Synthetic landscapes by Elena Manferdini

SYNTHETIC LANDSCAPES

Curated and with an Introduction by Elena Manferdini

Book Design by Leonora Bustamante and Anushka Jhaveri

Arthur Danielyan & Koki Yamanishi Alex Franco &Smita Lukose

Nanyen & Lungchi

Cheng Lu

Patricia Joseph & Rebekah Bukhbinder

Nicole Harter & Qingwen Li

Asli Tusavul & Garet Ammerman Xiao Lin

Wan Jun

Amanda Hsu & Jing Yan Gaella Bongo

Lukasz Blonski & Mustafa Ahmad

Yeung Shin

Majed Awadh Alghaemdi & Tala bin Jahalan

Jorge Mutis

Klemens Sitzmann & Javier Ruiz

Anushka Jhaveri & Vestalis Pizarro Rosa Jafari

Tzu Yang Wan Ke Wang & Yaoyuan Zhang Sierra Helvey Hsing Chen Wu & Jun Ding Xinyue Guo Astri Bang & Fuyuko Tanaka

Margaret Knight

Nan Yen & Lung Chi

Mona Flehan & Mengwen Li

Kelly Berger Ryan Manning & Harrison Steinbuch

Yiwen Zhang Jiamin Shou & Yinxin Liu Bonnie Liu

Ruby Chiang

Karen Chi

Sophie Ying Su

Solar Labrie & Lily Nourmansouri Kyungjoo Kim Alex Blugerman & Natalia Varada Andrew Cheu & Henry Yang

Leonora Bustamante & Tara Costello

Bosen Li & Will Wu

Wehnshen Xie & Ziye Liu Sam Mak Seng Fong Brian Berk Daniel Karas & Peder Brand

Yu Liu & Qingyi Chen

Gregory Ingalls & Carlos Vargas

Ana Munoz & Kamil Kos

Ursla Trost & Haibo He

Jason Velazquez

Jeffery Halsted & Shouquan Sun Cheng Feng Lin Lo Hui-Yuan

Austin Samson & Andrew Choi Tomohiko Uematsu

Stefanie Francisco Barron

Sam Mak Seng Fong

Tanveer Harun & Dania Alsaib

Nicholas Earle & Jill Koeingsknecht

Leonard Umoh & Rachel McCall

Jasmine Li . Cover Majed Awadh Alghaemdi & Tala bin Jahalan Mustafa Kustur & Jaegun Lim

No part of this book may be used or reproduced in any matter without written permission from the publisher, except in the context of reviews. (copyrights) Text copyrigt: (text) ISBN: #####

DESIGN text text COVER by (description) Printed by (text)

CONTENTS (translation)

Introduction by Elena Manferdini (translation)

(NAME SECTION 1) (translation) #. Essay by Mario Carpo (Yale School of Architecture) (translation) #. “Name of (translation) #. “Name of (translation) #. “Name of (translation) #. “Name of (translation) #. “Name of (translation) #. “Name of (translation) #. “Name of (translation) #. “Name of (translation) #. “Name of (translation) #. “Name of (translation) #. “Name of (translation) #. “Name of (translation) #. “Name of

Landscape” by Student Names // School and Term Landscape” by Student Names // School and Term Landscape” by Student Names // School and Term Landscape” by Student Names // School and Term Landscape” by Student Names // School and Term Landscape” by Student Names // School and Term Landscape” by Student Names // School and Term Landscape” by Student Names // School and Term Landscape” by Student Names // School and Term Landscape” by Student Names // School and Term Landscape” by Student Names // School and Term Landscape” by Student Names // School and Term Landscape” by Student Names // School and Term

(NAME SECTION 2) (translation) #. Essay by Sarah Hearne (PhD at UCLA A+Ud) (translation) #. “Name of Landscape” by Student Names // School and Term (translation) #. “Name of Landscape” by Student Names // School and Term (translation) #. “Name of Landscape” by Student Names // School and Term (translation) #. “Name of Landscape” by Student Names // School and Term (translation)

