Between surface and substance

Architectural Design

Volumn 73, Issue 2, 2003, Pages 8-16

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EID: 67650147039     PISSN: 00038504     EISSN: None     Source Type: Journal    
DOI: None     Document Type: Article

References (11)

1. 'Steiner's work falls into no stylistic category, its idiosyncrasies and originality make it as unique as the Czech phase of Rondo-Cubism. ' Dennis Sharp, Twentieth Century Architecture: A Visual History, Lund Humphries (London), 1991, pp 46-7.
2. Eliel Saarinen, The Search for Form in Art and Architecture, Dover Publications (New York), 1948, original retitled and republished unabridged 1985.
3. Ivan Massow, 'The Pillar of Shock Establishment has Proved It Can't Stand Dissent', The Guardian, Wednesday 6 February 2002.
4. Adrian Searle, 'Empty Promise', The Guardian, Tuesday 24 April 2001.
5. J F Rafols, Gaudí, Editorial Canosa (Barcelona), 1929, p 201.
6. Mark Burry, The Expiatory Church of the Sagrada Família,Phaidon Press (London), 1993.
7. The studio ran both in the us and Australia during the whole of the first semester 2002. The projects were led by Jim Glymph and Dennis Sheldon (Gehry Partners), Bill Mitchell and Larry Sass (MIT), and Mark Burry and Grant Duntop (RMIT).
8. John Rajchman, Constructions, MIT Press (Cambridge, Mass), 1998, p 18.
9. Respectively, in terms of the roles played. Mark Goulthorpe, Alex Scott, Peter Wood, Mark Burry and Arnaud Descombes.
10. A prototype was inaugurated in March 2001 at the CeBIT Technology Fair in Hanover, which ran for six days.
11. 'Trauma, as we've noted, is not marked by an overfullness or excess of significance, but by an absence of conceptual registration. This suggests that the prefix hypo-, which is characterized by deficiency and lack, by a subliminal incapacity, might be more appropriate in considering the effect of such numerically-generated surfaces than hyper-, which denotes excess or extremity. Doubtless, since the terms are those of relative fullness or depletion, these should not be considered as exclusive oppositional terms (" expressivity" and "inexpressivity" will frequently cohabit according to context), but held in flux. But the Pallas house, which seems to numb its own expressivity - to engender a sort of inexpressive plasticity (which I've called on occasion an "Asiatic" sense), would seem to shift to the sublimity of hypo-surface. Aegis, then, as a surface of variable significance - a literal distortion of reference - would seem to carry this further, fluctuating between hypnosis and hallucination, the limit cases of optic sense. It will be interesting to gauge the resultant displacement of conceptual registration and to inquire as to the possibility of an emergent genre of hyposurface. ' Mark Goulthorpe, 'Aegis Hyposurface: Autoplastic to Alloplastic', in Stephen Perrella (ed) 'Hypersurface Architecture II', Architectural Design, vol 69, no 9-10, 1999, p 65.