Form:uLA Dimension LAboratory

And the Beat goes on...

2012-01-30T13:21:00.000-08:00

Authorship Device re-design- ALice Project [Enantiomorph Inversions].

Test massing.

Sentinel/Entry Gate panels

2012-01-23T11:01:00.000-08:00

Presentation panels for Sentinel Project.

Model progress

2012-01-09T13:59:00.000-08:00

kit of parts.... bit and pieces.... approaching model "site assembly"...

progress shots. Thanx to Kim Seieroe for the modeling help!

Visual Arts Sentinel -CSUF

2011-12-07T10:04:00.001-08:00

Progress shots...

My interview with ArchHive

2011-12-01T07:08:00.001-08:00

http://www.thearchhive.com/?p=13950

Visual Arts entry signage concept

2011-11-21T14:16:00.001-08:00

VERY preliminary studies for entry wall/marker/signage for School of the Arts, CSUF.

Concept of looking at structure AS sign, as opposed to structure WITH sign.......

Several structural layers are not turned on in these views....

Alice 2.0 goes through quite a different Looking Glass [LCD]

2011-10-25T08:23:00.000-07:00

Working on the Digital [A]l[I]ce, with full animate mechanisms, with Joey Dhindsa and Rob Mothershed. Teaser mode.

The project will hopefully be complete this year, fully rendered with some serious animations showing the redesign and mechanical dance she produces.

Book Review

2011-10-18T12:58:00.000-07:00

Though not out until Nov. 1 [we think], Aaron Betsky provides a brief review on his architecture blog:

[It's Bryan with a "Y" ;) ]

http://www.architectmagazine.com/blogs/postdetails.aspx?BlogId=beyondbuildingsblog&PostId=105741

On the Boards...

2011-10-12T10:16:00.000-07:00

Teaser-
New hybrid hand drawings [ink on mylar] on the boards at the moment. Only 3 layers in... many, MANY more to go:

Systems harvesting system [SHS].

Exploration of the zone of occupancy in the designation/denotation of "alteration" within old school architectural drawings/CDs

Brothel bits...

As always, vertical circulation inquiries.

Liminal Fragmention

2011-10-12T09:59:00.000-07:00

Windows Paint on a TabletKiosk Tablet PC

Abandoned tower study- vortex placements... exploring the breakdown of old and new program/structure/ suggested parallels of inhabitancy and movement.

The parasite attaches as external program... to become its own host a the innards are reconfigured, often violently, to repurpose the status of relationships in a vertical city app. One imagines that software drives the attraction and opens the administrative circuits for the "introduction"... but the hand takes over in the frenzy of overlapping diagrammatic explorations.

louver study

2011-10-12T09:43:00.001-07:00

Old TnA project- study model for louver system, main office.

Water and time

2011-10-05T13:27:00.000-07:00

On a rare rainy southern california day... snapped an iphone [an old one alas] of a very old project of mine... little known if at all. The water and overcast sky rendered this in a new light, so to speak.....

Fluid Tissue

2011-09-02T11:28:00.000-07:00

Top-
Studies [on my new TabletKiosk Tablet PC] for a fluid tissue parasite. Looking at what might happen when the non-static tissue representation begins to erode and peel away the secondary surface of the drawing membrane.

Data collection tentacles... surface splicing... sheet surface scarring... duration fragmentation....

Bottom-
The device that draws... the machine that records the information- as it is distributed/as it is absorbed/as it impregnates the surface/and as it becomes new topographical information to be drawn back into the system.

The organic and temporary nature of the system- the relationship of the etching system and the residue...drawing. scanning. digesting. redrawing. spatializing. reformatting. I am intrigued by the drawing informing the hand, as much as i am the hand informing the drawing. Or what happens when the drawing draws back.

inside : outside

2011-08-06T10:01:00.000-07:00

A "twist" of the relationships between the inherent inside surface-zone and the exterior envelope-area....

An experiment for a domestic inversion project

Convergence Point Residue

2011-07-05T17:32:00.000-07:00

The leftover bits. The crust from a sandwich. The residue at the bottom of an empty latte. The accretive stuff on the bottom of the bristles of an old toothbrush. The construction lines in an [old school] drafting of an architectural situation. The parts that don't make it in.

All the tasty goodness of the stuff that got passed over. for lack of focus. Or, perhaps, from over-saturation of foci...

On the Drawing Boards... teaser

2011-06-13T13:47:00.000-07:00

Current development : a program of provocation/vocation...
The seduction of those who want to be seduced.

Test sampling 001: Truncated Aggregate

Press Release- Mechudzu

2011-05-02T08:51:00.001-07:00

Hello all- RIEA has just issued the press release for my monograph:

http://www.cluster.eu/2011/04/18/mechudzu-new-rhetorics-for-architecture-winner-of-the-2010-riea-ch-book-competition/

publisher info:
http://www.springer.com/architecture+%26+design/architecture/book/978-3-7091-0834-5?changeHeader

pre-orders:
http://www.amazon.com/Mechudzu-Architecture-Rhetorical-RIEAeuropa-Concepts/dp/3709108349/ref=sr_1_2?ie=UTF8&qid=1304307079&sr=8-2

I am very much looking forward to its release, and hope that it delivers its message in a palatable serving.It's only 120 pages, so perhaps we will call it a "minigraph".
This has been a long time in the making....

Cosmology shifting

2011-04-16T19:29:00.001-07:00

Tightened Phase 3 Cosmologies

2011-03-30T17:32:00.000-07:00

Germinal Cosmology[s]

2011-03-14T14:14:00.000-07:00

The next wave explores the relationships between the alpha and omega situational structuring... of examining the Blink with the Gaze.

The effects of drawing residue rendered manifest in a dimensional concept bucket. The spirit of the membrane impregnation will be evolved using the structural fluidity of the blockage of light.

This is the beginning...

Teaser- not making the cut

2011-02-06T18:33:00.000-08:00

RIEA submission fast approaching.... A teaser shot- this one will be left on my cutting room floor. A shout to Chris Wormald for the photography of this ancient project.....

identity sketches

2011-01-02T21:54:00.001-08:00

virtual tagging studies...

2010.1

2010-12-30T14:53:00.000-08:00

the conversation...

Somewhere back in 2000, long before the ubiquitous iPhone, linksys, and free [!] AT&T wifi @ Starbux, I worked on a little project labeled The Placemaker [or Seedplanter]. One of the peripheral concepts/experiments was a system of on-line [back before it was "online"] jack-in points, that served the multi-purpose of street lighting, solar charging stations [LEED of course], and waste management robotic assistant hubs.

