel
    los angeles CA

    suckerPUNCH: describe your project.

    dave BANTZ: the strategy employed in this project reconsiders the process of massing, utilizing an indexical process which incorporates an economy of excess to achieve more dynamic and expressive materialities.the process begins through the selection and adjustment of an initial “exacted chunk” of an original conceptual poche study.

    2gax studio project for sci-arc m. arch ii program, fall 2009 semester (professor: ramiro diaz-granados).  proto-architectural design for a wedding chapel in downtown los angeles, on the corner of 6th and broadway.

    the strategy employed in this project reconsiders the process of massing, utilizing an indexical process which incorporates an economy of excess to achieve more dynamic and expressive materialities.the process begins through the selection and adjustment of an initial “exacted chunk” of an original conceptual poche study.

    chosen for the potential of its figural quality, integrated secondary spaces, and quarter-round shape, the part is then precisely mirrored against itself through a series of operations which develops a larger/more complex, yet lacking, whole. this lacking whole, denies the autonomy of a closed loop system and indexes an affect, inviting a reading about this cut and reveal.

    “…this model establishes a higher degree of autonomy between the internal and external expression of mass using poche and the cut as a mediator.”

    large resulting cuts through the massing reveal seams and figural poche while defining a relationship between interior and exterior during the procession through the interior volumes (gift shop, gathering space, chapel, foyer) leading to the vast, sky lit main space.  a relationship to the street is maintained through the large cut along 6th which develops a dialogue between the ceremonial space and the public. the expressed seaming condition is a healed seam, like that of an anatomical model.

    the resulting material body has the potential to manifest visible and invisible forces through these gashes.  on one level cuts of this project create a dialogue between interior and exterior environments, while another reading of the body produces a more visceral reaction.  kate moss by damien hirst follows this similar indexical approach, pointing or revealing a sense of the interior and exterior materiality of super model kate moss’s facial structure.  one reading is about an animalistic, hairy, whole body, dealing with protection, guised figuration, containment, while the interior is concerned with a more raw and visceral environment of fleshy tones, interconnected volumes, sinew, and sensation.

    the healed seams of the cuts of the mass draw a relationship to sectional studies of da vinci, secular science…even medical education,  while ultimately this project is about the event of marriage as an internal, visceral, and primordial ceremonial tie.  it is here that the project challenges proper traditions and suggests that marriage could be a more basic tie found within the body and the brain of sensate beings, as a product of chemical science.

    sP: what or who influenced this project?

    dB: ramiro diaz-granados, jeff kipnis, greg lynn, damien hirst

    sP: what were you reading/listening to/watching while developing this project?

    dB: “francis bacon: logic of sensation” – gilles deleuze, bob dylan, discovery

    sP: whose work is currently on your radar?

    dB: jason payne, peter cook, ball nogues studio, preston scott cohen

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