los angeles CALIFORNIA
suckerPUNCH: describe your project.
gabriel HUERTA: The Innovative Technology Center is a proposal for creating a hub for rapid prototyping, research and development, while simultaneously infusing the site in Koreatown with a new cultural attractor. An overarching urban problem in Koreatown is the scarcity of open public space of which the design attempts to address by reducing land use through a smaller building footprint.
los angeles CALIFORNIA
UCLA critics: Ben Ball, Gaston Nogues, Peter Ebner
suckerPUNCH: describe your project.
wael SAMI BATAL/daniel HESKETH/marco LI/adrian YIM/vince YAN/mike SMITH/brendan SHEA: For years, molded paper pulp has been used to make strong and intricate shapes in the packaging industry and has received little attention in architecture until now. In association with Ball-Nogues Studio, students at UCLA developed a process for the sprayed application of paper pulp (rough material) onto an articulated form work (smooth surface) to create a new aesthetic in tactile wall systems.
los angeles CALIFORNIA
suckerPUNCH: describe your project
blake BETHARDS: The Los Angeles basin rests above the third largest oil deposit in the United States. During the late 1800’s and into the 1950’s, oil derricks and wells were visible throughout much of LA County (Venice beach, Beverly Hills, Santa Monica, Long Beach, & Pasadena). Today, much of this infrastructure has been taken down as drilling technologies have improved and in order to accommodate the high demand for property in the region. What most Angeleno’s don’t know is that there are still several dormant derricks hidden within the city, concealed behind false walls or within nondescript buildings.
los angeles CALIFORNIA
suckerPUNCH: describe your project:
adrian YIM: Cumulative Coherence: Plastic Lines is a two part exercise.
1. It begins with the interest in moving from the “generative” digital environment to a renewed interest in craft and tectonics – privileging dexterity in a physical system of assembly; and through understanding a primitive’s material behavior (in this case, strips of mylar), begin to explore its expressionistic implications as an immersive field.
los angeles CALIFORNIA
Table Cloth is a collaboration between the UCLA Department of Architecture and Urban Design, The Herb Alpert School of Music, and UCLA Design Media Arts. It is made possible by generous support from the Graham Foundation for Advanced Studies in the Fine Arts and the UCLA Arts Initiative.
suckerPUNCH: describe your project.
ball nogues studio: The installation in the courtyard at Schoenberg Hall serves as an integrated set piece and backdrop for performance and everyday social interaction. We understand the work as a tablecloth to adorn and activate the architecture of the campus. Tables are places where people interact socially. Dining tables, specifically, facilitate organization and communication within the typical American home.
los angeles CALIFORNIA
THE ARTLESS DRAWING: NEIL DENARI, 1982-1996
IN ASSOCIATION WITH UCLA ARCHITECTURE AND URBAN DESIGN
OPENING RECEPTION SUNDAY JUNE 6, 2010, 6:30-8:30PM PUBLIC RECEPTION IN CONJUNCTION WITH ACHIM FREYER SATURDAY JUNE 19, 7-9PM EXHIBITION RUNS THROUGH JULY 15, 2010
Image Credits:
Neil Denari, Tokyo International Forum Competition, 1989
Pantone color (seafoam green, bright orange, grey, red and blue) and Zip-A-Tone on Photostatic print
copyright Neil Denari – please do not reproduce without permission for the artist
los angeles CA
suckerPUNCH: describe your project.
sorayos tang CHUENCHOMPHU, renee d. SMITH, leon m. CIFALA + nate m. GREEN: N_Urples was an exercise producing a surface, which created visual affects by parallax and proximity. The unit is a hexagon constructed of three panels whose color treatment act to undermine readings of the geometric tessellation. An a-b connection scheme allows for up to 12 connection types which produce a variety of swelling, swaleing and clumping affects in a variety of connections. Any overall reading of the aesthetic as either biological or mechanical is subverted by the treatment of the surface as a deformed field of bulbs which when read alone could be associated with anything from a fly’s eye to a hubcap.
los angeles CA
suckerPUNCH: Describe your project.
daniella GOHARI, molly HUNKER, abby KATCHER, and daniel POEI: Point Blank is an exterior panelized rainscreen design, fabricated through the process of milling in foam and vacu-forming plastic. Instead of a tessellation that aggregates with specific rules to create a preconceived design, our panels are meant to aggregate in many orientations and groupings as an index of programmatic elements on the interior.
los angeles CALIFORNIA
suckerPUNCH: describe your project:
gabriel a. HUERTA : the proposal for the los angeles plaza market as an elevated market platform bridges between the chinatown and the el pueblo districts as a multicultural hub and venue for transient programming. to fulfill the requirement for flexibility in program and provide substantial surface parking, the project is an exploration of large span roof structures. the shell typology is reexamined as being a hybridized structural system that can be both surface-active (shells of varying depth and grid densities) and vector-active (armatures and three-dimensional moment frames). form generation and geometric patterning is aimed at a structural mesh that is opportunistic and can adapt based upon performative needs.
los angeles CALIFORNIA
suckerPUNCH: describe your project:
bob FREDERICK: this design for the interior redevelopment of an existing university building seeks to employ a strategy for synthesizing systems of nature with the built environment. domestication has become a pinnacle of mankind’s achievement whether for function, commodity or ornament, our desire to control natural systems seems to be a force inseparable from the human condition. the french topiary gardens of the 1800’s may be one of the earliest precedents describing our desire to incorporate nature as a mutable material and thus, as an artist’s medium. working within the topiary practice of subtraction, in this case wood and foliage, the method provides the artist with a tool for shaping an ideal and often simple or sublime form.