#. “Name of (translation) #. “Name of (translation) #. “Name of (translation) #. “Name of (translation) #. “Name of (translation)

#. Biography Contributors (translation)

(NAME SECTION 3) (translation) #. “Anamorphic Scenery” Essay by Paulette Singley (Woodbury Cultural Study Professor) (translation) #. “Name of (translation) #. “Name of (translation) #. “Name of (translation) #. “Name of (translation) #. “Name of (translation) #. “Name of (translation) #. “Name of (translation) #. “Name of (translation)

(translation) #. “Name of Landscape” by Student Names // School and Term (translation) #. “Name of Landscape” by Student Names // School and Term (translation) #. “Name of Landscape” by Student Names // School and Term (translation)

(NAME SECTION 4) (translation) #. “Notes on Truthiness: Architecture After Consensus Reality” Essay by Benjamin Farnsworth (Assitant Professor at Syracuse Architecture) (translation) #. “Name of Landscape” by Student Names // School and Term (translation) #. “Name of Landscape” by Student Names // School and Term (translation) #. “Name of Landscape” by Student Names // School and Term (translation) #. “Name of Landscape” by Student Names // School and Term (translation) #. “Name of Landscape” by Student Names // School and Term

#. Acknowledgements (translation)

TABLEAU VIVANTS Introduction by Elena Manferdini

This publication is the results of a 3 years research undertaken in

collaboration with several institutions. It contains a collection of a

variety of color print landscapes created by students from various

schools (The Southern California Institute of Architecture, Cor-

nell University, Seika University, Singapore Polytechnic, Tsinghua

University, and the University of Pennsylvania). This suite of images

explores photorealistic representation through the examination

3D scans. This exploration participates in the current debate on

the state of contemporary digital technologies, and their ability to

widen the iconic visual repertoire of Nature.

The book takes as a point of departure the Tableu Vivant. The easi-

is to begin by describing what it isn’t: in the visual arts, it’s fair

to say that the nature morte or still life constitutes a useful anti-

pode to the tableau vivant. In painting, the mastery of the still life

used to be considered an essential part of a painter’s training - a

disciplinary tool. From the late Middle Ages, through the Renais-

sance, to as recently as the beginning of the last century, the task

of composing a still life was assigned to students of painting as a

pedagogical exercise intended to help shape the character or style

of a given artist or school. It became a marker both of the artist’s

creative autonomy and his debt to the particular creative milieu

that had sought to foster his or her talent.

Despite all that’s passed between that era and our own in terms

of art history, we can still understand the archetypical still life as a

sort of apprentice-piece - less concerned with the particular objects

with the manner of their depiction. In this way, such paintings can

be seen as contributions to an on-going conversation among artists

much more than as a discussion intended to engage directly with a

lay audience. The still life can be understood as a showcase; one

choices - and in so doing, distinguish themselves from their mas-

ters, peers and antecedents.

The tableau vivant by contrast, is invested in engaging with - or

even creating - an audience rather than promoting a particular type

of technique or advancing the cause of a given style. This prefer-

ence for popular engagement over style may be why there’s often

been a sort of stigma attached to the genre.

Tableaux vivants are unashamedly mimetic – sometimes comically

so - reveling in their status as more or less approximate copies of

other works of art or as (to our eyes at least) ahistorical facsimiles

of famous scenes.

Their value lies in genre’s ability to provoke a reaction in the viewer

– in their very theatricality. What we describe as the tableau vivant

can be understood as a re-enactment or re-instantiation of a prior

object or event – and despite the frequent criticism of their numer-

ous detractors, it’s precisely this ability to re-enact - to translate -

that is productive and interesting to

think about.

think about. -

rary architectural discourse, recently we witnessed a shift – a sort

of slippage - taking place in our disciplinary conversation; a turn

away from an exclusive discussion among architectural practitioners

engaging a much broader public. This publication of tableau vivant

For the past twenty years, a torrent of new digital tools has served

to open-up a multitude of new avenues – maybe rabbit-holes – af-

rial, formal or representational. But this wide amount of possibilities

has led to certain frustrations too – and architects are beginning to

discipline’s relations with the rest-of-the-world; with the audience

tutes a shift from the paradigm characterized as belonging to the

still life, towards one which owes much more to the legacy of the

tableau vivant.

