college station TEXAS

Texas A&M University
critics: Eric GOLDEMBERG, Niccolò CASAS, & Gabriel ESQUIVEL.

project manager: Ryan WILSON.
team: Zach HOFFMANN, Erica DURAN, Eli WOOD, & Matt KOHMAN.

Post-Indexical Sensibility: Abject Pulsation
Post–Indexical Sensibility is a study on Rhythmic Decadence, which results from programming Material Senescence as Prosthetic Affect.

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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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college station TEXAS

“The purpose of this essay is to frame the inclusion of the piece ‘Bi-Polar,’ developed by students at Texas A&M University College of Architecture in 2011, as part of ‘Fresh Punches.’ . . . The problem of contemporary architecture can be posed in relation to certain anthropological concerns about the subject of representation, which is as much about itself as it is about the radical other. . . .”

*image by and courtesy Adrian CORTEZ, Aubrie DAMRON, Dale FENTON, Matt MILLER, & Emau VEGA, “Bi-Polar.” Texas A&M University College of Architecture. Gabriel ESQUIVEL, instructor. Photo: Emau VEGA.

[EXCERPTED FROM FRESH PUNCHES ]

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college station TEXAS

Texas A&M University
critic: Gabriel ESQUIVEL

suckerPUNCH: Describe your project.

Catlan FEARON: With the post-Enlightenment destruction of the certainty of the metaphysical presence of God, the subject of religious architecture changes drastically. Just as the subject changed from God to the collective worship with the renaissance, the subject now becomes the single man and his subjective relation to the eternal, and, consequentially, to the architecture of religious typology itself.

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college station TEXAS

Jonah Rowen is an architect founder of Rowen Studio. He is an instructor at the Southern California Institute of Architecture in Los Angeles and an editor of Project, a new architecture theory publication. In addition, Rowen is an assistant editor working with Emmanuel Petit on a book of original essays by prominent architects reckoning with the legacy of Colin Rowe.

jonah ROWEN
Monday, 10/29
5.30 pm / Geren Auditorium
Texas A&M University Department of Architecture
College Station, Texas 77843

college station TEXAS

Roland Snooks, design director and founding partner of Kokkugia, a progressive architecture and urban design practice with offices in New York and London, will present “Volatile Formation,” the final lecture in Texas A&M Department of Architecture’s Spring 2012 Lecture Series.

roland SNOOKS
Monday, 04/23
5.30 pm / Preston Geren Auitorium
Building B, Langford Architecture Center
Texas A&M University
College Station, Texas 77843

college station TEXAS

Texas A&M University
critic: gabriel ESQUIVEL

Team: Matt MILLER, Dale FENTON, Emau VEGA, Aubrie DAMRON, Adrian CORTEZ
Photos: Emau VEGA

Texas A&M University FabLab, Gabriel ESQUIVEL: The project began as a performative wall system that reacted differently to exterior and interior spaces. We realized we had to confront the fact we had two different surface logics, so rather than trying to blend these conditions, we decided to emphasize the difference indicating two current design directions. This resulted in two polar opposite geometries with opposite personalities that strongly defined exteriority and interiority.

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college station TEXAS

suckerPUNCH: Describe your project.

erin TEMPLETON: The orthogonal system serves programmatic needs, while the second figural geometry serves as a performative skin. The project is about a confrontation of these two conflicting geometries. One being the orthogonal system that extends outward while the opposing figural geometry creates a new edge condition bringing the outside inward. The outer ductile system wraps and binds the inner hard system, causing the figural skin to become a knowledge-gathering device. The primacy of the skeleton had given way to the new primacy of the skin; the change that happens gives more complexity to the binding skin, thus becoming invasive and equipped with its own identity and behaviors.

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bryan TEXAS

The installation discusses issues of intimacy and self-contemplation, combining different sensations in a “blue mood” by combining two different sensibilities.

‘Black Narcissus’ highlights the importance of encompassing all methods of fabrication; digital and analog in terms of technology, management efficiency and time towards the production the project. The piece is constituted of 1,000 pieces including the 644 pieces of CNC routed syntra, 50 large flowers with jewel like crowns and 100 small flowers. The idea was to produce a structure that combines a parametrically designed large form ornamented and gardened with nonparametric flowers. Through this gardening process of aggregation, the flowers produce a sensation of excess in a garden of delight.

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college station TEXAS

Team:Matt MILLER, Dale FENTON, Emau VEGA, Aubrie DAMRON, Adrian CORTEZ
Photos: Emau VEGA

Texas A&M University FabLab, Gabriel ESQUIVEL: The project began as a performative wall system that reacted differently to exterior and interior spaces. We realized we had to confront the fact we had two different surface logics, so rather than trying to blend these conditions, we decided to emphasize the difference indicating two current design directions. This resulted in two polar opposite geometries with opposite personalities that strongly defined exteriority and interiority. Bi-Polar can then be explained more effectively in three systems working together: (1) The tessellated parametric logic performative exterior, (2) the loose free-flowing sensual interior, and (3) the in-between performative bladder system that mediates between the two extremes.
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