ITALY/ PORTUGAL/ NEW YORK

suckerPUNCH: describe your project.

caterina TIAZZOLDI + eduardo benamor DUARTE: Onion Pinch is a cork installation originally conceived in occasion of the Digital Primitive Event proposed as a parallel event of the Lisbon Biennial Experimenta Design.
“They are Digital, because they are the first generation of New York designers and architects formed in a context characterized by digital modeling techniques and CNC fabrication They are Primitive because they have to respond to the limitations deriving from a city like New York.”

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istanbul TURKEY

suckerPUNCH: describe your project.

alper DERINBOGAZ/ frederik DE SMEDT/ kamil KAPTAN/ salih KUCUKTUNA : Avant Garde architect usually has been disliked in architectural discourses as well as in the market . Even then young architects have been opening up new opportunities for practice. So we have found Jack’ s story very similar to this in the Beanstalk Fairytale. He has never been approved by his mother and his curiosity for the world above the clouds had always caused trouble for him. It was mostly his curiosity driving the whole story which is similar to the experimental designers story. We are not sure if the Avant Garde still exist but we have tried to create a free play space around the concept of the beanstalk for young architects in this four days workshop.

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brooklyn NEW YORK

ian sample: Sussman has only two criteria that organisms must meet before they become one of her prized subjects. They must be more than 2,000 years old (an arbitrary figure, she says) and the organism must have lived continuously for the period. So far she has photographed more than 20 life forms, from shrubs and predatory fungi to Siberian bacteria and domed corals that look like giant brains.

The collection offers a rare perspective of life on Earth. Some of the organisms Sussman has captured look alien. Many were alive in the bronze age. Others were eking out an existence long before modern humans rose up and migrated out of Africa.

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los angeles CALIFORNIA

suckerPUNCH:describe your project:

drew PUSEY: Given the current consumption rates of beef products in the US and the available land/resources we have for livestock production, it’s only a matter of time before these beef products (in the form of live cattle) will come largely from foreign sources. Unlike other imports, livestock presents a particular problem to domestic food safety in that diseased animals might not immediately show signs of contamination. The Ruminant Quarantine (based on the 4-chambered stomach of a cow) sits on the Port of Los Angeles and operates as both the storage and processing facility for the animals during the 60 day period of sterile isolation from when they are first taken off the ship to when they are distributed via rail to consumers.

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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.

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louisville KENTUCKY

suckerPUNCH: describe your project.

robert NACK/bret WILCOX/brendan CORCORAN: The goal of this algae research and education facility is to reintroduce Henderson into the global discussion about energy. The site serves as an incubator for the city’s economy. The performative qualities of the chosen geometries attempt to address a historically difficult issue in architecture, the transition between the horizontal and vertical - the plinth and the object.

critics: Marcelo Spina and Drura Parrish

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new york NEW YORK + los angeles CALIFORNIA

suckerPUNCH: describe your project

brennan BUCK + david FREELAND: Earl’s is an artisanal deli and gourmet market in Los Angeles. For us, it was a test case in how we could use computation less as a fabrication technique than an aesthetic filter to enrich a small space’s everyday use. The restaurant was designed with cutting-edge technology to fit an old-world sensibility inspired by its food. Torquing ceiling surfaces and inscribed digital patterns are combined with a rich material and color palette to evoke both technological refinement and the more rustic feel of alpine landscapes and Viennese cafes.

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new york NEW YORK

SOFTlab is producing an installation at the bridgegallery in the lower east side of Manhattan. For a month, starting August 26th,CHROMAtex.me will fill a small part of the world with one of our favorite things: COLOR! Please help us fill it with your support. We would love to see a name on every panel.

los angeles CALIFORNIA

suckerPUNCH: Describe your project:

zifan LIU + shengping LIN: this design is an research and study of having a project of lines instead of a project of surfaces. The super dense refers to the city context, the contrast between the building and the surrounding, the program and the challenge of how to create a space built by lines. Beyond the boundary of the structure, membranes or envelopes, this design merges them together while providing an efficient space in the dense of tokyo. The thickens of the strings wall create an buffer space from the outside, it also support itself as well as the lateral force of the building and provide a column-free space for the museum. its not a surface, but it create an envelope by having a super dense pattern and hierarchies.

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los angeles CALIFORNIA

neil m. DENARI architects: The city of Maribor has a rich history and quite possibly, an even richer future. As the 2012 European Capital of Culture, the future will arrive in a hurry for this intimate, vibrant city. There is therefore, an urgency about what this future will provide for the people of Maribor and to what extent the new UGM will accelerate the conditions of urban life. Museums, as we know, don’t simply reflect the identity of a city, they transform identities through the material life of architecture. In this, a building must have the nerve to respond to a particular cultural energy, to be assertive, but how? In what way? At what cost?

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