• “D/O/A”

    los angeles CALIFORNIA

    Advisor: Eric Owen MOSS

    suckerPUNCH: describe your project.

    joshua MORATTO: If we are to discuss architecture in terms of sensation, the transition of the drawing from the hand to the digital has been relatively “sensationless”.  The drawing has been relegated only as a means of clearly diagramming space and organizations.  The sensation comes through the rendered image and animations, a means of sidestepping the architectural issues of space, tectonics, and detail.

    Whereas drafting by hand has had two millennia to be honed the act of drawing digitally is essentially embryonic. It has emulated the techniques of the hand which sells itself short of its potential. The drawing is a means to communicate metric and geometric information in real space. Therefore its precision is vital in how it operates. By its precision the drawing tends to be inflexible in local specifications or conditions. The digital drawing is flexible due to the continuing ability of editing in real time before committing any line onto paper. This flexibility allows one to create iterations ad infinitum or an ease of animating the drawing.
    The thesis fits as a combination of Nietzsche’s contrast of Apollo and Dionysus. The Apollonian model represents the basis of analytic distinctions; form, structure, and rational thought. The Dionysian model embodies drunkenness and ecstasy, this being a personal interpretation of sensationalism. To incorporate these two dichotomies, the drawings themselves are deformed and animated as well as notating these changes to expose more information and express more intent. The ecstasy is in the overloading of information and the analysis is in the transformations of geometry.

    (source: Frederick Nietzsche, Die Geburt der Tragödie aus dem Geiste der Musik, 1872)

    sP: what or who influenced this project?

    The thesis was influenced by the Sixth Street House drawings of Thom Mayne and Andrew Zago, “Chamberworks” by Daniel Libeskind, the drawings of John Cage, and the current work of Casey Reas.

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

    Listening: Flying Lotus, Gaslamp Killer, Baths, Diplo and Switch, A-Trak, and a lot of dubstep. The music was highly important as to influencing a process to the drawings.

    Reading: “In Front of Lines that Leave Nothing Behind” by Robin Evans, “Drawing: the Motive Force of Architecture” by Peter Cook

    Watching: Aliens, music videos on Pitchfork

    sP: whose work is currently on your radar?

    On my radar: Labdora, Commonwealth,

    With help from Bob Frederick, Brian Henry, Dale Strong, Emmy Maruta, Jonathon Tucker, Sarah Blahut, and Tom Ames

    Special Thanks to Eric Owen Moss, Peter Macapia, and Elena Manferdini

    Aluminum printing by David Horton of Barnlab, Stillwater, OK

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