T4T LAB Spring 2016. Object Redux.
Invited Professor
Adam Fure
Team: Ricardo Gonzalez, Abby Stock, Madison Green, Julia Pena
The project evolved from investigating
the origin of form and suggesting canonical architecture as a database of
formal information. The object argues leveling of the figure, the paradox of
developing complexity from exhausting a facile operation, fluctuating
authorship, and the equivalence of the infinite figural sweep to a three
dimensional brushstroke.
The project derives figures from baroque poche and aluminum
window profiles. The process of using a single operation like the sweep to
manipulate the figures digitally diminishes their symbolic origin and flattens
them onto the same plane of significance, homogenizing the notion of figure.
The gesture of the orthographic filleted sweep serves as the
catalyst for this reaction, inducing the ambiguity of the figure. The misuse
and exhaustion of this one mundane operation creates a surface condition of paradoxical
complexity and endlessness, with the figure in a state of constant motion. The
object only becomes static when cut via plan and/or section to reveal an exact
moment of the figure within the sweep.
The figuration becomes difficult to track outside of plan
and section due to the recursive nature of the sweep that further equalizes the
ontology of the baroque poche and aluminum window profiles the figures were
derived from. This equalization and ambiguity of figure is also perceivable at
the level of the object itself being composed of sweeps that embody figures in
infinite flux.
The process of creating sweeps digitally also forces the
issue of transmission of authorship. The software’s inherent restrictions on
generating sweeps transmit authorship from the user to the software, leaving
only the path of the curve determined by the user. However through each
generation of objects an intuitive expertise of sweep creation developed
resulting in a slight regaining of authorship from the software, making the
authorship of the objects fluctuate.
The sweeps, because of their fluctuating authorship, begin
to be read as three dimensional brush strokes with the object produced being an
architectural painting of figures in flux while maintaining the fundamental
properties of figure. The object becomes
an ungrounded diagrammatic architectural painting of figures composed of sweeps
that liken fluctuating figures to a brushstroke with an infinite
reproducibility.