In this book, the tableau vivant or living picture will serve as an

alternative model for architectural visualization.

When picturing a possible form of enactment in architecture, the

effect of similes and its strategic deployment becomes pivotal. Pho-

torealism

that is not - in fact - either an original or a photograph of an origi-

nal but is, more often than not, able to pass as either. A certain sort

of photorealism has, of course, been deployed for many years – via

the commercial render - as an expedient means of enabling job

the commercial render - as an expedient means of enabling job-

bing architects to sell their ideas to a recalcitrant client. But a fully

three dimensional photorealism now has the potential to transcend

its quotidian origins to become a key tool in the design process –

no longer simply a means of representation.

Most of the student work in the two dimensional images accom-

panying this book began life as three dimensional digital copies of

a real object. The post-production work that the students under-

took – the tweaking or re-coloring of the original object is really

about the promotion of a sort of polyvalence - about shifts in scale,

texture and material – a progression from photo-real, as it were, to

hyper-real. Photorealism is, of course, maintained in so far as the

scanning process itself is pretty literal, but there is an intermingling

– almost as Eco describes – between the source and its transla-

tion – an intermingling produced via both the inherent biases of the

tools – no matter their literality and the designer’s authorial eye.

the source so that the architectural picture is able to enter into the

fantastic. The power of the fantastic – or the hyper-real- to engage

an audience relies on the DNA, as it were, of its source remaining

ates the uncanny quality of the landscapes in this book.

The tableau vivant might be regarded almost as a metaphor for the

shift away from the debates around autonomy toward a more en-

gaged, even worldly, architectural discourse. Beyond the celebration

of such engagement for its own sake, its implications for the way

architect might approach a given design problem are only beginning

use fantasy, narrative and nature to contribute to the contemporary

discourse. The use of dramatic scalar shifts - and the potential for

productive misreadings inherent in such shifts - constitutes an-

other area of interest. The loosening-up of scalar relationships can

contribute to the generation of fantastical landscapes populated by

The process - in the mind of the observer - of decoding these shifts

in scale, intensity, or material, challenges a few of the more ortho-

dox notions architects tend to turn to when we imagine the way in

which our work might be consumed.

The transformation - even decomposition - of what we’ve been

referring to as the source - the original object - brings about a re-

negotiation of character whereby the real or original attributes of a

given object are altered via a series of painterly manipulations. It’s

these manipulations that ultimately engender the fantastic architec-

tural effects this book is interested in exploring.

Architecture is at a point where the architect’s role is no longer to

control geometry but to release it. This is a radical shift – we’re not

policing the boundaries of the discipline any more so much as seek-

ing to dissolve and remake those boundaries – and to make them

operate in a much more porous fashion.

Much of the last twenty years was devoted to perfecting our control

of complex geometries. Right now we’re moving toward a much

aesthetic invested in the unknowable, in error or in approximation.

from a perceived norm. This is because architects’ drawings are

usually understood as articulations of a pre-determined set of rules

- indeed they have previously tended to rely upon the existence of

such known-knowns in order to be understood.

This recent work on the tableau vivant, in contrast, has evolved a

completely different rules-set – most of which was arrived at ex

post-facto as result of the techniques employed during the design

process.

All this experimentation wouldn’t - of course - be possible without

the advanced software and hardware we have at our disposal today

and our consequent ability to handle huge amounts of data with

relative ease.

geometry is – and all this has implications for the way architects

communicate – and for the architecture we produce.

Indeed, it’s possible that the architect need not understand - in the

conventional sense - the geometry behind his or her work at all–

with all of the consequences that might have for the way architects

communicate with one another – let alone with clients or with the

public at large.

