SCI-Arc Fall 2015 Vertical Studio
Pop Corn “undefined form”
Prof. Hernan Diaz Alonso and Ivan Bernal
“The world is full of obvious things which nobody by any chance ever observes.” Sherlock Holmes – The Hound of the Baskervilles.
Over the last two decades, the design ethos that has grown out of the digital turn has triggered key shifts in
architecture. The far-reaching effects and consequences of this phenomenon are hard to spell out – and perhaps still too recent to be fully theorized (despite many attempts to do so). However, I think that some of the main shifts that occurred in our field can be summarized as follows: representation to simulation; composition to systems; collage to pixelation; details to close; close reading to virtuosity; geometry to image ups and new coherencies. There is an ongoing disciplinary interest in all of these aspects of design, but for the purpose of this studio, we want to explore the last two a bit more carefully. 1This is mainly because these shifts can be seen as framing, and in a sense implying, the other four themes on the list. The anti-mass or blurred mass as a formal code forgoes the concept of a metamorphic body and instead creates mutants by stitching together parts from non-opaque effects that have been classified as benign by local conditions. The studio is interesting in exploring potential architectural expressions of a contemporary neo formal, which is not defined by geometrical edges. The symptoms and techniques to achieve this are many are don’t point to any single condition or cause, and we’re working with just a few that interest us in particular. The possibility to use literal Popcorn, as a method of analysis, production, behavior, and accumulation, should serve as a “fun Platform” to overcome the stiff attitude that usually architecture has to it owns disciplinary understanding. There is something incredibly liberating to don’t be bound by the obligation of historical trajectories. We will become experts on Popcorn and we will find new means and possibilities of form making through this process. What is the formal project today in relation to the tissue of the city and what could it be? The conflicts of Modernity, from laboratory- ‐assisted reproduction to European monotony, revolve to a significant degree around the transformation or conservation of particular bio sociological arrangements, of obsolete architecture types. Rosalyn Krauss and Yves-Alain Bois explore some of these concepts in “Formless”, Quote: “Although it has been over sixty years since Georges Bataille undertook his philosophical development of the term inform, only in recent years has the idea of the “formless” been deployed in the theorizing and reconfiguring of the field of twentieth-century art. This is partly because that field has most often been crudely set up as a battle between form and content; “formless” constitutes a third term standing outside that opposition, outside the binary thinking that is itself formal.” The globalization of Western design forms has also meant a globalization of ironical formal infrastructure originated for a historically contingent of type accumulation. We argue that the mismatches between architectural conventions for the space and the multiplicity of bio sociological realities are severe. This studio will explore other possibilities by attempting to accommodate one particular, highly idiosyncratic formal tissue condition that would be entirely unsuited to a conventional functional space. The studio will explore, thought very precise digital techniques, multiple ontologies thought stitching of architecture pieces and different level of motion mutation, puffiness, and variation. Distorted form making, animations, rendering, biosynthetic replacements, will serve an Aesthetic technique catalog for the production of architecture design. In this, we hope to pick up some of the remaining trace signals left over from a previous era’s interest in using architecture to model new, progressive architecture of “formal presence”, family spaces and bio expressions in contemporary forms. We will absorb both the optimistic and progressive as well as the menacing and undefined, and for this studio, will liberally apply precedents from all of these. 2. Procedures –The studio proposed to re-examine the possibilities of form generation as an autonomous entity. In the context of these conditions, the studio focused on the generation and production of artificial manipulation of “formless” or better edgeless masses. The studio will explore the predominant effect of this ‘isomorphism’ being the aggregation of diverse forms of design intelligence into an almost universal condition of image production. Perhaps some might see this as a
triumph of superficiality over depth, but it’s certainly also an intensification of the conjectural and fictive logics of design. We see this as a real and complex demand that global network culture makes on producers of architectural content.
3. Project.-The Students will work on a proposal to produce a massive scale “pop up” performing arena in the tradition of the “tiatro dil mundo” of Aldo Rossi or “Pavilion 21 mini-opera space” by Coop Himmelblau”. This Pop-Up performance space will be mobile and temporal; will have multiple lives and mutations.The Final project will be a movie in which the main character is the Popup performing space.
Students: Polina Alexeeva, William Virgil, Huijin Zheng, Zaid Kashef.