The little gray explorations that were suppressed by the explosive formal and conceptual focal point that is suspended just above.... colored as the locus of power.

As I pull graphic sound bites from photos during the retool of my catalogue for the forthcoming RIEA book, I thought it might be interesting to render the subtexts of some of the more compelling projects.

2010 remnants...

2010-12-29T17:42:00.000-08:00

Temple of Laughter Altar
From the competition [early 90's] in which we ran out of money, and never submitted...

This model is a study of the just the altar, an embedded parasitic internal viewing mechanism. It allows and demands access into the physical, social and physiological layers of "The Laugh"...

Taking some photos before the year runs out, considering putting this project in the book. I always regretted not entering the competition.

Thom Mayne saw this in an exhibit at ULCA a year or so after the competition, and told me "I was on the jury- I would have voted for this!"................

the shift from 2010...

2010-12-23T09:57:00.000-08:00

As I shift from 10 to 11, a quick image to hold you dedicated 5 readers as i ready for the holidaze and prep for the RIEA book submission.

enjoy. I hope to post some tidbits along the way over the next few weeks, but will be thin online until the submission.

RIEA competition

2010-11-30T11:57:00.000-08:00

Update:
I have been selected as one of the 5 finalists in the RIEA concept book competition. Moving closer to getting the work out there hardcopy, after many years of attempts.

January 15 deadline for draft submission/final review.

Wall of Sound progression

2010-11-15T10:19:00.000-08:00

Another progression shot. Details: image is roughly 24x 36. Freehand ink on mylar. The image is off a quick iphone capture- some of the line weight and shadows [on apertures on left side of tubes] washed out because of lighting glare- like you care ;)

"wall" of nodes actually not tonal as image suggests.

May be the past posting for a while... life kicking in, and need to scrimp to have this image [plus several other large formats] scanned/shot professionally.

Sentinel 001

2010-11-13T13:48:00.000-08:00

First phase/component of the next NSFW series. ink on mylar, freehand 2010. LOOONG way to go on this drawing. Quick iphone image, please forgive the quality... snapped/posted on my way out

Wall of sound

2010-11-13T13:30:00.000-08:00

Progressing rapidly.... or maybe not given the amount of time it takes to draw each of these by hand.... but spreading like a dark void across the landscape of the page...

Wall of sound

2010-10-19T11:10:00.000-07:00

constructed in Windows Paint on a Tablet Kiosk Tablet PC

images sponsored by a Graham Foundation Grant, 2001

Based on Specter's "wall of sound" notion, this is a first draft playing with the idea of the "wall of site/sight"... Where does the distinction happen from the object as a singular entity to the object as a pattern node to the object as as a drawing of a disembodied entity to the object as a drawing of itself... thus creating the site as a new construct that initially happens as representation.... to hopefully locate a new site in process...?

[think Terry Gilliam's file cabinet infinity drawings for Brazil as inspiration...]

Chaos structure : food-court malarkey

2010-10-19T10:56:00.000-07:00

constructed in Windows Paint on a Tablet Kiosk Tablet PC

images sponsored by a Graham Foundation Grant, 2001

Diagraming the mayhem in mass public consumption and hunger... the american food-court. A super-imposition of the patternless-pattenrs emerging, with the emergence of implications of a "nodal distribution system" ...

and , as always, a study for the next thing...

NSFW 3.0

2010-10-10T13:55:00.000-07:00

NSFW 2.0

2010-10-09T12:39:00.000-07:00

Detail:
Typography meets topography

In search of the elusive destruction of the picture plane, this detail showcases the [preliminary] surface scratch of the hybrid between that which is topo, that which is typo, and that which denotes architecture.

NSFW 2.0

2010-10-06T11:16:00.000-07:00

NSFW 2.0 ink on mylar 20x30

Low res detail image of new NSFW drawing series- taken, edited, and posted from my iPhone.

Will post more about this drawing as time permits/as the drawing develops.

Digital Sketch mode- NSFW 3.0

2010-09-25T09:52:00.000-07:00

Working on a new set of drawing ideas using the tablet as a true sketch pad. Similar ideas of the fragmentation and blurring of the overlap of program with the interference of the transmission of architectural documentation.

Sort of a:

[program blur + dimensional fragmentation] transmission failure = x

constructed in Windows Paint on a Tablet Kiosk Tablet PC

images sponsored by a Graham Foundation Grant, 2001

this would be the first layer of experimentation. there will be many more in the mix before the final observation may be constructed. It's very difficult to post the bones of these studies in an open framework as a blog for me... since the outcome is out of view until the melting starts to take place...

More Meltyshift goodness

2010-09-15T18:36:00.000-07:00

Still in pursuit of the fluidity of programesh with the documentation of itself, another experiment onto the topological surface of the transmitting drawing membrane. Interference is tuned to research a more honest re:presentation of the architectural artifact. As the informed becomes deformed, how does the idea? The intention?

RIEA interview

2010-08-31T12:12:00.000-07:00

Honored to be a featured interview on the Research Institute for Experimental Architecture / Cluster site:

http://www.cluster.eu/2010/08/31/experimental-dialogues-sex-machines

Thanx to Corrado, Marcia, and Donatella

3A models

2010-08-06T07:48:00.000-07:00

More images coming from Gene, an amazing photographer.

This is one of the 4 3A models Kevin and I did for the Mark Horton Gallery exhibition in SF, circa 2001.

"24 hrs"... 12 to construct, 12 to paint/"graphcise". GREAT exercise. WIll try to locate the accompanying drawing.

Highline competition comparisons

2010-08-05T11:45:00.000-07:00

Have been asked recently about the Highline competition I did with Cameron Crocket some time ago. Looking back over our entry, I thought it might be interesting to post a comparison image with some sketches... both showing the invasive/mutational philosophy of Mechudzu©... both showing the cyborgology connection of organic muscle tissue infused with kinetic machines...

I think they also show the [perhaps limited?] vocabulary translates from [and I don't like using these terms] "image" to "3D space/build-able" form fairly well.

I'll post a couple more as i get the comparisons done.

Sketchbook: desert rumblings

2010-08-04T17:21:00.000-07:00

Long weekend in Arizona desert. Mesmerized by the collision of the flat and barren with the violent vertical and life.... a device/system/condition that looks to stratify the layers and the organizational intent. Or perhaps only to document.

Also looking at the impact of comic framing as a narrative document.

quick study 01

new images... old project

2010-07-30T18:12:00.000-07:00

Will be dusting off this unfinished project soon.
Had some amazing images shot by Gene Ogami from LA... had to post again. Wonderful and difficult the black model...