The Tableaux Vivants collected in this book should be looked at as

pictures. Images and pictures are different; the distinction between

the two has to do with editing; with augmentation and translation.

Images are unedited, or only-slightly edited, for example in the

case of a photograph (though of course the camera can be said to

edit our view of the world). Pictures arguably acquire meaning and

exhibit a sensibility only after having been arrived at via an explic-

itly iterative process. In this sense, pictures can be understood as

the proper means by which designers are able to evolve and com

the proper means by which designers are able to evolve and com-

municate their ideas: pictures may pretend with some success to

be images, but images can never aspire to be pictures.

Historically, because of their alleged approximation in comparison

to drawings, diagrams, etc., pictures have been taboo amongst

architects – relegated to the lowly realm of the ‘artist’s impression’:

The picture, many would still contend (and this is despite 25 years

of rendering) is not what architects do.

This book wants to eradicate this taboo and argue that there is

something in the picture that is both promising and newly relevant,

in the same way that there is something in the tableau vivant that

is worth reconsidering, in spite of the traditional judgments of those

even indulgent.

Just as architects have criticized pictures for being second-rate

drawings fraught with the desire to illuminate atmosphere, or worse

– emotion, artists throughout the history of painting have criticized

tableaux vivants for being a second-rate compared to painting. In

fact, there is something about both the tableau vivant and architec-

tural pictures that is incredibly engaging and uniquely powerful.

The transposition of the tableau vivant to architecture means

considering architecture not as a frame but as a picture that is to

be experienced by the consumer from a certain viewpoint, or set of

viewpoints. What the book is trying to get at isn’t bas-relief, the

axial or the processional route – it’s not pictures on or of architec-

ture, but pictures as architecture - since what’s really interesting

about the contemporary architectural picture is that it is fully three-

dimensional - its narrative power shifting and sliding in accordance

with the viewer’s location.

landscapes, is not the end of the creative process, but its begin-

ning. The book is opposed to the idea that the picture is merely a

picture permits architects to imagine new forms of geometrical

drawing. In this case, the geometry can never be the expression of

a set of pre-determined rules and or abstractions; rather, its source

material is drawn from the features of an existing object, whether it

This approach to geometry and representation allows architect to

use the tools (be it scanner, modeling software or printer), in com-

pletely different ways. For many years, computers have been used

as a sort of high-tech surrogate for analog tools like pens, rulers

and drawing-boards that they have, in fact, replaced.

Machines were permitted to facilitate our work in many ways, but

the fundamental ideas about drawing and even modeling in archi-

tecture remained strangely static. Today, architects still mostly use

digital tools as though were operating with pen and paper. Argu-

ably this tableaux vivants project has helped to expose this anach-

ronism: the architect is no longer required to generate and sustain

a set of abstract rules which govern – axiomatically- everything we

seek to produce or represent. Rather, the architect is becoming an

author of narratives, a curator of the tensions and moments of af-

way, architectural pictures are to be found at both the beginning,

and ends of the architectural process – in two and three dimen-

sions.

The kind of precision architects used to think was intrinsic to hand

drawing or computer drafting is quickly becoming anachronistic:

whether or not architects like it, that kind of model has been su-

perseded, in a sense, by the most recent advancements in com-

putational power and the ability, as it were, to map the world at

one-to-one and in three dimensions.

The complexity of the work contained in this book, is no less

precise than its antecedents – but the nature of the precision has

changed – the sort of complex heterogeneous forms we are now

able to produce are less likely to be plausibly ascribed a particular

agency, meaning, or reading, than the volumetric diagrams that

preceding generations were so concerned with producing and then

deciphering.

