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This is an architecture of saturation. From the branded red of the big box to the cautionary red of glass manufacturing, the perimeter landscape is permeated with color. The implications of this condition bring into question the cultural material practice, aesthetic disposition, and the patterns of affect and affordance of the actors of the perimeter. As an actant, red has the ability to interact with the actor network in a subtle, usually
unnoticed manner.

The migratory interloper is an investigation of how the distillation of photographic documentation can create drawings that suggest three-dimensional space. A fragment of the space is modeled and then the model returns to the landscape that generated it. This object can have agency—it can participate in the course of action in a way that transcends its current diminutive scale.

With the addition of an imprinted ground plane to the heavy hitter drawing, instruments for marking ground and air became necessary. As a reflection of the sky, the flight territories appear on the ground plane and then reflected into the vertical plane. Brackets used for marking limits of buildings become tools for connecting the horizontal and vertical.

The marking tools are planar generators that can be used to generate a new species of spatial proposals. Scaleless shells, the blue species has the potential to leave the realm of saturation, signs, and stages to interlope in a variety of environments. Leaving behind the low resolution environment of fragmentary imagination, the blue species can become specific, formal, programmed, and inhabitable by increasing the resolution.

Graphic hierarchy in the perimeter has been subverted by the oversaturation of color. Red is used here to vivify the flatness of the landscape by converting the oversaturation into signs. Flattened, fragmented, and compiled, these signs form an infrastructural stage that uses both horizontal and vertical surfaces to create framework. Semblances of depth arise within and between these planes with the accumulation of perspectival depth, imprinted relationship between the two, and bracketing apertures. The flatness of the red in the perimeter is heightened and then subverted by this type of representation. Leaving behind this low resolution environment of fragmentary imagination, the blue species can become specific, formal, programmed, and/or inhabitable by increasing the resolution.

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Fall 2009
The University of Michigan TCAUP
Critic: Robert Adams
+Exhibited in the TCAUP Student Show, 2010

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