Knock, knock

[threshold]

It’s a basic question, the one of the relationship to man and machine.. flesh and metal… intelligence and artificial intelligence…

This piece symbolically explores the threshold between worlds.. between souls. It proposes its own question, that of the “who’s there”? [and perhaps just as important, “who’s answering”?].

Is the machine set as the guardian into its realm, scanning and screening each potential admin. log in? Does it seek to keep out viral intruders.. hackers… humans that would dare upgrade [read: re-write] its very system of operation?

Is it a sentinel that must collect user information… saving the cookies of the human condition and location as pure data- food for its continued existence?

Or, are humans the one holding the gate? Does the machine fancy life in a world of soul, of choice, of the flesh? Does it pine for feelings, the one type of data structure that cannot be consumed in its never-ending appetite to process?

Does the human condition represent the horizon for technology, a system that can never be attained?

meltshift series one

2010-07-16T12:36:00.000-07:00

Horrible iphone images of the completion of the first series. Composed of the startshape, and two subsequent meltyshifts, the series is attempting to explore the reverberation and resonance of space and articulation during a sequence of untraceable transformational events. If something is fluid in its transformation, and NOT delivered via the latest animation software, how does one denote a single event in said evolution?

The beginning of oscillated space?

The delicious [for me] and frustrating contradiction, as always produces a new understanding of what I'm looking at by constructing these things with simple ink on paper media fragments.

I'll try to get them scanned over the next week or two so the detail and clarity may assist in revealing the contents.

transmission inter:ference

2010-07-15T14:57:00.000-07:00

created on a TabletKiosk Tablet PC

images sponsored by a Graham Foundation Grant, 2001

Similar to projecting the 180 degrees of a triangle on the curved surface of a balloon to get a different sum total of the angles... or to the Stephen Holtzman reference to the "Cage-ish" experience of the sherpa listening to the distortion of "noise" BETWEEN the radio stations' "music"... so is the idea of interfering the transmission of both the act of drawing with the act of documentation.

The RESULT [though i hate using that word as it seems to imply "finale"], is an idea of evaporative space, architecturally both in concept and in the nature of the drawing of the idea.

Meltyspace. Wavyplace. Blurspace.

New definitions of architectural configurations? Impermanence not of just program, but of experience? Idea? Definition?

Mo[i]re program diagramming

2010-07-12T12:35:00.000-07:00

11 x 14 ink on paper

Still grasping at diagramming the elusive nature of the "program". See below for similar posts in case there is anyone that wants to read ideas beyond the image

Parasitic Probe 3A:001

2010-07-07T12:34:00.000-07:00

Call trans opt: received. 7-7-10 12:31:18 REC: Log

Initial integration sequence initiated

Envelope breach configuration

>...

"... a little off the top, gov'nr?"

meandering in-fections

2010-07-03T22:30:00.000-07:00

created on a TabletKiosk Tablet PC

In tandem with the previous posts regarding Melted Ice Cream Theory as a starting point for programmatic diagramming, this next [series] of diagrams hopes to explore the ideology of program as an invasive parasite. A different vernacular for a similar thought that program is both elusive and invasive. Here the yellow con-structed worms eat through the common architectural edifices of "structure", "membrane", and "circulation trajectory" in an effort to find its delineation markers.

melted performance and the impermanence of program

2010-07-01T14:18:00.000-07:00

I've been studying the diagraming of "program" overlaid with experience for some time. The two images above reflect very different approaches to the diagramming of the CONDITION of temporary, fluctuation, blur, and reconfiguration.

The first is from a series of ink drawings, exploring the capillary effect of both medium and program alteration post-occupancy. Melted ice-cream theory. The second, though more "formalized" reflects a similar idea with more control of the media, while layering on the ides of program redistribution as being an informational entity [utilizing the graphic mis-interpretation of traditional architectural coding as the program representation].

I'm trying to find a scenario for mapping the diagrammatic condition of "program x experience x invention ≠ time".....

more to come....

surface topologies...

2010-06-09T07:16:00.000-07:00

large format

20x30

fundamentals in collision

2010-04-22T09:32:00.000-07:00

Complexities in geometry [surface structure] and program [deep structure] have intrigued me ever since the Chomsky text. The next several [hopefully] explore the collisions of the two, but on non-tangential layers. Colliding SS with DS has been an obsession for some time.... tho the representation of "program" is used as conceptual fodder... nothing literal in terms of a billable, client-funded application....

created on a TabletKiosk Tablet PC

dialogue welcomed.....

Pedagogical Didactics…

2010-04-17T19:15:00.000-07:00

I was thinking of Eisenman’s essays on “interiority” of the building, the drawing, and the diagram. I cross-bred that with Evans’ Translation from Drawing to Building to begin a series of hand drawn explorations of the inherent diagramming protocol of the architectural drawing.

I see these as informing themselves as well as the general discourse of the artifact of architecture… noting of course Evans position that anything the architect’s hand creates is indeed architecture itself…

so explains [hopefully] the next series of postings...

Digital Paper Topology

2010-03-22T14:40:00.000-07:00

Ok, finally a "final".
or at least an "i'm done" moment...

I think for me the ability to use the tablet/windows paint technology to suggest a hyper reality of spatial meshing is an incredibly liberating process... It hinges on the ability to become omni-positional in a single moment [drawing], the con-flict of the con-text being a device for the mis-interpretation of spatial data.

created on a TabletKiosk Tablet PC

images sponsored by a Graham Foundation Grant, 2001

enjoy

that's all you get....

2010-03-11T09:24:00.000-08:00

the rest will be reserved for lectures/publications. sorry... have to hold some cards back ;)

thanx for any interest

surface topologies...

2010-03-08T12:56:00.000-08:00

As mentioned, the first of the series of experiments with Page Structure [more theory to be posted later if there is interest], Topological Shifting, and the Oscillation phase between digital paper and Hybridrawings©.

11 x 17, ink on paper

from Presumption of Functionality lecture

The Bartlett School of Architecture

London, 10/08

“’I see you’re admiring my little box,’ the Knight said in a friendly tone. ‘It’s my own invention- to keep clothes and sandwiches in. You see I carry it upside down, so that the rain can’t get in.’

‘But things can get OUT,’ Alice gently remarked. ‘Do you know the lid’s open?’

‘I didn;’t know it.’ The Knight said, a shade of vexation passing over his face. ‘Then all the things must have fallen out! And the box is no use without them.’”

We look at Mechudzu making itself manifest in two primary ways - the Kuzusurface, and

the Kuzu form.

