University of Michigan, Taubman College of Architecture and Urban Planning
critic: Andrew HOLDER.
suckerPUNCH: Describe your project.
Chris PINE: This project can be segmented into three investigations. . . .
A Woman. A Bouquet. A Mollusk. A Handle.
The demise of the Baroque, was brought on by the invasion of the Rococo. Mathematically balanced archetypes were progressively encrusted with gluttonous decorations. Systems were eventually overwhelmed, and no longer needed a logic to justify its existence. The real was suddenly activated by figures teeming with life. And, these illustrations aim to literalize meanings of the rocialle by overlaying patterns that make explicit the edges, corners, or in-betweens that engage with substances that are not quite ground, cloud, or drapery.
A Veil from God. A Sensorium. A Napkin.
How can a napkin reconstitute an exterior expression of affect, while creating a sensorium on the interior? This can be described by the preparation and eating routine of the ortolan dish. To fully enjoy the ortolan dish, you must first drape a large, white cloth napkin over your head. Take the ortolan in your fingertips and disappear. The outside world dissipates to a white noise of wet chewing and slurps, as the people around you begin to revel in the chaos that is happening in their mouths. Underneath the hood your tongue is half-singed. But, even when the back of your mouth is burning, taste buds you never knew you had begin to bloom. The trick is to breathe, creating a convection heat transfer between your mouth and nose. The napkin traps all the aromas and you are left with a mouth that is on high alert. Managing the bouquet flavors exploding in your mouth is almost overwhelming. A weight of guilt accrues as you remind yourself of the innocent songbird that is now singing on the back of your tongue.
A Cluster of Libertine Figures. Anti-Google Glasses. Something for the Living Room.b
This thesis is an attempt to explore how character moves concepts of type away from program, systematization, and function into processes that hinge on concepts of affect and sensation. While the goal was to create a form that not only animates inanimate figures. It also aims to create an assumption of interior vitality that was completely depended on the affective qualities of an exterior expression while erasing those qualities once one gets situated within the piles of fleshy spandex.
sP: What or who influenced this project?
CP: The Rococo; Jean-Jacques Lequeu’s physiognomical self-portraits; Sainte-Geneviève Library; eating habits that require an excess of material use; The Picturesque Workshop; Andrew Holder; Amy Kulper; and Meredith Miller.
sP: What were you reading/listening to/watching while developing this project?
CP: Reading: Anthony Vidler, The Writing of the Walls: Architectural Theory in the Late Enlightenment; Sylvia Lavin, Quatremère De Quincy And The Invention Of A Modern Language Of Architecture; Gilles Deleuze, Francis Bacon: The Logic of Sensation; Fiske Kimball, The Creation of the Rococo; and Jean Anthelma Brillat-Savarin, The Physiology of Taste. Listening to: James Brown, Chick Webb, Jamiroquai, and The Impressions. Watching: Baby Signing Time and lots of Disney movies.
sP: Whose work is currently on your radar?
CP: Bittertang; The LADG; Jason Payne; Sift Studio; EADO; and Dario Puggioni.