los angeles CALIFORNIA
Woodbury University, School of Architecture
critic: Mark ERICSON
suckerPUNCH: Describe your project.
Mark ERICSON: This introduction to architectural drawing in Woodbury University’s Graduate program focused largely on the comprehension and inventive deployment of Euclidean principles through a study of descriptive geometry and skiagraphy. . . .
drawing, mark ERICSON, woodbury university
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los angeles CALIFORNIA
Woodbury University, School of Architecture
critic: Mark ERICSON
suckerPUNCH: Describe your project.
Mark ERICSON: In a recent seminar at Woodbury University in Los Angeles, we explored historical repetition and analysis as a means of manufacturing and adapting drawing methods to specific ends.
drawing, mark ERICSON, repetition, woodbury university
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ann arbor MICHIGAN
suckerPUNCH: Describe your project.
Clark THENHAUS / Endemic: The recently completed “Surface Gardens: Drawing Relief” project considers pre-digital drawing processes characterized by expressive materiality, competing formations, and non-delineated drawings as translatable compositions for surface articulation.
clark THENHAUS, drawing, Endemic, Endemic Architecture, rives RASH, surface
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THE NETHERLANDS
suckerPUNCH: Describe your project.
Elvira ‘t HART: The collection wearable drawings is a series of drawings turned into wearable garments.
drawing, Elvira 't HART, fashion
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london UNITED KINGDOM
Christopher KANE, Spring/Summer 2014 Menswear Collection.
christopher KANE, drawing, fashion
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los angeles CALIFORNIA
“Lebbeus Woods is an Archetype” includes an exhibition in the SCI-Arc Gallery and a public art installation in the Arts District’s Bloom Square, both aiming to demonstrate the fearless nature with which the late visionary architect and draftsman created. It is assembled by an exhibition team including SCI-Arc graduate programs chair Hernan Diaz Alonso, Christoph A. Kumpusch, and design faculty Dwayne Oyler and Alexis Rochas.
exhibition: “Lebbeus Woods is an Archetype,” with Hernan DIAZ ALONSO, Christoph A. KUMPUSCH, Dwayne OYLER, & Alexis ROCHAS.
Friday, 10/11–12/01
7.00 p.m. (opening reception & symposium) / SCI-Arc Gallery
960 East 3rd Street
Los Angeles, California 90013
Alexis ROCHAS, Christoph A. KUMPUSCH, drawing, dwayne OYLER, exhibition, hernan diaz ALONSO, Lebbeus WOODS, NOTHINGeverHAPPENS, SCI-arc, symposium
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nantes FRANCE
suckerPUNCH: Describe your project.
PEZ: The “Endless Faces Project” is a series of portraits realised with graphite pencils on 300 gr/m2 paper. All drawings are 19×25″ in size, each portrait requiring approximately 30–40 working hours to complete.
troy NEW YORK
“Architects typically produce drawings and other artifacts—words, inscriptions, models, full-scale mock-ups, and so on—that allow buildings to be realized by others, at a distance from their authors. This has not always been the case. Gothic building, for example, was a constructive practice of geometric rules and traditions where master craftsmen operated to some extent as architect and builder simultaneously. In this situation, drawings were not the primary mediator between design and construction; discussions regarding the final form of a building continued throughout the construction process. . . .”
*Fig. 1: Robin Evans, “Projection and its analogues: The Arrested Image,” 1995.
san francisco CALIFORNIA
California College of the Arts
critic: Gregory HURCOMB
suckerPUNCH: Describe your project.
Alex WOODHOUSE: Animated sequences are often difficult to convey in a single, static image. Movement, intensity, and speed are terms associated more strongly with the animate than static, abilities showcased in the production and viewing of visually recorded events. Shadow Traceries is an investigation into the decoding and re-representation of these events, compressing time-based input into a finite, visualized moment.
Alex WOODHOUSE, animation, California College of the Arts, data visualization, drawing, Gregory HURCOMB
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los angeles CALIFORNIA
In the evolution of image culture from Marshall McLuhan’s claims of medium supplanting message to the mid-’90s paperless studios’ fetishization of computer rendering, the rise of suckerPUNCH has added a new visceral dimension. . . Projects published on suckerPUNCH . . . are elevated beyond the ordinary and contribute to a new kind of nuanced visual discourse uniquely enabled by the Web. The underlying visual logic of this discussion is the “field,” a now default technique for describing environment and indexing parametric process. Sensorial, geometric, and spatial, the field conveniently conflates the three into a rich digital milieu. . . .
[EXCERPTED FROM FRESH PUNCHES ]
david FREELAND, drawing, FIELD, freelandbuck, Fresh Punches, geometry, representation, sanford KWINTER, SCI-arc, suckerPUNCH, website
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