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  • Thick Skin


    los angeles CALIFORNIA

    suckerPUNCH: Describe your project.
    Viola AGO and Hans TURSACK: Thick Skin is an exercise in the perception of image and volume (a primal confrontation of subject and sculptural object) using advanced fabrication and imagining technologies.
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  • Bathing, Again


    los angeles CALIFORNIA

    suckerPUNCH: Describe your project.
    MILLIØNS: This project reimagines contemporary bathing as a set of extended daily rituals organized around a new, communal domestic landscape.
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  • Fountain


    los angeles CALIFORNIA

    suckerPUNCH: Describe your project.
    Ryan TYLER MARTINEZ: This project comprises of Four object-oriented blocks are organized above a grid filled with courtyards and steps

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  • Not-So-Private Parts


    watertown TENNESSEE

    suckerPUNCH: Describe your project.
    Jason BRIGGS: Though my objects contain strong visual references, I am more interested in the implied tactile ones; the things that stir in me a compulsion to touch…

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  • ARNICA, collection I

    Robert BRACKETT & Laura COOMBS, "ARNICA, collection I."
    new york NEW YORK

    The Arnica jewelry collection synthesizes beastly forms into golden baubles . . .

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    ARNICA

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  • symposium: The Building

    "The Building."
    new york NEW YORK

    Ever since the theoretical turn of the 1960s, right through to the present, the status of the architectural object in the sphere of history, theory and criticism keeps taking on more and more forms.

    symposium: “The Building.”
    Saturday, 11/15
    9.30 a.m.–5.30 p.m. / Avery Hall, Wood Auditorium
    Columbia University
    1172 Amsterdam Ave.
    New York, NY 10027

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  • The Birth & Reverberation of an Object

    Shane BEARROW, The Birth & Reverberation of an Object.
    college station TEXAS

    Texas A&M University
    critics: Gabriel ESQUIVEL, Weiling HE, & Ergun AKLEMAN

    suckerPUNCH: Describe your project.

    Shane BEARROW: “The Birth and Reverberation of an Object” is, in part, an analysis of Graham Harman’s object-oriented ontology, in which a natural object is stripped of its ontology through a series of craft iterations. The basic idea of this project was to conduct a series of drawing exercises going from analog to digital, in order to produce a unique shape. This process was inspired by Robin Evans’ essay “Translations from Drawing to Building.” All steps in the process were unique, though clearly traceable and geared toward the autonomy of an architectural object.

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