Craig Matthew Rosman
Advanced Design Studio: Spina/Huljich
My project looks at the idea of muteness, and the challenge of creating an object with its own agency. With no information to reference, the object needs to generate its own, internal, set of data. The project focuses on techniques to produce internal information and to transform that
data into several aesthetic outcomes of envelope, texture, and volume. The overlap of aesthetic regimes negates the possibility of a singular sensual object and instead proposes multilayered, eidetic object.
To do this, I started in an objectoriented programming environment and wrote a program that creates a set of vectors. The vectors define the discrete primitives and monolithic boundary in aggregate, are defeatured to complicate a reading of figures, and then scaled to fit the site. In
order to test this process, I treated the results as found objects, looking at eidetic properties:
Sphericity, topheaviness, chunkiness, and precarity. The texture of the envelope destabilizes the building’s relationship to time and scale, as the voxel detail reveals itself upon closer inspection. A further confusion of spatial identity occurs on the interior. In contrast to the blank exterior, a highly articulate volume, created by the overlap of several boxes, forms the interior.
Look-No-Hands: Junkspace as Accidental Active Form
...For Keller Easterling, architects capably produce objects of strength, utility and beauty but fail to articulate and speculate on the relationships between these objects and other objects, concepts,
or political forces. While Easterling sees active form operating at the scale of infrastructure, the work and writing of Rem Koolhaas explores disposition acting at an architectural scale. This paper argues for a rereading of Junkspace, Koolhaas’s 2003 essay, that observes the power of undeclared forces operating without consent of the architect.
In Junkspace, Koolhaas observes a new spatial product proliferating in airports, convention centers, and shopping malls around the developed world. While Easterling stresses the importance of architects to practice a new type of design, she shares Koolhaas’s fear for architecture’s tendency to overprescribe, stating that to fix a social form, or “to give it a name or boundary, is to negate it or stop the flow.”1 Rem Koolhaas proposes a new type of representation, the diagram: “There is zero loyalty and zero tolerance towards configuration, no ‘original’ condition;”2 The nonmodern qualities of OMA’s diagrams, afford the designers additional options once lost to the polemical thinking.
A direct application of this insight is the office’s design for the Serpentine Gallery Pavilion, a temporary, inflatable pavilion. In programming a disposition of organized freedom, Koolhaas appears to have learned from the chaotic suppression of Junkspace.
Designers who heed the warnings of Junkspace and elevate the active potential of space will not escape the choice between corruption and freedom that this extra art affords. Keller Easterling’s description of the forces currently pulling the levers of active form reads like a machiavellian conspiracy theory. When faced with the application of these powers, the critical question about the values the architect chooses to project onto the form remains open.
Yale Assembly Two Pavilion
This year’s Assembly Pavilion is a mobile pop-up structure appearing in different New Haven neighborhoods and on the green for the International Festival of Arts and Ideas. The pavilion collects storycore-like audio recordings from each neighborhood and plays them back in a series of interconnected domes. Designed, fabricated and built by Yale School of Architecture students, the composite foam and fiberglass structure is extremely lightweight; it can be stacked up in a single truck for delivery and installed on site in under an hour.