new york NEW YORK
for immediate release:
march 24 – april 24, 2010
david zwirner is pleased to present glass house, james WELLING’S fifth solo show at the gallery. the exhibition consists of new photographs documenting philip johnson’s iconic glass house, built in 1949 in new canaan, connecticut.
los angeles CALIFORNIA
xsi base: how did you get started in the cg industry and why?
ben PROCTER: i became interested in 3d right after college when got a job helping to art direct a cd-rom computer game. i was really fascinated watching the 3d artists do their work (especially my old buddy jin song, who was at pdi last time i checked), and i quickly began to learn about cg lighting, texture painting, etc.. at that point pixar was really hitting its stride with movies like “a bug’s life”, and i pictured myself becoming a lighter at a large animation or vfx studio. as it turned out, though, my first proper cg job was for a tiny (now defunct) la-based matte painting company called digital firepower and involved a lot of modeling, which i had to sort of learn on the job.
pittsburgh PENNSYLVANIA
team: arthur AZOULAI, nelly DACIC, jared FRIEDMAN, christopher GALLOT,spencer GREGSON, matthew HUBER, jaclyn PACELEY, puja PATEL, rita, craig ROSMAN, giacomo TINARI, eddie WONG
suckerPUNCH: describe your project.
this is the work of undergraduate architecture students in the digital tectonics course at carnegie mellon university, taught by jeremy FICCA and zach ALI.
new york NEW YORK
suckerPUNCH: describe your project:
michael ARELLANES II: by researching insect and reptile forms for performance properties to be used for robotics, it became a departure for translating these properties into the integration of architecture. the architectural space and structure are generated by a series of insect component structures. the concept is to create a hybrid structure of dynamic form that has ai mechanisms built into the architecture to perform with insect intelligence and mobility within its surface structure. initial stages of the processes are to generate a series of components with xenomic properties to attach and assemble with other generative pieces with vertebrate potentials.
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.
new york NEW YORK
MoMA’s department of architecture and design has acquired the @ symbol into its collection. it is a momentous, elating acquisition that makes us all proud.
image: ray tomlinson. @. 1971. here displayed in itc american typewriter medium, the closest approximation to the character used by a model 33 teletype in the early 1970s
tokyo JAPAN
“2010 frantic underlines” supports the radical changes that are happening just now in the contemporary japanese art scene. we observe the decline of the despotic empire of the “wonderland”-style art and consequent unfolding of a plurality of new dimensions in contemporary art. we stand now at a crossroad that could lead in multiple directions. we see art that exists in parallel to the bubbled surface of the superflat-micropop history. we foresee new exhibitions that are based on contemplation and consciousness, not the empty self-obliterating hedonism of amusement parks. we make 2,010 frantic underlines to mark one of starting line for the art of the future and to provide vectors that lead to those artists who have actually always been here.
image: cosmos sulphureus by macoto MURAYAMA
illustration, macoto MURAYAMA, photography
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long island city NEW YORK
suckerpunch: describe your project.
shinichi MARUYAMA: as a young student, i often wrote chinese characters in sumi ink. i lover the nervous, precarious feeling of sitting before an empty white page, the moment just before my brush touched the paper. i was always excited to see the unique result of each new brushing.
meguro-ku TOKYO
the female form distorts and bubbles through the digital temple feature by nam collaborative. vibrant colors create textured surfaces that weave and drape throughout the image field. new geometries emerge from the distortion and conceal and expose the figures within the compositions.
wien AUSTRIA
ioa sliver lecture 24 march 2010, 7.30pm,
marcelo SPINA “embedded interstices”
seminarraum b
in recent architectural history, interstitial space came to be associated with strategies of the local, the anomalies and spaces in-between. a possible expansion within this lineage implies conceiving interstices as absolutely integral to architectonic order, mass and structure; figurally embedded, materially articulated, intensely but locally distributed across the fabric of building.
architecture, lecture, marcelo SPINA, patterns, university of applied arts vienna
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