One of the drivers behind this interest in the tableau vivant has

been the necessity to push beyond what we’ve come to call virtuoso

digital modeling. Whilst such virtuosity is always impressive, an

emphasis on a kind of mannerist virtuosity alone will never be

satisfying for very long. These landscapes are a search for a way

to regain a kind of immediate rawness. As a designer one still has

to master the tools – there’s no escaping that - it’s just that such

mastery is now ready to assert its own agenda. Virtuosity is still

- Elena Manferdini

TITLE Essay by Mario Carpo

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Stalagmite tentacle formed by kungua Objects: Kungua

Polina Alexeeva and Feifei Zhang SCI-Arc, Fall 2014

Cunhao Li and Xionan Yang SCI-Arc, Fall 2014

Woodear crowling on wet wood

Objects: Leaf and Squid

Woodear crowling on wet wood

Objects: Leaf and Squid

Cunhao Li and Xionan Yang SCI-Arc, Fall 2014

Stalagmite tentacle formed by shells Objects: Shell

Polina Alexeeva and Feifei Zhang SCI-Arc, Fall 2014

Agustin Bernal and Armin Senoner SCI-Arc, Fall 2014

The dark, rich and ominous land of scape

Objects: Tree bark and octopus

The dark, rich and ominous land of scape

Objects: Tree bark and octopus

Agustin Bernal and Armin Senoner SCI-Arc, Fall 2014

Bloody Ice

Object: Pumpkin and dried fruit

Bloody Ice

Object: Pumpkin and dried fruit

Asli Tusavul and Garet Armmerman SCI-Arc, Fall 2013

Title

Objects:

Title

Objects:

Asli Tusavul and Garet Armmerman SCI-Arc, Fall 2013

Ginger

Starfish

Oyster

Muffin

Majeda Alhinai and Yunxin Hu SCI-Arc, Fall 2014

Pia Habostad and Charmaine Lam SCI-Arc, Fall 2014

Matthew Diack and Mun Yi Cheng SCI-Arc, Fall 2014

Dylan Perkinson, Emre Turan, and Jacob Waas SCI-Arc, Fall 2014

Rose

Dragonfruit

Octopus

Kindbar

Majeda Alhinai and Yunxin Hu SCI-Arc, Fall 2014

Kellan Cartledge and Carol Kan SCI-Arc, Fall 2014

Agustin Bernal and Armin Senoner SCI-Arc, Fall 2014

Dylan Perkinson, Emre Turan, and Jacob Waas SCI-Arc, Fall 2014

Red Plaster

Artichoke

Peach Seed

Lobster

Anthony Stofella, Nastaran Ghaldar, Ryan Odom SCI-Arc, Fall 2014

Kellan Cartledge and Carol Kan SCI-Arc, Fall 2014

Liu Sha_Yixiong Peng SCI-Arc, Fall 2014

Oscar Abrahamsson and Homayoun Zaryouni SCI-Arc, Fall 2014

Pumpkin

Horn Melon

Melon

Crab

Matthew Diack and Mun Yi Cheng SCI-Arc, Fall 2014

Anthony Stofella, Nastaran Ghaldar, Ryan Odom SCI-Arc, Fall 2014

Liu Sha_Yixiong Peng SCI-Arc, Fall 2014

Junjie Guo, Jiashu Zhang, and Ruizi Qin SCI-Arc, Fall 2014

Tomohiko Uernatsu Seika University, Fall 2012

Title

Objects:

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Objects:

Tomohiko Uernatsu Seika University, Fall 2012

Nicholas Earle and Jill Koeingsknecht SCI-Arc, Fall 2012

Title

Objects:

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Objects:

Nicholas Earle and Jill Koeingsknecht SCI-Arc, Fall 2012

Cheng Lu SCI-Arc,Spring 2013

Title

Objects:

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Objects:

Cheng Lu SCI-Arc,Spring 2013

Title

Objects:

Title

Objects:

Cheng Lu SCI-Arc,Spring 2013

Anthony Stofella, Nastaran Ghaldar, Ryan Odom SCI-Arc, Fall 2014

A microscopic landscape infected by horn melon

Objects: Plastered sweet pepper, plastered poblano pepper,horn melon

A microscopic landscape infected by horn melon

Objects: Plastered sweet pepper, plastered poblano pepper,horn melon

Anthony Stofella, Nastaran Ghaldar, Ryan Odom SCI-Arc, Fall 2014

Gregory Ingalls and Carlos Vargas SCI-Arc, Fall 2012

Title

Objects:

