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  • Cottages

    Cottages
    los angeles CALIFORNIA

    University of Illinois at Chicago
    critic: Paul PREISSNER

    suckerPUNCH: Describe your project.

    Ryan HERNANDEZ: This project explores the idea of awkward architecture produced with a certain precision. The elements appear haphazard and ignored. The design seems to lack a certain amount of skill, though, these decisions are on purpose.

    This project, an aggregation of cylinders, combines them in clumsy yet specific way; a way which causes the user to feel a certain level of discomfort. The cylinders are slightly leaned against one another in a careless fashion.

    A few of the variations have a cylinder hanging overhead so the user approaches the cottage with trepidation. The interior is organized to create an open floor plan, which combines with great height. From the exterior, the square footage appears endless, however; the cottage offers only one floor, which creates an awkwardness with the height of the ceilings. The exterior paint pattern is a seemingly bad aerosol spray, which separates the cylinders in two and contrasts the singular space inside. The windows and doors are placed parallel with the ground and in a way that is not overdesigned. Each variation has its own arrangement, interior, color, and window placement; however, one is not more correct than another, all creating a colony of cottages.

    sP: What or who influenced this project?
    RH: The idea of this project was to have little to no outside influences other than studying processes of creating with no influence. Projects done by artists such as Anne Truit or John Chamberlain were studied for their seemingly less articulate, simple, and haphazard applications.

    sP: What were you reading/listening to/watching while developing this project?
    RH: Listening to Eric AndrĂ©; watching “On Cinema at the Cinema” with Tim Heidecker.

    sP: Whose work is currently on your radar?
    RH: Paul Preissner (distant buffalo), CAMES/Gibson, FAT Architecture, Chris Dent, Mast.

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