Alexandria / Anonymous Studio
“Alexandria”, a new digitally fabricated installation by Jonathan Henry + Arseni Zaitev from Anonymous Studio, will be placed in the Architecture Gallery of the Southern Polytechnic State University to open its biannual exhibition of young professional work. As part of the “Summer Salon 2010,” the architecture/art/sculptural installation seeks to raise conversation across the various design communities through its contemporary approach to creating space.
More images and more about the installation after the break.
© Anonymous Studio
The installation hovers inches above the floor and dramatically drapes across the gallery, creating a strong spatial diagonal that transitions from a simple canopy system into an object occupying the space. “The symbolic disillusionment with the political datum of the ground relinquishes the installation from prescriptive idealizations. Alexandria’s canopy will not be tainted by agendas but will be appropriated but those who are most likely to contribute to it,” explained the studio.
© Anonymous Studio
The installation provides a physical framework for students to layer their own projects onto the panels, thus, physically joining the surface with visions of the students. “It will be a place of storing and retrieving the ongoing studio work that occur concurrent with its lifespan,” added the studio. The design lends itself to the presentation of student work as the arrangement of panels creates a system of layering that allows the work of the student to fade and the work of the artist to appear, or vice versa, depending upon the viewing angle.
© Anonymous Studio
“The increased opacity, thinner panel coverage, allows the viewer to see the paneled surface behind the students work and creates two surfaces, the surface of the exterior screen element and the reverse surface of the opaque presentation area. This internal/external dilemma is produced with its internality prohibited from occupation, creating an imagined space of occupation surrounded by the amassed knowledge of the higher education system,” explained the designers.
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I’m getting so tired of these digi-fab projects. Anyone else agree?
Agreed.
More so, I’m getting tired of the rationale that a project: “seeks to raise conversation across the various design communities”…
Why can’t a project just exist, without some other large-scale/social/philanthropist/world saving purpose?
Architects should not be allowed to speak/write:
“The symbolic disillusionment with the political datum of the ground relinquishes the installation from prescriptive idealizations….
Right on! People make art and buildings not computers.
I agree with getting tired with the digi-fab projects and their use is really to do nothing more than to make people talk by making the oddest shape possible.
but, architects need to speak, it’s that language that turns “four walls” into a “cubic realization of contained space in order to differentiate from foreign environments thus capturing the unique essence of only its inhabitants at any given time”
You’ll buy four walls but you’re going to invest $200,000 in the cubic realization.
This thing really doesn’t further the interests of anything/anyone, except (perhaps) the authors and the media, (that is, if people are so uninformed as to buy into the hypocrisy it promotes in the first place).
Seriously:
The digifab problem has to do with the lack of common myth needed in good art, which the likes of such projects as this complete disengage from.
Language here is WAY too personal…..
In the hands of nearsighted authors, investors and promoters, such digi manifestations of texture mapping diminish architecture/sculpture/etc. for what it really could be……
Well, that form is not much interesting. And I totally agree, Architecture (or design) doesn’t always need such big purpose. Sometimes you just want to take it for what it is. And sometimes beauty is a nice purpose too.
I am not tired of digital fabrication, it offers a lot of possibilities, specifically architects engaging craftsmanship in their projects.
Rather, I am well over this “parametric aesthetic” that communicates very little about input, process, or rational and lacks significant concept or intent.
First off, this is an installation. It can be considered architectural, but then again with as broad as the discipline has become almost anything can be incorporated into the architectural language. What I mean is that with installations such as these, digital fabrication is not only a “crowd pleaser,” but also an obvious choice for the scale.
To some it may be a thing of the past, overused, and considered passé, but it is part of the contemporary discourse. Digital Fabrication may be deemed “mindless” computer generations, but there is thought behind every move here. Whether it was scripting or parametrics, the architect or student made specific choices that in the end concluded in this project.
It is not mindless, just because a computer outputs the results; its just a means to an end. And with the rate at which technology is advancing, we should embrace these techniques and experiment with what digital fabrication can lead us to.
After all think about the chair you’re sitting on, someone may have designed it, but most likely a computer and a CNC machine did the rest of the work. It’s all relative.
8:28 PM Sep 7th
http://www.archdaily.com/76605/alexandria-anonymous-studio/
11:26 PM Sep 7th
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9:30 PM Sep 9th
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4:33 AM Apr 20th
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