Title

Objects:

Gregory Ingalls and Carlos Vargas SCI-Arc, Fall 2012

Wehnshen Xie and Ziye Liu SCI-Arc, Fall 2012

Title

Objects:

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Objects:

Wehnshen Xie and Ziye Liu SCI-Arc, Fall 2012

TITLE Essay by Sarah Hearne

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Astri Bang and Fukiyo Tanaka SCI-Arc, Fall 2010

Title

Objects:

Title

Objects:

Astri Bang and Fukiyo Tanaka SCI-Arc, Fall 2010

Rosa Jafari SCI-Arc, Spring 2013

Title

Objects:

Title

Objects:

Rosa Jafari SCI-Arc, Spring 2013

Anushka Jhaveri and Vestalis Pizarro SCI-Arc, Fall 2012

Title

Objects:

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Objects:

Anushka Jhaveri and Vestalis Pizarro SCI-Arc, Fall 2012

Ryan Manning and Harrison Steinbuch SCI-Arc, Fall 2012

Title

Objects:

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Objects:

Ryan Manning and Harrison Steinbuch SCI-Arc, Fall 2012

Nan Yen and Lung Chi SCI-Arc, Fall 2012

Title

Objects:

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Objects:

Nan Yen and Lung Chi SCI-Arc, Fall 2012

Title

Objects:

Title

Objects:

Nan Yen and Lung Chi SCI-Arc, Fall 2012

Junzhe Liu and Yunke He SCI-Arc, Fall 2014

Rocks in a dry river bed

Objects: Coconut and purple cabbage

Rocks in a dry river bed

Objects: Coconut and purple cabbage

Junzhe Liu and Yunke He SCI-Arc, Fall 2014

Austin Samson and Andrew Choi SCI-Arc, Fall 2012

Title

Objects:

Title

Objects:

Austin Samson and Andrew Choi SCI-Arc, Fall 2012

Lo Hui-Yuan Seika University, Fall 2010

Title

Objects:

Title

Objects:

Lo Hui-Yuan Seika University, Fall 2010

Gaella Bongo SCI-Arc, Spring 2013

Title

Objects:

Title

Objects:

Gaella Bongo SCI-Arc, Spring 2013

Kyungjoo Kim SCI-Arc, Spring 2013

Title

Objects:

Title

Objects:

Kyungjoo Kim SCI-Arc, Spring 2013

Dylan Perkinson, Emre Turan, and Jacob Waas SCI-Arc, Fall 2014

Objects: Kindbar, squash, muffin

There’s no earthly way of knowing Which direction we are going There’s no knowing where we’re rowing

Or which way the river’s flowing Is it raining? Is it snowing? - Willy Wonka

There’s no earthly way of knowing Which direction we are going There’s no knowing where we’re rowing

Or which way the river’s flowing Is it raining? Is it snowing? - Willy Wonka

Objects: Kindbar, squash, muffin

Dylan Perkinson, Emre Turan, and Jacob Waas SCI-Arc, Fall 2014

Alex Franco and Smita Lukose SCI-Arc, Fall 2013

Title

Objects:

Title

Objects:

Alex Franco and Smita Lukose SCI-Arc, Fall 2013

Yu Lin and Qingy Chen SCI-Arc, Fall 2012

Title

Objects:

Title

Objects:

Yu Lin and Qingy Chen SCI-Arc, Fall 2012

Tanveer Harun and Dania Alsaib SCI-Arc, Fall 2013

“Dry Leaves”

Objects: Meat and ginger

“Dry Leaves”

Objects: Meat and ginger

Tanveer Harun and Dania Alsaib SCI-Arc, Fall 2013

Xiao Lin University of Pennsylvania, Fall 2013

Title

Objects:

Title

Objects:

Xiao Lin University of Pennsylvania, Fall 2013

Anamorphic Scenery Essay by Paulette Singley

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Sophie Ying Su Cornell University, Fall 2011