Kuzuform is the object in/of a drawing, model, or space.

Kuzusurface is the entire composition.

Kuzuform, in its awakening over the course of many hundreds of drawings, has spent a great deal of time observing, hoping to become aware of itself and its page condition. It makes some of the following conclusions by observing itself and the components of its composition.

Kuzuform also realizes that its own components have the capability of independent thought and autonomous life. It revels in its unique ability to have this simultaneous condition of thought and self[s]-awareness. The following are conditions of this awareness:

“Condition One : Unflat”

1) The page no longer exhibits properties of being flat.

Instead it has layers, surfaces, shells, grounding matrices, portals and other conditions. And it is its own key to the discovery and development of these un-flat conditions. All of these position it as a multi-dimensional concept. Once it realizes these non-surface ideas, it begins to transform the same concepts to what we might call “generic” architectural conditions.

“Condition Two : Intentionally Unintentional”

2) The investigation of graphics or demarcations on/of the page itself.

Kuzuform discovers that this yields not only a new Kuzuform, but a new Kuzusurface. Can it be that this observation is the key that allows for perpetual life of the Kuzuform? Perpetual life in the context of Mechudzu…

The actual virgin page has native imprinted information. These lines and shapes themselves become a new surface layer, not only a set of graphics organized on a 2D layer, but a complex system of related spatial markers and conditions arranged or organized in a very 3D system. The reading of these marks is both the poetry and the hindrance. There is no formal ruling system that dictates where these marks inhabit within the Cartesian system. What is three inches in the Y/Y plane, may in fact be several hundred feet in the Z axis, thus making the random grouping of these indicators a pure spatial investigation in itself.

“Condition Three : DeCONstruction”

3) The lines or demarcations on the page or surface allow themselves to be explored as indications of information of deformation.

They are not only the places where the drawing mechanism responds, but themselves are the actual designators of breaks in the plane structure of the page surface. They are both elements in the drawing and the page itself - what we might label as the page structure. They utilize projection systems - fore, mid and background signifiers, the blending or distortion of these zones, multiple horizon tags, and simple or pure graphic conditions. Kuzuform realizes that it's cousin – the working drawings or construction documents – also subscribes to this theory of information reduction.

Kuzuform acknowledges that by its nature, these distant but

heavily related cousins must reduce information so that they may refine the actual data which they are trying to convey. The DNA of the Kuzuform cannot be separated from, nor analyzed independently of, the typical conditions of the architectural drawing. Doing so would constitute a denial of its own DNA.

“Condition Four : Materiality”

4) Kuzuform notes that this new condition is, at least with current technology and materiality, EXCLUSIVE to its bloodline, that of the typical architectural drawing, and NOT of its offspring DigitalPaper** - the progression of materiality of Digitalpaper is the Hardware-to-OS-to-Software-to-interface. DP, as of 2008, does NOT have the interface potential of the [true] "found page" … to be read as:

intended for another purpose other than the receptacle to which the act of drawing may respond.

5) That is not to say that one might not "find" a digital print-form meant for perhaps accounting, say an excel spreadsheet, on which to "draw"... however current conditions dictate that one must transform said spreadsheet into a "drawable condition", like the saving of a blank ".xl" file to a ".jpg" format, for transference into Photoshop [which is a "non-native" condition] in order to become a receptacle. That transference label of “file typology” is the transmutational event that removes its native condition. Oddly enough, this file transmute is the very nature of computing.

The printed form…current condition…found object, i.e. the ledger page, is considered "native"- meaning that it is in its intended "condition", and does not need to be "saved" or "transformed" to another format in order to be ready for graphic impregnation of the non-native variety… in this case line typologies or media different than that of its own printing process.

7) Kuzuform sits back and makes notes on the five types of reflections it sees while gazing into the surface membrane... that three types of lines emerge from this awareness: • Object lines,

• graphic lines,

• and what might be labeled page structure lines.

Although ultimately, it is the drawing's nature and desire to blur the distinction of these typologies to produce what might be called a fragmented harmony. And doing so in celebration of the angst of its critics, or the purists.

Kuzuform understands, as it realizes its own state of self-awareness, that to call any components of its DNA, composition, and ultimately "universe" that of "the line" is somewhat absurd to itself. But then also has a momentary lapse of "reality" and acknowledges the "fact" [again, in drawing, if such an animal], that its entire epigenetic condition or existence is dictated and defined by “line" [and perhaps "shape" and "image".. though both of those are responsive to the original condition of "line"]...

It initially realizes that if said ".xl" file is saved as a ".PDF" or ".jpg" to be opened in Photoshop- that is indeed a "picture" of a line, not a line itself! Is this a pipe… or a picture of a pipe?

The third type of line is perhaps a new condition that KF did not actually acknowledge before: The typology of "page structure" lines. These lines attempt to designate the location and in fact existence of the conceptual structure, not of the "paper"… but of the "page" or surface. Paper is flat. It has limited and measurable thickness – the "Z-ness" in a Cartesian system. Page or surface, however, in this case, has unlimited Z-ness... and this new line typology attempts to recognize and reveal such a condition.

PAPER is flat…. PAGE is not

If we consider one definition of page to momentarily be:

“to summon or alert by electronic pager, or to control an electrical appliance or machine, remotely by means of an electronic signal”

Then we can begin to import a more symbolic content of the ideas of Mechudzu or Digital Paper, and even the concept that the mark on a surface is indeed the artificial calling of a space-time event, perhaps to the analogy of an archeological dig of ,an event that has yet to occur…

Then the use of the term page extends beyond that of paper, and begins to allow for a type of physical and systematic structural exploration that yields a much broader understanding of content as medium vs. the old paradigm that content carries media.

What then are the potentialities of the structure, for not only the page, but of the drawing itself?

So now that we have begun to peel back the layers of not only the page surface but the drawing itself, where does that take us?

What new typologies and conditions may be found by revealing this latent condition within the page itself? It would seem that the drawing mechanism becomes a tool for its own investigation. And we are not referring to the imprint medium, such as ink or graphite, but rather a condition of the native page.

Or perhaps more specific to this examination - paper.

For this investigation, native paper refers to the pre-printed forms that are used for various data-input situations, such as spreadsheets, inventory lists, accounting ledgers, and the like. The medium of the paper has not come into play in this fashion before. The Japanese animation pages on which many of the original Hybridawings were constructed addressed the registration components found natively on the sheet, but only as superficial edge conditions, not as a key to understanding the structure of the paper itself - the Kuzusurface.

