suckerPUNCH: Describe your project.
kyle MILLER: This design proposal for rehabilitating the Pushinsky Cinema Facade in Moscow seeks to showcase and celebrate the virtual aesthetic potentials latent in non-representational architectural surface design, design which strategically employs color, pattern, texture, and translucency to create non-cognitive, visual sensations that leave the viewer void of mental representations and void of signified external imagery. The project is fundamentally about reconsidering ornamentation in contemporary architectural design and capitalizing on the capabilities of parametric design to simultaneously achieve variation and repetition across a field of self-similar building components (in this case, facade panels).
In this specific project, the application is superficial as a building skin and does not have a responsibility to perform environmentally as a passive or active system. This being the case, the project purposefully and specifically reflects on the affective potential of contemporary building facades.
sP: Who or what influenced this work?
kM: Previous studio and seminar work with Heather Roberge at UCLA, research on and analysis of contemporary building facades, and DARKSHAPES (a beautiful collection of photographs and other visual culture).
sP: What were you reading/listening to/watching while developing this project?
kM: Reading: Society of the Spectacle, The System of Objects, Ornament and Crime, Log 17, and White Walls, Designer Dresses. Listening to: Youth Lagoon, Hot Chip, Tanlines, St. Vincent, and Animal Collective. Watching: Blow Up, BIG, The Neverending Story, Dreams, Mon Oncle, Darjeeling Limited, and One Flew Over The Cuckoo’s Nest.
sP: Whose work is currently on your radar?
kM: Adam Fure (Sift Studio), Brennan Buck (FreelandBuck), Clark Thenhaus (Endemic), raurouw, Florian Heinzelmann (shau), Jimenez Lai (Bureau Spectacular), Ronnie Parsons & Gil Akos (Studio Mode), Andy Payne (Lift Architects), Future Cities Lab, Nick Puckett, Mike McKay, Angelo Co, Jason Scroggin & Akari Takebayashi (D.O.T.S.), and James Leng.
Additional credits and links:
Credit to Jordan Hines for visualization assistance and to the University of Kentucky College of Design for support.