critics: Jenny SABIN & Sofia KRIMIZI.
suckerPUNCH: Describe your project.
Isidoro MICHAN: This project integrates the overused clichés of the “duck” versus the “decorated shed” in interaction with the car, along with Graham Harman’s notion of the aesthetic tension between real and sensual objects and their multiple accidents, qualities, relations and moments, creating an object made out of fissions and fusions between the objects.
Freak out, far out, in-out. — David BOWIE
This project integrates the overused clichés of the “duck” versus the “decorated shed” in interaction with the car, along with Graham Harman’s notion of the aesthetic tension between real and sensual objects and their multiple accidents, qualities, relations and moments, creating an object made out of fissions and fusions between objects. A weird outcome is thus formed that, in and of itself, alludes to an estranged reality using a promiscuity of mediums, thus becoming an aesthetic experience.
This confrontation between the “duck” and the “decorated shed” is fused into a new reality, creating a tension in the perception of the driver, the travelers, and the visitors. The project is drawn for outside-in as well as inside-out, and for the contingencies of the site that create a field based on US Sign Council parameters. Simultaneously, loose and tentative allusions to real objects, such as a broad spectrum of signs, fused with their sensual qualities are fragmented in the object. These objects that both display and conceal a multitude of traits are distorted, creating moments of partial recognition within the building, in itself an object made out of objects, constantly appearing and disappearing as the driver and travelers get closer from both directions, dislodging their vision and challenging the real. Both consumption and cliché are resisted.
It is in this single metaphysics that the objects relate to their own visible and invisible qualities, to each other, and to the human mind. The apertures characterizing the project challenge the notion of an architectural opening as a static object by redefining the DNA of the windows, which become a new thing. These directional apertures are in constant flux, responding and adapting to their surroundings, and causing deformation and disruption. This new take on tectonics, on objects and fields, yields an ambiguous relationship and a speculation around what that is.
sP: What or who influenced this project?
IM: Le Corbusier; David Bowie/Ziggy Stardust; the Big Duck; Francis Bacon’s mouths; Lee Bontecou’s holes; and Bruce Nauman’s Making Faces.
sP: What were you reading/listening to/watching while developing this project?
IM: Reading: Robert Venturi, Denise Scott Brown, and Steven Izenour, Learning from Las Vegas; Michael Young, “The Estranged Object”; and Graham Harman, The Quadruple Object. Listening to: Baths and Aphex Twin. And watching Damián Szifron (dir.), Wild Tales.
sP: Whose work is currently on your radar?
IM: Jenny Sabin Studio, Ksestudio, Young & Ayata, and Baumgartner+Uriu.
Additional credits and links”