Novelties of random registration marks and other such artifacts were indeed a sample acknowledgement of a printing process residue. These are foreign to the paper itself, for paper has no native markings… but native for intended use. It should be noted that there is no such animal as registration marks on cut sheets of printed pages, such as ledger or columnar books, similar to a sheet of un-cut stamps that might yield a further understanding of the structure of the demarcations.

Printers’ intentions. And the printing process, are left as physical residue. If in fact these demarcations are the true identity of the native page condition [in realspace...], then any remnants, throw aways, or non-visible markings become critical in understanding the process and method of the native condition of the page or paper.

What then are the options for construction, or in this case understanding the methods of uncovering the strata of the printed page for drawing exploration?

What has been left for us to discover… or to mis-interpret?

This is an important idea in architecture, as the extension from page to site is a natural one, thus calling into mind the potentials of uncovering the strata of the given site condition when concocting an architectural investigation. The notion of finding, seeing or locating information about any given architectural condition is seen as the premise to a more complete investigation.

What are options for the infection of a non-native typology into an existing surface typography?

Meaning, a ledger book does not typically receive information other than text, and not usually, if ever, does it receive information or impregnation in or at places other than the designated cells. That goes against its function, its purpose, its raison d'être. Once you incorrectly enter information - in this case being defined as hand input lines - then you ignore the inference of the native page function.

We contend that breaking the implied rules of input renders the page function as an anomaly, thus causing a system malfunction at the data input level. That's where the beauty of the Kuzusurface emerges. it is in fact where it is born... beautiful or not. The afterbirth residue of a systemic malfunction...Though the acknowledgement of the imprint.. the lines, columns and color coded configurations that serve as the ruling system for input is critical for the initial exploration and development of the drawing system itself.... a condition of data input if there ever was such a thing....

It , at least initially, and this is where we have become stumped... has to respond to the printed structure... not in the same way as its functional coding- following data only allowed IN the cells themselves... but using the structure of the native-print to inform placement for tracing, alignment, and deviation.

The question becomes for Kuzusurface then how to depart from these guidelines... how to deform the grid so to speak,.. and yet still use it as a base system or organization... not of input dictation... but to reveal its hidden layering condition...

It is a tool for revealing the depths of both the suggested "Z" axis… but the history of its making, for example the "cut sheet" condition, as well as the symbology of its intended, or native, use... plus the meaning of its cellular intention. Where does it go from here...?

Does it stay in the drawing universe?

Does it slip quietly into the narrative of architectural investigation and therefore production… architecture in this case as being define as the pursuit of “building”..?

Kuzusurface finds that the next level of development is blurred by the imprinted native lines themselves... all doing their initial job so well as to dictate usage, input.. and therefore output. As well as dictate confusion... So the question for the maker now becomes the investigation of not only new lineforms such as kuzuform + kuzusurface... but the harvesting of as many different native-print papers as possible.... without a duplication of input intention, as there are only so many accounting books.. only so many billing forms.. etc.

I think the quest takes a necessary detour…. or perhaps this detour is in fact NOT a tangent, but the actuation of the fated path itself… to acquire numerous unique native-print page conditions.. to see if the kuzuform takes on a new meaning and new language with each new native condition.

Digital Paper 2010

2010-03-06T17:06:00.000-08:00

created on a TabletKiosk Tablet PC

Still cranking away at the idea of surface topologies inherent within the drawn page, and how those might effect the thought and production of digital drawings.....

will keep these coming, as well as [hopefully soon], some of the resultant hand drawing explorations that re-examine the collision of those topologies...

P.O.D. notes

2010-03-06T15:27:00.000-08:00

Personal Occupancy Device

2007

From a lecture at University North Carolina Charlotte

College of Architecture

On issues of domesticity….

This project began as a study of the Personal Occupancy Device, the P.-O.-D., or now the the “pod”, [which is completely unrelated and prior to that “other” cool white pod device]. We were commissioned by another architect to head up a design team for an urban design competition, dealing with issues of housing density in for the year 2020 and beyond. This small vessel, a dwelling for one, was a result of the collapse of the

“Work/live/play” triangle, where one might download mp3’s at work…adjusts a spreadsheet at home… and eats lunch in front of the computer at the office. This became the conceptual, but not the formal, basis for the project. Some of us do this blurring of urban life tasks already, and this was a response to the future issues of dense overcrowding in the Southern California megalopolis.

It evolved past the small, compact form of spatial density of the future, into a current study of the idea of a dwelling for one. This is not a project that attempts to solve the anti-social issues of privacy-branding that a dwelling may issue forth within the context of “the city”.

It assumes the position that privacy is desired within the dwelling…

… and that sense of privacy protection is heightened within a context of unknown passersby, of unsolicited free-radicals that roam the immediate adjacency. A single-cell within a multiple-cell environment. It accepts its role as a social informant, a receptacle for the present condition of privacy control, a membrane for reflection of observation.

It attempts to solve no social oddity. I have purposefully left these images in their “unrefined-presentation” graphics format, from within Sketchup, as opposed to porting them over to a high-end, flavor-of-the-month rendering engine, to show the project in its true, current state- Which is nothing more than a series of conceptual sketches, the modern-day trace-paper equivalent. This project changes hourly, like so many layers of paper that keep getting redrawn and massaged over and over again…

The “anti-welcome mat”, though a somewhat misleading description, suggests a condition that the dwellers do not offer their home as a constant open-condition, but rather one that is open only upon identification and invitation. Perhaps it’s more about the mat with the familiar inscription written in code, so that the unaware, the unenlightened, never recognize the message, while those that are invited have the symbolic translation to realize the opening of the home to outsiders.

The construct deals with “dwelling” as a function for the individual in excess. Singular occupancy does not mean in this case “small”, efficient, or compact. The compact-ness of intimacy comes from the compression of typical horizontality of the average domestic condition- where wider is usually better… Here, the zone of outdoor space in the “private” rear zone is equally important as the square footage inside the dwelling…

The denotations of “wall” as both a primary architectural form, as well as the ultimate manifestation of overall expression are evident in its organization. Since the “wall” or plane is, in my opinion, a quintessential condition of both space and form, it becomes interesting to have that same type of representation or exploration of the “cell to the whole”.

In relation to digital theory and the nature of cellular logic, or the representation of parts to a whole, and what it is you are ACTUALLY looking at when examining pixels and digital information, it springs to mind that one might represent a condition of epigenetic expression of the cell to the whole, the one to the many, the individual to the masses.

