critic: Marcelo SPINA
suckerPUNCH: Describe your project.
Andrew CHOI & Harrison STEINBUCH: This assignment revolved around a Performance Theater in downtown Los Angeles. The project was an investigation into the term chiaroscuro, a set of representational techniques from the Renaissance that creates a contrast between the form and its context. In discussing a “painterly effect,” we talked about a painting’s ability to use hard shadows to represent space and distort your perception of form in space.
By projecting a pattern onto the object based on the shadows of the object itself, we were able to simultaneously blur form and context and distort your perception of form. This is further articulated by an added transparency to the exterior shell that physically blurs the form with its context. Upon arrival, one enters into a large public atrium, which can be seen as the formal mediator between what is program and what is context. The public space, formed by pulling the programmatic volume away from the exterior shell, became the space of interest and the focus of the project.
sP: What or who influence this project?
AC & HS: A desire to explore new models for the representation of spatial phenomenology similar to the effects of Caravaggio’s Davide e Golia and Francis Bacon’s Portrait.
sP: What were you reading/listening to/watching while developing this project?
AC & HS: Reading: Kissing Architecture by Sylvia Lavin; The Possibility of an Absolute Architecture by Pier Vittorio Aureli; The Autopoiesis of Architecture: Volume I by Patrik Schumacher; and Spacesuit: Fashioning Apollo by Nicholas de Monchaux.
sP: Whose work is currently on your radar?
AC & HS: N/A.