Texas A&M University
directors: Bruno JURICIC, Gabriel ESQUIVEL, & Stephen CAFFEY.
suckerPUNCH: Describe your project.
Cody CLANCY, Zach HOFFMANN, Alyssa JOHNSTON, & Braden SCOTT: In a studio designed to address such issues as eco-logics in architecture and the ungrounding of an object, one of our interests was to use the normative rendering engine as a machine to produce a drawing and in that sense capture the essence of craft in architecture.
The raw linework, made up of a series of splines, which are considered to be the pinnacle of the modernist line, was the basis for the three-dimensional formation of the object. In its development, the object has retained the spline’s presence and sectional legibility. However, the final iteration of the object has exhibited a mutation in the quality of the spline, morphing the retained linework into a messier, more turbulent aesthetic that retains no notion of the modern.
In our earliest studies, we were interested in the idea of solarization, which is defined as a self-curating, light deterioration surface of an image when exposed to the environment. In this way, it creates a turbulent linework rendering that establishes an ambiguity of figure and ground, as well as between the surface and interior.
A non-indexical relationship is established between the two through the use of hi-fi articulation on the object and low-fi articulation on the ground. The two retain a similar figural language but no indexical relation. The form is established as a diagrammatic cavity with surrounding active surfaces. The surfaces are composed of an agglomeration of layers that are articulated at multiple levels, establishing a hierarchy that in turn establishes the nemat and holey spaces. The holey spaces are the porous spaces that share the closest proximity to the surface, while the nemat spaces have a larger proximity.
The formative timeline is created through these processes and establishes the raw proto-image, which retains a notion of the ingredients and all formal qualities from which the raw drawing is composed of. At that point, we observed what we refer to as the escaping character: the behavioral autonomy of the object. This establishes the vertical synthetic timeline and through that, the synthetic proto-image.
The synthetic proto-image is the re-appropriation of the scientific image as an aesthetic to directly transgress the notion of the scientific classification of an object. It retains a notion of duration from the primitive to the synthesized and through its curation has begun to note not only the ontological shift defined by the mutation of the modernist spline to the turbulent aesthetic, but an epistemological shift from the object to object of interest.
The object and its relation with the ground can be perceived as nomadic in the Hegelian sense of beauty; the turbulent, high-fidelity articulation of the surface creates no identifiable resting place for the perceiver. This geometry perturbs the low-fidelity ground, creating a constant irritation between the two. Although formal irritation between the object and the ground exists, the covalent bond between the two is one of shared origin, the spline. Sharing this bloodline so to speak, the two retain a constant reliance on each other. While the argument and text describe the object as existing purely in fluctuating nomadicity, the object exhibits pseudo-stasis only when drawings are produced and in turn creates an ambiguous notion of duration. This produces the peripatetic condition: the discussion of the object of interest.
The main purpose of discussion in regards to the object of interest is to in a sense figure out the components and meaning that make up the synthetic proto image. Exploration through descension into the object attempts to answer these questions and in effect creates a disruption of its apparent stasis, establishing a self-cognitive ungrounding of the object from itself. Unlike a normative section, descending retains a notion of duration, similar to the synthetic proto-image. While excavating the object, the notion of nomadicity is observed in terms of the “escaping character”, which establishes its autonomy in its morphing of the spline. Just as a novelist describes the phenomenon of a character dictating further developments, the object has transgressed into a higher state of existence, essentially cooking itself, transforming nomadically from the raw to the synthetic.
The simultaneous existence of the escaping character in both the formative and synthetic timeline makes the text as important in terms of comprehending the synthetic proto-image as the object itself. Without this text as the provider of comprehensive knowledge of the object, the noted shit of the current episteme would not exist, and the object of interest would create little valuable discussion. The content resulting from this self-curation then establishes the epistemologically transgressive peripatetic object of interest and offers a new perspective to the architectural world in regards to the discussion and knowledge of this object.
sP: What or who influenced this project?
CC, ZH, AJ, & BS: Gilles Retsin, Graham Harman, Levi Bryant, and Man Ray solarization.
sP: What were you reading/listening to/watching while developing this project?
CC, ZH, AJ, & BS: Reading: Ben Woodard, On an Ungrounded Earth; Reza Negarestani, “Machines are Digging”; Mario Carpo, “Breaking the Curve: Big Data and Design.”
sP: Whose work is currently on your radar?
CC, ZH, AJ, & BS: Gabriel Esquivel, Mark Gage, Gilles Retsin, and Ferda Kolatan.
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