Ideas concerning “horizontal walls” emerge, defying traditional usage or designation…

It is a representative of the individual to the collective. This also relates to the insertion of the original “whole”, the dwelling, into an urban context, or the “new whole”. Very fractal in its replication and reflective nature, the wall becomes house,

becomes urban object, or the plane of articulation within the city grid. There is a blurring of the identity of “figure” to “ground”, where “surface behavior” becomes a qualifying description more than “location” or “orientation”.

It attempts to acknowledge the issue of the “corridor effect” – or the condition of the “walls” of the generic fabric eventspace of the repetitive grid of blocks that maximize street frontage. The POD continues the gesture with its monolithic street membrane [which breaks down and opens up to the private area in the back of the site]. These

gestures are seen as channels or tunnels of traffic and movement.

The slight breaks or moments of view that occur within the façade membrane

of the POD are reflections of both the patterns inherent in the ground level of

most of the city. But these additionally speak of the moments of pause that occur within the urban matrix, either from a traffic light, an encounter with another pedestrian, or a pause to view the actual cells of the skin/membrane itself.

Ideas of public and private designations and transformations within the nature of the architecture are now brought forth. The edge of the street; the sidewalk; the fence; the gate; the front yard; the façade; the front door… These are all symbolic layers that address issues of the transition or the segregation of public into private. Is privacy more desired in the urban setting than within the dwelling itself?

Segregation by spatial folding and compression…

In this scenario, the POD becomes its own fence, its own gate, its own compressed layering device of separation of itself from its adjacencies. Not just moving the gate and preventative façade layer into a singular gesture, but the house itself becoming a device for its own removal, and its own inclusion. In the sub-urban setting, there exists an openness and permeability of neighborhood and the symbolic “welcome mat”…

But in an urban condition, where the neighborhood fluxutaes on an hourly basis, where neighbors are distant, and foreign pedestrians CLOSELY occupy the zone near the private, the welcome mat is often not a condition… the idea is in fact to keep out, to filter. This is not a project that attempts to correct that social splinter- it is one that

acknowledges the very real condition in a manner reflective of the issues.

The POD additionally explores the very basic idea of the function of a wall itself- to separate, and to possibly classify distinction of possibility and purpose on either side. InSIDE vs. outSIDE;

this side vs. that side;

function A on the right, function B on the left, and so on.

In my current residence, a wall separates my bathroom from the master bedroom, a typical condition. A singular wall, which is stripped of the typical ornamentation and complexity of grouping.

It is a simple plane.

Drywall finished on both sides, this single plane separates quite different functions within the house. The privacy of the toilet enclosure, contrasted with the very open nature of the master bedroom.

Thought the paint colors are different on each side of this plane, the chemical composition of the paint is almost certainly identical. My point? That the most common architectural element we have to denote enclosure as the role of a spatial delineator is achieved by simply being a divider. Such is the nature of the POD. It delineates the private zone of “dwelling” from the public zone of “context”.

If we could go back and view my bathroom wall as a free floating element that we so often love to render as a system unto itself, we would see the simplicity condition

of plane.

We are often more concerned with the articulation of the plane than we are the immediate functions it attempts to separate and define. And this is no different.

But place it back into its context, and the wall looses its autonomy, unless we sheath it in a unique material.

DP Phase 5, process study

2009-11-04T11:35:00.000-08:00

created on a TabletKiosk Tablet PC

Moving closer to its "finished form"... awaiting transference to the realm of the new hybrid explorations

DP Phase 5, process study

2009-11-02T10:37:00.001-08:00

created on a TabletKiosk Tablet PC

development study for new drawing typography, phase 5

New Drawing series- Hypermesh 03

2009-09-29T20:00:00.000-07:00

Celebrating and exploring the diverse nature of topographical surveys, these hand drawings use Page Structure Theory to examine ideas of saturation, spatial fragmentation, and new spaceforms based on formal collisions.

Limitations of the media- micron pen instability… aged transfer letters… the fussiness of the page media… were used as informants to the process of the making, the anatomy of the drawing, as it were

this image is not complete

New drawing series- Hypermesh 02

2009-09-29T19:57:00.000-07:00

“As the name implies, the agenda of Form:uLA Dimension Laboratory is to explore dimensionality, to see what happens when competing or conflicting modes of representation—graphic vs. sculptural, perspectival vs. axonometric, digital vs. gestural, Cartesian vs. temporal—try to co-exist. In these collisions of contradictory forms and functions, mechudzu emerges as a mutant but highly robust architectural entity.

The motif of Form:uLA’s design language is always the machine—the man-made in its most generic form. At first glance their drawings look like overly fussy mechanical diagrams, the kind you might see in Victorian-era equipment catalogs. But look more closely, and the drawings’ hybrid parts refuse to compose. In Hybridrawing no. 030801, for example, graphic figures (Japanese kanji, planes of binary code, directional arrows) collide and intersect with modeled forms (pipes, tubing, harnesses, levers, pulleys) in a space that oscillates uncomfortably between two and three dimensions. The assembled whole is defiantly abstract: the more you try to read the drawing, the more agitated the unresolved elements become. The overall effect is disorientation, and that is the point.

The drawing is clearly not, as architectural protocol would dictate, a set of building instructions or a depiction of a particular space. It does not obey the architectural mandate to construct a more perfectly-ordered world. Instead, it is an invitation to abandon order. The drawing itself is Form:uLA’s laboratory, a fluid, boundaryless, unpredictable environment in which every idea the two architects have—deliberate or accidental, serious or ridiculous, revolutionary or merely subversive—is let loose to metastasize.”

Ruth Keffer

Loudpaper

Volume 4, issue 3

testing the hypermesh waters

2009-09-21T09:51:00.000-07:00

sample stitched together of a new large format hand drawing... the stitching of the mesh of the structure of the page.... plus the typologies of saturation...

shot no. 2

2009-07-21T11:57:00.000-07:00

created on a TabletKiosk Tablet PC

development of the tentacles from the previous drawing

development shots

2009-07-21T11:55:00.001-07:00

two new DP projects... "in the works". i have been asked quite a bit for "process shots"... so I thought i'd post since i remembered to save during the process this time :)

system frag

2009-06-30T07:07:00.000-07:00

created on a TabletKiosk Tablet PC

Obtained a tablet form the generous peeps at Tablet Kiosk. Getting back into the DP after a year or so off. Trying to experiment, and this time restrict myself ONLY to WIndows Paint- using the parameters and restrictions of the program/interface to inform the drawing.

this is a test... this is ONLY a test...

sans shadow markers

2009-05-13T12:36:00.001-07:00

M-space composites

2009-05-13T12:29:00.001-07:00

more experimentations...

digital composites

2009-05-13T12:10:00.000-07:00

AD article

2009-05-13T11:53:00.000-07:00

for those that blinked.... a feature article in last year's AD magazine by Neil Spiller

dusting off old pre-files

2009-05-13T11:33:00.000-07:00

In prepping for the book[s] and some museum submissions... i am discovering some "old" files that are more or less progress development... thought they might be interesting for anyone that knows/remembers the finals of some of these.

if you DON'T know/remember, then it's ALL new, wonderful stuff...

