"it is also intentionally accessible in form and image (Alice in Wonderland mushroom meets solar ray chomping PacMan)."
I am interested if anyone has thoughts about this, seemingly, radical step towards representational architecture?
Let's not be too hasty and say its a direct step back 30 years toward the days of Gehry and Oldenburg collaborations, this would not be performative enough. But there seems a renewed interest in literal quotations to communicate contemporary feelings and use of form appropriation to do architectural work.
The Mushrooms single column in the center allows for entry into the pavilion from multiple sides, ie no singular front. While the pac-man's form signifies the consumption of the suns rays, and deflects direct sunlight (passive solar) from entering the gallery. What also interests me is the way the two forms are joined. He uses a Koolhaas move, see the section of the Cardiff Bay project. Koolhaas merges 3 distinct forms through a continuous section. Here two referenced forms are architectural through their combination by the threshold entry into the sphere. He not only finds a way to enter a sphere, something Fuller himself had a hard time doing, but also consciously left the two forms intact with complete indifference, it looks so simple so easy, but this is a very controlled and interesting project.
Going back to my first question, how do the current projects of Greg Lynn (Slavin House, Bloom House, and his Toy Furniture) "stack up" in both their referential qualities and engagement with art, see Jeff Koons' Popeye Series?
Is Inaba doing POMO?
see archinect features:
http://archinect.com/features/article.php?id=83041_0_23_0_M
"it is also intentionally accessible in form and image (Alice in Wonderland mushroom meets solar ray chomping PacMan)."
I am interested if anyone has thoughts about this, seemingly, radical step towards representational architecture?
Let's not be too hasty and say its a direct step back 30 years toward the days of Gehry and Oldenburg collaborations, this would not be performative enough. But there seems a renewed interest in literal quotations to communicate contemporary feelings and use of form appropriation to do architectural work.
The Mushrooms single column in the center allows for entry into the pavilion from multiple sides, ie no singular front. While the pac-man's form signifies the consumption of the suns rays, and deflects direct sunlight (passive solar) from entering the gallery. What also interests me is the way the two forms are joined. He uses a Koolhaas move, see the section of the Cardiff Bay project. Koolhaas merges 3 distinct forms through a continuous section. Here two referenced forms are architectural through their combination by the threshold entry into the sphere. He not only finds a way to enter a sphere, something Fuller himself had a hard time doing, but also consciously left the two forms intact with complete indifference, it looks so simple so easy, but this is a very controlled and interesting project.
Going back to my first question, how do the current projects of Greg Lynn (Slavin House, Bloom House, and his Toy Furniture) "stack up" in both their referential qualities and engagement with art, see Jeff Koons' Popeye Series?
and/or
"Don't tell anybody, but reenactment can be such a circus."
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