philadelphia PENNSYLVANIA

suckerPUNCH: describe your project. jisuk LEE: seduction is about visually enticing someone with a certain kind of aesthetic expression. the aesthetic expression of this project is defined as “voluptuousness” conveyed by undulating lines and surfaces; the aesthetic is expressed by transformations between each component and behaviors of their arrangements. accumulation of smaller components creates intricacy that transforms as a larger whole, maintaining a richer effect than as individual units. this project proposes a shopping mall in moscow with art performance facilities including cinemas, playhouses and outdoor stages.

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new york NEW YORK

janAVGIKOS: …what sets kurland apart from the growing number of women who unequivocally celebrate the most traditional female roles is not only the pronounced fictional aspects of her pictures, but also the logistics of her practice…you can’t look at kurland’s images and not wonder about the backstory. his curiosity persists whether she leads us to contemplate teenage girls in a landscape, living a dream of independence as reverse-ender huckleberry finns; or hippies in communes; or a congregation of nude pregnant women. notwithstanding their dreamy qualities, kurland’s photographs exist as performance documents. they reflect her abiding interest in the collaborative process and in social networking and are an extended exploration of a “family of woman,” as well as life off the grid.

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zurich SWITZERLAND

michaelHANSMEYER: in recent years, much of the discussion in the field of algorithmic architecture and generative art has focused on what is now termed complex systems. these are understood to be systems with multiple interaction between different components. they often involve the use of agents that behave according to predefined rules, and interact with each other and the environment to generate and emergent and perhaps unpredictable output. while we have no doubt that complex systems can produce intriguing results, our aim lies in creating simple processes to generate complex heterogeneous output. these simple processes have the advantage of more control. as they are highly determinable, their output is predictable and can therefor be easily refined through subsequent adjustments.

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london ENGLAND

suckerPUNCH: describe your project.

ludovico LOMBARDI: craft_id researches legibility in complex urban scenarios thrived on formal and spatial architecture coherence. diversity and variance reconfigure complex organisation on multiple scales, articulating highly integrated systems in ordered composition the design proposal challenges urbanism to find alternatives to predetermined grid parcelling land, using computational fluid dynamics as a tool to achieve highly integrated, coherent urban systems within complex and differentiated architectural fields for the shanghai expo 2010 site and beyond 2010.

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innsbruck AUSTRIA

suckerPUNCH: description of the project:

chris PRECHT: the core concept of the project is based on the perceptional principal of a smooth continuation of a line. this phenomenon describes the »phenomenal transparency« (colin rowe) already with two lines.
to generate a complex parametric system of intersecting and overlaying lines, a dynamic spline tool was used. after creating a catalogue of several parametric models, the most successful was chosen. every single hairline was translated in the building structure of a shopping-mall.
locations in the diagram where several lines accumulate are translated into webs within the bone-structure. all building elements are formed out of one continuous surface and create one topological heterogeneous space for a shopping mall.

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NEW ZEALAND

suckerPUNCH: describe your project in one sentence.

brittany BELL: a seed archive built for a future apocalypse.

sP: what or who influenced this project?

bB: bladerunner, sarah schneider, chris cunningham

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erfurt GERMANY

suckerPUNCH: describe your project.

max WASSERKAMPF: the idea of this furniture for an exhibition was to develop a sculpture like a landscape or better said a formation. there should be no “in front of” and “behind”, i wanted the visitors to float around the furniture from all sides while getting into contact with the stuff and settling down at the counter. in the end the furniture should give a real corporate identity and a recognition value to the visitors. the whole counter consists of three parts which are also able to be used alone. the main part of the furniture is described as one big counter which can be added by a small stele(for example to use as a lectern) and a second stele which can be put on the top of the counter. this one includes one case for a beamer and below another one for a computer.

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london ENGLAND

timBLANKS: sometime during the genesis of gareth pugh’s latest collection, the wizard of oz bumped into predator. the result was the kind of showy fashion farrago that has been a london staple since…oh, at least since stonehenge was built. coco rocha marched out in a samurai dress made from zippers, and we were off. the zipper peplum, the zipper panniers, and the huge zipper shoulder pads were exploded components of what might almost have been a joan crawford costume, if she’d ever gotten to play the predator queen of outer space. those famously exaggerated crawford shoulders could also be inferred from a hooded gray flannel cape, or in-furred from the huge, shaggy goat-hair “epaulets” on a wrapped coat.

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chicago ILLINOIS

paul PREISSNER ARCHITECTS, LIMITED: by developing the plaza as a choreographed series of meetings and outdoor performance spaces, the proposal for sundsvall is able to reach from the historic art center to the advancement of the city/river. the theater offers a gradient of moments, from the impromptu participations in the plaza, to the formal performances within the hall.

location: sundsvall, sweden
client: steen&strom sverige ab, the municipality of sundsvall
program: arts centre, dance theatre, city plaza, parking
area: 16,000 sm
status: design 2008

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los angeles CALIFORNIA

tom WISCOMBE: the structure of the building is based on a hybrid of shell behavior, which is surface-based, and spaceframe behavior, which is vector-based. the structure adapts from an underdimensioned condition based on local geometrical and bending moment conditions. where the building shape allows for shell behavior, the depth approaches this minimum. where bending occurs, member depth is increased on a smooth gradient up to the maximum economical depth for a plate girder, at which point the structure delaminates to become a three dimensional vector-based spaceframe. this is a kind of structural phase change, or emergent effect, where the structural system changes in kind rather than simply in degree. it produces highly intricate and ornamental spatial conditions which can be understood qualitatively as well as quantitatively.

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