suckerPUNCH: Describe your project.
ramiro DIAZ-GRANADOS: The contemporary architectural figure has evolved into two coherent strains of formal expression: the cartoon and the visceral. The cartoon figure is about simplicity & clarity and engages the intellect through an optical visuality. It employs a juvenile-like sensibility towards geometry and form, is logo-centric, and privileges the mediated. The visceral figure is about intensity & sensation and bypasses the intellect and engages the nervous system through a haptic visuality. It employs a complex, biomorphic sensibility towards geometry, form, and material, and privileges the immediate.
Go Figure promotes simultaneity in the evolution of the delineated figure by distributing cartoon and visceral features across a three-dimensional, spline based form. This implies that ambiguity across a range of binary attributes (i.e. legible vs. sensate, singular vs. multiple, iconic vs. indexical, 2D vs. 3D, part vs. whole, graphic vs. material etc.) is not enough to elicit a nuanced aesthetic experience. While ambiguity privileges the middle zone, simultaneity requires more extreme expressions of each pole to collapse onto one another within a coherent space. Go Figure attempts to play within the space of legibility and sensation. The figures are legible through their strong profile, contour, shape, and girth yet are not intended to depict anything in a metaphorical or pictorial sense. They are sensate through the use of color, scale, texture, and assembly yet do not eschew a close reading. The intensive-juvenile sensibility being proposed is intended to offer an alternative to the smooth, slick, and continuous ones that are ubiquitous within contemporary design and architecture culture. Its visuality is intended to grab ones attention and lure them into a world of optical and haptic pleasure.
A single figure is repeated four times into two symmetrical pairs. Each pair is situated in the gallery according to different transversal regulating lines stemming from the relationship between the ground and the ceiling. One pair is centered within the space, the other is centered under one of the structural bays. The figures are made out of powder-coated aluminum sheet, laser cut, and friction-fit. An assembly method has been devised that is based on friction fitting. The color palette consists of cyan, magenta, yellow, and black. Each figure is a unique combination of three of the four colors with a progression from one to the next allowing each color to be used three times and producing a shifting color composition as one moves through and around it.
sP: What or who influenced this project?
rD-G: Jeff Kipnis, Andrew Zago, Greg Lynn’s Slavin House, Brice Marden, Richard Deacon’s Laocoon, Rococo, and Roller-Coasters.
sP: What were you reading/listening to/watching while developing this project?
rD-G: Reading: Interviews with Francis Bacon by David Sylvester, re-reading Charles Jencks’ The Language of Post-Modern Architecture and Robert Venturi’s Complexity and Contradiciton, and Shapes of Time: The Evolution of Growth and Development by Kenneth McNamara. Listening to: The Pixies, Joy Division, The Kills, & MGMT. Watching: The Daily Show, The Colbert Report, and South Park.
Whose work is currently on your radar?:
rD-G: Ruy-Klein, Hirsuta, Bittertang, & Servo-LA.
Ramiro Diaz-Granados, Amorphis
Design Development Team: Daniel Berlin & Mahyoub Aranki
Installation Coordinator: Matthew Au
Structural Consultant: Bruce Danziger