New Batman images

2009-04-06T14:35:00.000-07:00

was at SFMOMA over last weekend, photographing some quick studies for the book project

Bartlett Exhibition- Wallmaker

2009-01-22T19:21:00.001-08:00

Wallmaker panels

Bartlett Exhibition- Seedplanter

2009-01-22T19:10:00.000-08:00

Seedplanter / placemaker panels

Bartlett Exhibition- Mobile Gatherspace

2009-01-22T18:48:00.000-08:00

Mobile-G panels

Bartlett Exhibition- TnA

2009-01-22T18:37:00.000-08:00

TnA panels

2009-01-22T18:30:00.000-08:00

Bartlett Exhibition- Domestic Pod

2009-01-22T17:23:00.000-08:00

Domestic Pod panels

Barltlett Exhibition

2009-01-22T17:15:00.000-08:00

Bartlett Exhibition- Batman

2009-01-22T17:07:00.000-08:00

Batman Panels

Bartlett Exhibition

2009-01-22T17:00:00.000-08:00

Ok- finally am converting the original panels from the exhibit to files small enough to post- here they are in all their "glory". First set- Alice

New Book call for proposals!

2008-12-19T11:01:00.001-08:00

ATTENTION. I am working on a book with Neil Spiller for Thames and Hudson dealing with visionary architecture via traditional media. We are looking for submissions/recommendations... and we are open to unpublished architects. Please contact me if you have any thoughts. This is intended to be an international survey... and become an object of art as much as the works collected inside.

please use: bcantley@fullerton.edu

Thank you!

a continuation of the duality drawings from London

2008-12-04T22:43:00.000-08:00

Finally got around to scanning these...

sketchy-bits... shaken not stirred

2008-11-21T12:30:00.001-08:00

intake and combustion studies

ideas of circulation of peeps and light... there are quite a few of these that VERY loosely examine conditions of overlap and disfiguration from the "typical" double-loaded corridor systems....

detail sneak

2008-11-21T11:08:00.000-08:00

Still trying to get the Bartlett panels converted to post here... in the meantime.. a li'l sneak peak at one of the Hybridrawing© Panels.

Res-idue

2008-11-20T07:29:00.000-08:00

exploration of segregating the construction line layer [to be read as: the layer of lines not intended for viewing] as an actual artifact of the drawing process...

Oceanside condo re:skin

2008-11-12T19:44:00.000-08:00

Collaboration with Cameron Crockett... funding fell thru.. as usual... but a good project nonetheless.

Clients desired a new skin/identity to a dilapidated 70's condo at Oceanside with direct exposure to beach air. Project included removal of damaged/rusted/rotted surfaces and railings. Design scheme attempted to remove metal railings in favor of folded planes that became rail ledges, openings to vistas, and new identity simultaneously.

Composite lumber on anodized frames composed the simple arrangement of facade plays.

first image is the trilogy- all three skin components sans building context to understand overall relationship of solid to void.

one more round [reverse order]

2008-11-02T20:34:00.000-08:00

see below

these images are from the "Knock, knock" or Threshold investigation...It’s a basic question, the one of the relationship to man and machine.. flesh and metal… intelligence and artificial intelligence…

more to come.. [perhaps]

see below

2008-11-02T20:24:00.001-08:00

the Elusive[s]....

2008-11-02T20:17:00.000-08:00

obscura hybriresum

still working on converting exhibit panels to blog format.. in the meantime... some obscure and meaningless [i.e. less seen] works

Bartlett Exhibition

2008-10-30T07:47:00.000-07:00

Quite a few asking for images... I'll post over next several days,.. individuals of the 29 panels

LAX:LHR 2.1

2008-10-27T08:06:00.001-07:00

so, as we explore the time condition, does, or is, a drawing "done" in REALTIME? if completed in the airspace, over no place, on the threshold of timezones... where and when is the drawing... and what is the condition of real-time during the recording.. vs. the observation... vs. the occupation?

we have talked of the simultane before.. the proverbial condition of the overlap... but this is perhaps the inverse reprisal... perhaps the space between the overlap and the origin...

is a drawing of a condition ever realtime? Is it ever not? the THERE and HERE... then THEN and NOW.. even the FRONT and BACK... is there a direction, a focus.. or is there, as we have contended before, a blurring that defines focus?

Is any of this real? How can it not be.. or not so? What I love about these types of investigations is the evasiveness of both the drawing subject, as well as it's implied intentions... and Form:uLA has always pursued the non-truths of architectural drawing... as both a means and an end [though end suggests a definitive condition of "marking" time... and that perhaps is left to those better versed in this subject..... after all.. these are only drawings...]

LAX:LHR2

2008-10-25T20:03:00.000-07:00

This whole overlap of geographical/time/architectural phenomenon has intrigued me and worked its way into a diagrammatic level in my sketchbook...

what is the result of the convergence? when are we when we are trapped between zones... passing "time" as we pass time?

do we "hand it off" to another.. ready to take our place/time as they occupy the Cronusoidal void we leave as we cross some constructed temporal threshold? Where does the time go?... My how time flies... Do you HAVE the time? .. Time out!

Or do we become observers of the passage... conscientious objectors in an unwitting play to which we never realized we bought tickets ... and are we "ok" with the scripting?

