los angeles CALIFORNIA

suckerPUNCH: describe your project.

dave BANTZ + michael GROSS: Rather than taking the “true” or literal approach to materials, this
project attempts to adopt techniques mastered by artists and apply them at an architectural scale. Material in art is used as a representational device for effects and a gateway to sensation. The”Artificial Matters” studio, run by SCIARC professor Elena Manferdini, aims to provoke new sensations through texture, geometry, coloration, and finish. The studio began by 3D scanning literal materials (in this case a sliced peach) and modifying the raw data to produce a synthetic material with the potential to create new sensations.

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pasadena CALIFORNIA

ART CENTER COLLEGE ANNOUNCES MADE UP:DESIGN’S FICTIONS

Exhibition Explores the Future As Envisioned By a New Generation of Architects and Designers

Lecture Series and Public Exhibition January 29 - March 20, 2011

Wind Tunnel Gallery
Art Center College of Design South Campus
950 S. Raymond Avenue, Pasadena, CA 91105

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brooklyn NEW YORK

suckerPUNCH: describe your project.

EASTON+COMBS: The Aldgate Landmark Pavilion is a temporary entrance marker to the City of London in celebration of the 2012 Olympics. The site’s importance is that it is the location of the former city gate, the Aldgate, a historically significant point of entry to the city of London that was famous for being open to all social classes when the other city gates were reserved for various elites. The resonance of the history of the site serves as a gesture to the spirit of the 2012 Olympics in a bustling area of contemporary London by providing the venue of a temporary landmark.

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college station TEXAS

Team Members:
ryan COLLIER
michael TOMASO
gabriel ESQUIVEL
The project was awarded an honorable mention in the REPEAT competition organized by TEXFAB November 2010.

gabriel ESQUIVEL: There is a vast precedent in fabrication projects that deal with the idea of weaving, however within those projects there are more specific techniques. This project concerns itself specifically in the spiral or coil. In “Tooling” Aranda/Lasch describe this technique as, “the spiral (which) is not so much the shape as the evidence of a shape in formation.”(1) This idea implies constant movement as a desired effect - something architecture has historically aspired to.

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