The Kid Gets Out of the Picture is a contemporary update on the aesthetic principles of early 19th century English landscape architecture. By the early-nineteenth century, practitioners of the English picturesque had invented a catalog of objects (follys, ha-has, viewpoints) that worked to produce the pictorial effects of landscape painting within real space. Lumps, clumps, and masses made it possible, in a sense, to occupy the picture.
TURF: A Mini-Golf Project explores the meaning of terrain and territory in Los Angeles through the architecture of mini-golf. The mini-golf course becomes a playful trope of the city of Los Angeles, articulated through artificial terrains, winding territories, and fantastical architecture.
Materials & Applications: Building Something (Beyond) Beautiful: projects, 2002-2013; opens at the University Art Museum at CSULB on January 25th! Installations, models, prototypes, rare images, and much more will cover the past, present, and future of M&A with new work from M&A’s blight-busting team, Urban Applications, workshops, and a symposium to unfold over the coming months of the exhibition.
The Superscript installation utilizes hundreds of Tyvek squares fastened to a braided stainless steel net that spans the 826LA center’s reading yard. That net is suspended from 8 dock whips, engineered to absorb the movement of the canopy and make adjustments and maintenance easy.
“Promiscuous Production: Breeding is Bittersweet” is part of EATLACMA, a year-long program at the museum designed to explore food as a curatorial theme, drawing works from the permanent collection and from artists in the Los Angeles community.
“Back to Basics” is the new installation in the Materials & Applications exhibition courtyard. It is a coordinated effort to develop an installation without a design at the outset that uses basic, off-the-shelf components and materials found in and around the exhibition space.
Eddy Sykes’ Yakuza Lou is a site-specific installation that uses the relationship between the natural and mechanical notions of landscape to create a unique garden of pushing and folding topographic surfaces. A robot cloud floats overhead and creates a volume in constant pseudo-natural flux.
This installation hypothesizes that in zero-gravity, one can rotate (in) architecture and treat all elevations as plans – i.e., walls, ceilings and floors. Without gravity, all surfaces can be occupied. In essence, the distinctions between orthographic drawings become obsolete.
The Here There Be Monsters installation explores the challenges of synchronizing the aesthetics and intrinsic characteristics of natural materials into a built environment completed with the latest computer aided design tools and embedded control system technologies.
What does it mean to generate a climate, to build with the air, to create space? When we inhabit a place, we do not live inside the concrete, the glass or the wood, but in the space that they surround. The Weather Garden investigates architecture’s invisible elements: space, ambiance, atmosphere and how people experience them. The place itself is an urban void, an empty stage. The events that activate this space are an integral part of the project. A weather forecast announces the program (film screening, lecture, musical performance, party, reading …) using a silver screen facing the street as a billboard.
Serial Departure represents a starting point, with respect to research, towards a responsive and possibly reactive architecture. The project began with an interest in a technique of steam-bending wood, a process that would hardly be considered high-tech as it was developed in the mid 19th century. This interest led to the methodical research of historical precedence, including kayak construction, shape memory alloys, and Thonet/Eames furniture.
Land.Tiles is an articulated contoured topography consisting of 140 concrete cast and textured blocks manufactured through a process of CNC milling and vacuum formed plastic. The project was designed by PATTERNS principal Marcelo Spina in collaboration with the Land.Cro.Sy.Rials seminar class at SCI-ARC. Land.Tiles is the outcome of the research and development of an emergent generation of highly integrated, environmentally-sensitive, contour-responsive erosion control and landscape consolidation systems. Portrayed as an “actively affective landscape micro environment” the installation includes a circuitry of continuous water flow that stimulates severe and shifting conditions. The project duration of six months allows structural, surface, and vegetation conditions to be monitored over an extended period of time.
CorteX is a project that involves extracting and generating garments from the unconscious of designers. CorteX is part of an investigation into emergent design under the umbrella of Skinn. The project reverses the process of clothes design from an industry and media driven and derived procedure to an exercise that generates design directly and autonomously from the unconscious. The process involves a controlled hypnotic induction to access the inner mind and explores the idea of ‘intelligent’ clothing as an extension of the central nervous system. This anticipates technology, spearheaded by military research, that enables environment, inner mood and the community to be seamlessly linked into one continuous element.
Inspired by the wrapped buildings of Christo and Jeanne-Claude and the stretch fabric interiors of Gisela Stromeyer, this facade presents a reverse unveiling of a new architecture and landscape by Jenna Didier, founder and previous director of Materials & Applications. The contributions of Ian Quezada (aka SONIK) were invaluable to the mounting of this installation and the success of the groundbreaking event.