critic: Paul PREISSNER
suckerPUNCH: Describe your project.
Jesus CORRAL: The goal of the project was to design a colony of single person cabins, ranging from 600-800 square feet. The project stood within a typical forest, that could possibly be found anywhere in the Midwest, United States.
Formally, I studied attributes that would not normally be taken seriously as architecture. Produced were balloon like forms, which tied around each other, along with box extrusions protruding from the shapes.
Initially beginning with only the pure form of the balloon like shapes, I wanted to clearly differentiate the form with the architectural standards. The two private areas (bathroom and bedroom) where originally designed as floating spaces within the plan, organizing the remainder of the public spaces along the private areas. Later realizations showed the architectural standards and the form still related to one another since the floating spaces were constraint within the form itself. This lead to the placement of the boxed rooms to stand either outside and/or inside the form, in order to portray their lack of reference to each other. Visually, it appears that the architecture doesn’t even fit within the form.
Generated were four cabin designs, all based on the same technique but not a master plan. None of these should be taken as design solutions, rather more suggested designs with respect to the strategy.
sP: What or who influenced this project?
JC: Since the idea was to study formal qualities that aren’t always fond of architectural seriousness, my study in silly and juvenile forms eventually lead to balloon animals. Luckily I had some previous knowledge in constructing basic balloon animals, for instance the balloon dog, I was able to quickly study its effects and attributes. It could have been very easy to dismiss balloon animals as the formal root to the design, but considering how the whole directly corresponds to each part and its joints sparked too much interest to pass up. Continuing the experimentations with these forms, I began generating unspecific objects using balloon animal techniques. For example what could be a balloon animal, but not quite. Then finally lead to the final form, which took balloon like features but were clearly no longer balloons. At the same time overlaying different paint techniques and patterns in order to solidify the plasma like shapes.
The paint spatter/drip technique was found while accidently spraying an aerosol can way to close to one of the study models. I found that once that pattern was blown up in scale, it could no longer seem accidental and work as a design intention. Imagining a paint drip or splatter a couple feet wide on a structure visually seemed to complete the final designs.
sP: What were you listening to while developing this project?
JC: Lisention to Aeroplane; Black Keys; Blockhead; Bonobo, Cashmere Cat; Digitalism; Disclosure; Flying Lotus; Franz Ferdinand; Jamie xx; Late Of The Pier; Metronomy; Oliver; Pogo; Regulators; SBTRKT; SebastiAn; The Shins; Washed Out; Wynton Marsalis; XXYYXX.
sP: Whose work is currently on your radar?
JC: Paul Preissner, Greg Lynn, Norman Kelley, Andrew Holder, Jeff Koons, and Left Handed Wave.
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