san diego CALIFORNIA

critic: raul DIAZ

suckerPUNCH: Describe your project.

brandon MARTELLA: Food as a resource is limited. Supply will soon not meet demand. With population growth, food production in the United States is reaching maximum capacity. Current trends in development create a struggle between farming and living. These two practices are modeled for their own benefit and are soon to clash in a disastrous agglomeration. According to the FDA, the average American alone consumes 707.7lbs of fruits and vegetables each year.

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los angeles CALIFORNIA

SCI-Arc
critic: florencia PITA

suckerPUNCH: Describe your project.

fernando HERRERA & jing meng FENG: The building comes together as a hybrid composition of aesthetic characteristics, a coalescence of contrarieties. The combination of distinctly different vocabularies alludes to the programatic versatility in the scope. The design strategy features a hard-edged shell that rests on a geometrically soft under-belly, and both components bear different texture qualities. These articulations of the envelope originated from a process of algorithmic outputs.

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calgary CANADA

suckerPUNCH: Describe your project.

josh TARON, adam ONULOV, & michael McGIE: In her essay, “The Natural in Architecture and Culture,” Elizabeth Grosz cites Plato’s chora as a “receptacle or nurse that brings matter into being, without being material; it nurtures the idea into material form, without being ideal.” The positioning of architecture as an indeterminate attendant[1] is a mode that had been addressed only a few years prior to the Blur Building in the Chora L Works.[2] This is not a point to be dismissed as the Blur Building should be understood as an achievement of architecture that for one reason or another could not be resolved previously between Eisenman and Derrida. Furthermore, it concurrently enables Architecture to operate without ideal meaning while opening up infinite possibilities for complex material affects.

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london UNITED KINGDOM

The Eli and Edythe Broad Art Museum, located at the northern edge of the Michigan State University campus, is influenced by a set of movement paths that traverse and border the site. The vitality of street life on the northern side of Grand River Avenue and the historic heart of the university campus at the south side generate a network of paths and visual connections; some are part of the existing footpath layout, others create shortcuts between the city and the campus side of Grand River Avenue.

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london UNITED KINGDOM

Zaha Hadid Architects has won the international competition to build the new National Stadium of Japan. The practice, which produced the London Aquatics Centre for the 2012 Olympic Games, was selected ahead of 45 other international architecture firms for the US $1.62bn development.

The announcement was made in Tokyo by celebrated Japanese architect Tadao Ando, who chaired the judging panel. British architects Richard Rogers and Norman Foster were also judges. Making the announcement Mr. Ando praised the fluidity and innovation of Hadid’s design and how it complements Tokyo’s landscape. “The entry’s dynamic and futuristic design embodies the messages Japan would like to convey to the rest of the world,” said Mr. Ando at a press conference on Thursday.

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vienna AUSTRIA

Urban Strategies, University of Applied Arts Vienna
critic: andrea BÖRNER

suckerPUNCH: Describe your project.

andrei OLARU, anna GULINSKA, elena ROMAGNOLI, & pablo ROMAN: Imagine the Cloud as a place on an Archive. Located along the coastline, 450 m structure of the Archive confronts as with an experience of encountering something that we already know. A new point of departure re-organizes and de-composes spatial memory of the Cloud. It brings us to the point where we can study it.

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vienna AUSTRIA

University of Applied Arts Vienna, Rashid studio
critics: hani RASHID, reiner ZETTL

suckerPUNCH: Describe your project.

guillaume MACÉ: K3.x takes place in Lorient, France. It proposes a rehabilitation scheme of Keroman 3, a submarine base from second World War, and answers the desire to reconnect the city of Lorient with the bay. Its definition being shifted from being an entity located on the outskirts of the city’s industrial zone, to becoming the dynamic center of a greater entity, the bay.

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los angeles CALIFORNIA

Sylvia Lavin is a widely published critic and historian who received her Ph.D. from Columbia University. Her most recent book, Kissing Architecture, was published by Princeton University Press (2011). Quatremere de Quincy and the Invention of a Modern Language of Architecture (1992) and Form Follows Libido: Architecture and Richard Neutra in a Psychoanalytic Culture (2005) were published by MIT and The Flash in the Pan and Other Forms of Architectural Contemporaneity is forthcoming.

[LIVE STREAM]

sylvia LAVIN, “Everything Loose Will Land”
intro. by eric owen MOSS
Wednesday, 11/14
7.00 pm / W.M. Keck Lecture Hall
SCI-Arc
960 East 3rd Street
Los Angeles, California 90013

new york NEW YORK

Rensselaer Polytechnic Institute (RPI)
critic: chris PERRY

sP: Describe your project.

kieran MARTIN: Detroit is the quintessential car city. The lack of public transportation has gained exposure recently and there is currently funding and a design in place for an elevated rail line along Woodward Ave. bigNATURE re-envisions the Woodward corridor through the lens of 1960’s Megastructuralists, challenging popular notions of Ecological Urbanism with drastic urban translations of exotic natural environments.

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denver COLORDAO

suckerPUNCH: Describe your project.

clark THENHAUS / Endemic: Carr Castle and Ornamental Gardens was a proposal for the Pruitt Igoe Now Competition integrating an architectural solid, (Chapel), with an informal, ornamental berm garden. Given the multi-layered contextual complexity of both physical and virtual histories in North St. Louis, this proposal concentrated on the physical qualities of a topographic garden and carved solid as cultural and social mediums, rather then directly economic or political strategies. Landform and mass thus serve as both a strategy of erasure, yet simultaneously as a material residue of remembrance through object and field.

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