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  • Slipstream

    Slipstream
    new york NEW YORK

    Site specific installation, Bridge Gallery (NYC)
    July 2012

    Inspired by Lebbeus Woods’s Slipstreaming drawings, the installation is made from over one thousand CNC cut plywood pieces that notch together to create an undulating, dynamically patterned and brightly colored wall. Developed as the extrusion of a 2-dimensional drawing through the gallery space, the structure is then cut away to produce a set of interconnected 3-dimensional spaces. The project develops novel forms of digital drawing, “egg-crate” type assemblies typical in stick built construction, and our ability to describe and produce the dynamics of flow and turbulence, phenomena that have fascinated artists at least since Leonardo Da Vinci.

    “Observe the motion of the surface of the water, which resembles that of hair; which has two motions, of which one is caused by the weight of the hair, the other the direction of the curls; thus the water has eddying motions, one part of which is due to the principal current, the other to the random and reverse motion.”

    At least since Leonardo Da Vinci’s first attempts to describe turbulence, architects have been fascinated by the dynamics of flow – perhaps seeking an escape from the solid, stable nature of buildings. Beginning in the 1990’s, architects have used digital software to imbue structures and spaces with some of the same qualities as Da Vinci’s meticulous drawings: fluidity, undulation, instability and temporality. But while software has allowed architects to create novel, dynamic forms digitally, they have struggled to translate these qualities to the physicality of the material world. Slipstream is a physical structure that confronts that leap directly, translating a 2-dimensional digital line drawing into 3-dimensional space.

    Alluding to Lebbeus Woods’s 2010 ‘Slipstreaming’ drawings of flow, the installation at the Bridge Gallery in New York is a single drawing extruded through the gallery space and cut away to produce a set of interconnected spaces. The linear extrusion acts as both structure and dynamic visual filter, shifting views through the installation and between the spaces it defines. It’s integrity as a structure is masked by both its redundancy and bright coloration. Employing gradients that diffuse and coalesce along its length, color amplifies the undulating lines, establishing cross currents that intensify as visual eddies. Irreducible to form, structure, or graphic, Slipstream is a combined phenomenon of the three.

    Credits:

    FreelandBuck (David Freeland & Brennan Buck) with Teoman Ayas, Robert Cannavino, & Jacqueline Kow.
    Supported by Elise Jaffe + Jeffrey Brown.

    Thanks to:
    Evan Dobson, Cristian Oncescu, Jason Roberts, William Sheridan, Constance Vale, Caroline Van Acker, Sarah Gill, Jonathan Reyes, Peter Logan, David A. Palmieri, Brian Hong, Shane Neufeld, & Julcsi Futo.

    Photos: Kevin Kunstadt

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