So, the drawings have started to focus [or at least explore] the interstitial space and time BETWEEn time[s]... between zones... between places [LAX:LHR] .. to investigate the condition of no-man's land, in both airspace as well as clockspace...

perhaps looking at a time funnel.. a device to speed up/slow down/pause/reset this artificial demarcation of horometry...

more sketchbook delusions

2008-10-23T19:56:00.001-07:00

from pocket sketchbook 02... architecture as a wind tunnel [or in this case circulation vent]... for some odd reason, there are a series of sketchbook entries that ponder the conditions of "circulation"... not as a path... but as an event... not connecting point A to point B.. but rather exploring AB as connective tissue...

for example, the idea of the circulation tissue becoming the main feature, while the nodes of destination [sounds like a Warcraft weapon] become simply openings or cracks or fragmentations of the system.. so that the primary spaces are left fairly open, while this tunnel artifact snakes its way through the space...

now, to figure out how to get a client to pay for this research ;)

LHR:LAX

2008-10-22T14:45:00.000-07:00

Sketchbook entry done at Heathrow airport waiting for the long haul flight in my wonderful new sketchbook... dealing with issues of confluence and imprinting

perhaps a result of the overlap of culture, architecture, time, and geography

Bartlett lecture

2008-10-19T16:07:00.001-07:00

Just in from a tremendous week at the Bartlett- Exhibition, lecture, and 2 day workshop. This is a QT of the lecture [let's hope it works] with no words obviously... will post some of the student work [once we get PD's and names], as well as sketches done in London once I get back to real life.

more achive-y goodness

2008-08-28T08:00:00.000-07:00

A VERY old and preliminary study for a Domestic Pod ] eventually leading to the semi-series of P.O.D. [Personal Occupancy Devices]. Not much documentation, other than suggestions of a fold-out inner sanctum that encompasses the inhabitant like a tricked-out mechanical womb.... altering its walls as a user-defined system

from the archives...

2008-08-28T07:49:00.000-07:00

literally...
cleaning out some old files.. and came across several gems documenting growth in the studio [at least i hope so].

Piggyback : collapsable space

competition submission poster
Form:uLA... Ray Varela [Carrier Johnson]... Ben Patik

On August 8, 2027 @ 3:27 PM, Orange County, CA. will achieve a complete saturation of density….maximum gridlock... absolute vehicular stagnation. Every available inch of freeway, on ramp, off ramp, surface street, intersection, driveway, drive through, portico, parking lot, sidewalk, park and plaza will be filled with vehicular stagnation and immobility. People will be forced to abandon their cars where they stand and a new social order will be born on the new, dead-tech surface. There will be no release valve, no escape route, there will simply be no where to go…

These were developed as part of our entry in the Changing Face Of Orange County national competition. We attempted to use the competition as a vehicle for the exploration of new architectural vocabularies responding to specific urban strategy issues; to use it as a discourse on what role architecture can play in future regional development; and to propose that architecture and technology may bring about social change.

“Quality of life” became the project impetus, as it is affected by power and water shortages, longer commutes, greater disconnection between work and home life, alienation, and greater demands on personal attention that result from population increase. “Should we?”, in tandem with “how will we?”.

This project incites debate concerning the role technology will play in the growth of this region. It's not a solution for today employing existing or old techniques, but a look to the future and what may be available [and forced upon us] tomorrow. Radical cultural changes, fragmentation and redefinition of family structures, blurring of private and public domains, and the infusion of technology into our daily lives all demand a rethinking of existing conditions.

If the activities of our complicated lives could be distilled to simple digestible concepts, then a simple precept would be that actions take place. Implicit in this statement is that there exists a vital relationship between place and action. We assume a strong perceptual association where action and location are tightly bound. Although action and place are intimately linked, they do not develop simultaneously. Action creates place. This competition proposal is an effort to uncover the core actions of an idealized conceptual construct of work-live-play and the physical manifestations that would take place as a result.

A new kind of place, Collapsible Space, is needed to accommodate changes in social structures, to accommodate anticipated population growth, and to transform existing building stock to new uses and needs. Collapsible Space explores an idea of place that ceases its user configuration when not inhabited and its spatial arrangement reconfigures for multiple domain users. In conjunction with Collapsible Space, a Piggy Back approach to new development is proposed. Piggy Back development suggests adaptive growth based on the establishment of a parasitic pod instead of restructuring existing planning principles. The characteristics of the parasitic pod is such that it allows for its attachment to a core and feed off existing environment issues.

Project designed in collaboration with Ray Varela and Carrier Johnson Architects, Irvine Ca.

new sketch : implied space

2008-08-19T15:00:00.001-07:00

looking at the implications of implications...

what happens when space is suggested vs. constructed...

or what happens when it constructs its own suggestions...

2008-08-19T14:54:00.001-07:00

more from the recent sketchbook series... will write about these as time permits...

basically an exercise in overlapping and collided space... more of the idea of suggested impacts.. and what happens, or what types of space[s] are formed within suggested collisions...

2008-08-19T14:53:00.000-07:00

more sketch

2008-08-13T13:18:00.001-07:00

the follow up study to the one below

sketchbooks

2008-08-13T10:15:00.000-07:00

entries form my sketchbook as we prep for the Bartlett and churn up ideas during the monograph research... just samples of ideas that make it into my trusty pad... will post a series of these over the next few...

Form:uLA Dimension LAboratory

And the Beat goes on...

Sentinel/Entry Gate panels

Model progress

Visual Arts Sentinel -CSUF

My interview with ArchHive

Visual Arts entry signage concept

Alice 2.0 goes through quite a different Looking Glass [LCD]

Book Review

On the Boards...

Liminal Fragmention

louver study

Water and time

Fluid Tissue

inside : outside

Convergence Point Residue

On the Drawing Boards... teaser

Press Release- Mechudzu

Cosmology shifting

Tightened Phase 3 Cosmologies

Germinal Cosmology[s]

Teaser- not making the cut

identity sketches

2010.1

2010 remnants...

the shift from 2010...

RIEA competition

Wall of Sound progression

Sentinel 001

Wall of sound

Wall of sound

Chaos structure : food-court malarkey

NSFW 3.0

NSFW 2.0

NSFW 2.0

Digital Sketch mode- NSFW 3.0

More Meltyshift goodness

RIEA interview

3A models

Highline competition comparisons

Sketchbook: desert rumblings

new images... old project

meltshift series one

transmission inter:ference

Mo[i]re program diagramming

Parasitic Probe 3A:001

meandering in-fections

melted performance and the impermanence of program

surface topologies...

fundamentals in collision

Pedagogical Didactics…

Digital Paper Topology

that's all you get....

surface topologies...

Digital Paper 2010

P.O.D. notes

DP Phase 5, process study

DP Phase 5, process study

New Drawing series- Hypermesh 03

New drawing series- Hypermesh 02

testing the hypermesh waters

shot no. 2

development shots

system frag

sans shadow markers

M-space composites

digital composites

AD article

dusting off old pre-files

New Batman images

Bartlett Exhibition- Wallmaker

Bartlett Exhibition- Seedplanter

Bartlett Exhibition- Mobile Gatherspace

Bartlett Exhibition- TnA

Bartlett Exhibition- Hybridrawings©

Bartlett Exhibition- Domestic Pod

Barltlett Exhibition

Bartlett Exhibition- Batman

Bartlett Exhibition

New Book call for proposals!