suckerPUNCH: describe your project.
gregory GUNDERSEN: A striking feature of Beaux-Arts sections is the light pink poché, a figural void separating one rendered space from another. Implicit in this drawing convention is the belief that a section should convey the effects of each architectural space, rather than building tectonics.
This project, an addition to the Musée Océanographique de Monaco and completed for Mark Foster Gage’s studio at Yale University, explores the spatial effects and figurative quality of the poché. The design contrasts a traditional rustication on the exterior with a spatial rustication on the interior. Experientially, the exterior’s austerity gives way to the interior’s opulence. And academically, the poché can read on the façade as a thick gradient of rusticated layers, transforming one formal language into another.”
sP: what or who influenced this project?
gG: Arthur Drexler’s The Architecture of the École des Beaux-Arts
sP: what were you reading/listening to/watching while developing this project?
gG: I don’t remember, but it was during my Kafka phase.
sP: whose work is currently on your radar?
gG: Rogelio Salmona, 16th and 17th-century Mughal architecture