Contemporary
architecture has been disregarding spatial organization
motivating visual impact. Many of the contemporary canons, in
reaction to the architecture of the previous decades, have
resulted in the abandonment of the engagement of spatial
structures. These seemingly formal diverse yet structurally
stable displacements are based on a non-conceptual
differentiation . Post-structuralist theories, as a reactionary
force against structuralist ones, broke away from the
philosophical conceptual premise of deconstruction: to develop a
full decomposition of any assumed disciplinary fundamentals.
Rather than focusing on syntactical organizational problems
investigating alternative displacements of these fundamentals,
post-structuralist tendencies have been lately hiding deep
conceptual structures in favor of superficial perceptual
structures. Media advanced a sensibility and education in
society towards the understanding of a visual logic and was
highly beneficial to architecture, which bases its logic in
form, accessible both through optic and tactile senses in a
field identified as a visual art. But the visual has exhausted
its capacity to be critical, since media has progressively been
hiding underlying rigid protocols ensuring mass control,
separating visual appeal and affection from the underlying
structures that have been engineered to manipulate behavior. But
the solution is not to favor one level in disregard to the
other, but to articulate different levels of information in a
project to achieve a higher architecture performance. Therefore
a necessary critical attitude is to rethink the relationship
between structuralism and post-structuralism, disclosing deep
structures to the foreground addressing their role in qualifying
bodily affection.
Concepts of systems, parametric design, and some of the
questions that algorithms raise were discussed as students
constituted systems and induced displacement to these linear
cognitive structures. These systems were aimed to displace their
origin structures and the dominant stable domestic typologies
through different definitions of topology.
Multiple predetermined modern spatial
typologies are questioned through relative topological
displacements.
The studio proposed a
space suspended in tension between topological displacements
challenging their absolute stable referential Cartesian
coordinate system. A space defined as Cartopological.
Design II studio developed a un-house for a divorced couple
departing from a canonical nine square grid organization. These
informed constructions defined both the physical qualities of
each project as each engaged materiality in their own terms, and
ultimately the form of an entire class wide landscape.
Design II 2012
Fall Students: Sam Young Kwang Choi, Yoonah Choi,
Patrick Collingwood, Alice Colverd, Art Dushi, Cassandra
Engstrom, Maximillian Gideonese, Diego Gonzalez, Corrie Hall,
Isabel Higgins, Jenny Hsiao, Jemuel Joseph, Ashley Katz, Kyle
Keene, Jieun Kim, Sang Jung Kim, So Youn Kim, Luke Kreul, Sehee
Lee, Yoo Min Lee , Jaime Pabon, Xavier Rivas, Alexander Ruiz,
Diego Salazar, Kyle Schroeder, Mitchell Schessler, Vanessa Tai,
Janine Wang
2013 The
Cooper Union. End of the Year Show Opening: Tuesday
May 28st of 2013 at 6pm, The Cooper Union, 7 East
7th Street, New York, NY, Foundation Building,
Ground Floor Colonnade.
Research projects
published in:
