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  • PATH, (re)STOCK.
    san francisco CALIFORNIA

    “Before the term spline came to refer to a mathematical function producing smoothness (and subsequently, in design software, to a smooth curve with control points) it was once an actual physical drafting tool, a flexible metal or wood strip with weights used to hold the spline in place. This tool developed out of necessity to design smooth, aerodynamic forms and leveraged specific material properties . . .”

    *All images courtesy the author. PATH, “(re)STOCK.” Intersecting hand and machine, digital and analog. (Physical, hand craft) Welding joints provides a strong and permanent assembly. Oxides from the welding process leave a rich coloration and evidence of the manual TIG welding process (joints are welded on the backside with ERCuSi-A Silicon Bronze filler rod).

    [EXCERPTED FROM FRESH PUNCHES ]

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  • Bayou-luminescence
    san francisco CALIFORNIA

    suckerPUNCH: Describe your project.

    igor SIDDIQUI & matt HUTCHINSON: Bayou-luminescence is an architectural installation that fuses material surface, structural volume and lighting effects into an immersive spatial experience. Its title is a play-on-words that refers to bioluminescence, a phenomenon whereby living organisms produce and emit light. Like a strange creature in the night, the installation glows from within, casting intricate shadows onto adjacent architectural surfaces. Temporarily sited at the end of a dark residential alley in the Marigny neighborhood of New Orleans, Bayou-luminescence invited passersby to cross the otherwise accepted boundary between the public sidewalk and the private space beyond, in order to experience its intensely haptic surfaces, both inside and out.

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  • Clove Lamp
    san francisco CALIFORNIA

    suckerPUNCH: describe your project.

    matt HUTCHINSON: As an exercise in parametric variation and control, the CLOVE lamps were developed with nearly the entire process/work-flow defined within a single parametric model – every aspect, from the global form all the way to final fabrication layout is parametric and associative. The final model was refined to accommodate specific size constraints, desired form, and maximum material efficiencies. By varying the degree of twist, the number of “cloves”, depth, and spacing of individual ribs, these lamps achieve a delicate modulation of light and visibility as well as a gradient glow which emanates through the undulating form. The warmth of the wood ribs blends subtly into a soft whiteness – the result of leaving the sides of the ribs natural wood and painting only the thin edges white (by hand).

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  • horto in urbs
    san francisco CALIFORNIA + knoxville TENNESSEE

    suckerPUNCH: describe your project.

    matt HUTCHINSON + brandon PACE: When Chicago adopted the motto Urbs in Horto (city in a garden) in 1837, it was a very different place from the city that exists today. The “city” then existed within a pristine landscape of expansive prairie, lush forests, and a vast lake. Chicago’s rapid and expansive growth has since inverted this relationship – the city has overtaken and enveloped these natures. Horto in Urbs begins with this observation – that the “garden” no longer surrounds the city, but exists as a network taking on multiple forms throughout it.

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