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national television

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national television

Culver City

2008

national television

Culver City

2008

Architectural discourse in the 1980s often focused on close reading of structures and materials and their syntactic relationships. Eric Owen Moss’s Lindblade Tower was one such project: an assemblage of preexisting buildings stitched together with elements employed in juxtaposition and a composition of geometric complexity.

In the distribution of materials there was a reductive reliance on the individual component. Whether CMU, metal panels, lighting, or MDF, a constructional logic of set dimensions and geometries tended to overrule other concerns. Assemblies too continued to perform as individuated elements. CMU, as wall, stood apart from its connections, maintaining an internal logic while remaining oppositional to other components.

The premise of our tenant improvement project was to insinuate this loose constellation of materialities with an architecture that would organically relate but likewise remain aloof from the parts put in play 20 years previous.

New workstations, screens and panels form a seamless ribbon of dematerialized, decomponentized surfaces. Rather than rely on constructional logic and ‘natural’ materials, we proposed a panel system made of synthetically coated routed MDF that flows in, through, and around the existing elements. These surfaces are further removed from the logic of their host through the application of non-patterned patterns: irrepetitive images were posterized and recombined to produce multiple levels of rout passes for the panel surfaces: some bas-relief, some medium-depth, some penetrating. No tiling of images occurs; seams are not moments of ironic tension but happenstance occasions.

In one half of the existing building materiality is expressed in an array of raw, natural colors; in the other, drywall and paint present a mute background. Our ribbons of panels and workstations reverse this condition: a polychromatic scheme on the mute half, desaturating as it travels to the opposite side.

With this project we promoted a picturesque stroll through the analytical fallout of postmodernism.

Architectural discourse in the 1980s often focused on close reading of structures and materials and their syntactic relationships. Eric Owen Moss’s Lindblade Tower was one such project: an assemblage of preexisting buildings stitched together with elements employed in juxtaposition and a composition of geometric complexity.

In the distribution of materials there was a reductive reliance on the individual component. Whether CMU, metal panels, lighting, or MDF, a constructional logic of set dimensions and geometries tended to overrule other concerns. Assemblies too continued to perform as individuated elements. CMU, as wall, stood apart from its connections, maintaining an internal logic while remaining oppositional to other components.

The premise of our tenant improvement project was to insinuate this loose constellation of materialities with an architecture that would organically relate but likewise remain aloof from the parts put in play 20 years previous.

New workstations, screens and panels form a seamless ribbon of dematerialized, decomponentized surfaces. Rather than rely on constructional logic and ‘natural’ materials, we proposed a panel system made of synthetically coated routed MDF that flows in, through, and around the existing elements. These surfaces are further removed from the logic of their host through the application of non-patterned patterns: irrepetitive images were posterized and recombined to produce multiple levels of rout passes for the panel surfaces: some bas-relief, some medium-depth, some penetrating. No tiling of images occurs; seams are not moments of ironic tension but happenstance occasions.

In one half of the existing building materiality is expressed in an array of raw, natural colors; in the other, drywall and paint present a mute background. Our ribbons of panels and workstations reverse this condition: a polychromatic scheme on the mute half, desaturating as it travels to the opposite side.

With this project we promoted a picturesque stroll through the analytical fallout of postmodernism.

Architectural discourse in the 1980s often focused on close reading of structures and materials and their syntactic relationships. Eric Owen Moss’s Lindblade Tower was one such project: an assemblage of preexisting buildings stitched together with elements employed in juxtaposition and a composition of geometric complexity.

In the distribution of materials there was a reductive reliance on the individual component. Whether CMU, metal panels, lighting, or MDF, a constructional logic of set dimensions and geometries tended to overrule other concerns. Assemblies too continued to perform as individuated elements. CMU, as wall, stood apart from its connections, maintaining an internal logic while remaining oppositional to other components.

The premise of our tenant improvement project was to insinuate this loose constellation of materialities with an architecture that would organically relate but likewise remain aloof from the parts put in play 20 years previous.

New workstations, screens and panels form a seamless ribbon of dematerialized, decomponentized surfaces. Rather than rely on constructional logic and ‘natural’ materials, we proposed a panel system made of synthetically coated routed MDF that flows in, through, and around the existing elements. These surfaces are further removed from the logic of their host through the application of non-patterned patterns: irrepetitive images were posterized and recombined to produce multiple levels of rout passes for the panel surfaces: some bas-relief, some medium-depth, some penetrating. No tiling of images occurs; seams are not moments of ironic tension but happenstance occasions.

In one half of the existing building materiality is expressed in an array of raw, natural colors; in the other, drywall and paint present a mute background. Our ribbons of panels and workstations reverse this condition: a polychromatic scheme on the mute half, desaturating as it travels to the opposite side.

With this project we promoted a picturesque stroll through the analytical fallout of postmodernism.

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