Title

Objects:

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Objects:

Sophie Ying Su Cornell University, Fall 2011

104

Yeung Shin Cornel University, Fall 2011

“Erupting Volcano”

Objects: Cala flower

“Erupting Volcano” Objects: Cala flower

Yeung Shin Cornel University, Fall 2011

106

Karen Chi Cornel University, Fall 2011

Title

Objects:

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Objects:

Karen Chi Cornel University, Fall 2011

108

Leonora Bustamante and Tara Costello SCI-Arc, Fall 2013

â&#x20AC;&#x153;Metallic Riversâ&#x20AC;?

Objects: Bread and cabbage

â&#x20AC;&#x153;Metallic Riversâ&#x20AC;?

Objects: Bread and cabbage

Leonora Bustamante and Tara Costello SCI-Arc, Fall 2013

110

Brian Berk University of Pennsylvania, Fall 2013

Title

Objects:

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Objects:

Brian Berk University of Pennsylvania, Fall 2013

112

Bosen Li and Will Wu SCI-Arc, Fall 2013

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Objects:

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Objects:

Bosen Li and Will Wu SCI-Arc, Fall 2013

114

Leonard Umoh and Rachael McCall SCI-Arc, Fall 2013

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Objects:

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Objects:

Leonard Umoh and Rachael McCall SCI-Arc, Fall 2013

116

Alex Blugerman and Natalia Varada SCI-Arc, Fall 2013

Title

Objects:

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Objects:

Alex Blugerman and Natalia Varada SCI-Arc, Fall 2013

118

Patricia Joseph and Rebekah Bukhbinder SCI-Arc, Fall 2013

Title

Objects:

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Objects:

Patricia Joseph and Rebekah Bukhbinder SCI-Arc, Fall 2013

120

Jeffrey Halsted and Shouquan Sun SCI-Arc, Fall 2012

Title

Objects:

Title

Objects:

Jeffrey Halsted and Shouquan Sun SCI-Arc, Fall 2012

122

Matthew Diack and Mun Yi Cheng SCI-Arc, Fall 2014

Growth site - A last wave of polyps blossom on an ossifying coral landscape Objects: Oyster and squash

Matthew Diack and Mun Yi Cheng SCI-Arc, Fall 2014

124

Paul Krist and Colin Jacobs SCI-Arc, Fall 2014

Bead of blossiming flowers bearing overripe fruits within Objects: Squid and mushroom

Paul Krist and Colin Jacobs SCI-Arc, Fall 2014

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Notes on Truthiness:

Architecture After Consensus Reality

Essay by Benjamin Farnsworth

Notes on Truthiness:

Architecture After Consensus Reality

Essay by Benjamin Farnsworth

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136

Sierra Helvey SCI-Arc, Spring 2013

Title

Objects:

Title

Objects:

Sierra Helvey SCI-Arc, Spring 2013

138

Oscar Abrahamsson_Homayoun Zaryouni SCI-Arc, Fall 2012

Andrew Cheu and Henry Yang SCI-Arc, Fall 2012

140

María Esteban Casañas, Anhuar Farah Made Jaber, Carlos Cristhian Pompeo SCI-Arc, Fall 2014

Submerged Precious Gems

Objects: Pomegranate and cactus

Submerged Precious Gems

Objects: Pomegranate and cactus

María Esteban Casañas, Anhuar Farah Made Jaber, Carlos Cristhian Pompeo SCI-Arc, Fall 2014

142

Wan Jun Tsinghua University, Summer 2012

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Objects:

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Objects:

Wan Jun Tsinghua University, Summer 2012

144

Xiangtai Sung and Jiajun Tan SCI-Arc, Fall 2014

Undersea landscape

Objects: Broccoli and melon

Undersea landscape

Objects: Broccoli and melon

Xiangtai Sung and JiaJun Tan SCI-Arc, Fall 2014

146

Cheng Feng Lin SCI-Arc, Spring 2013

Title

Objects:

Title

Objects:

Cheng Feng Lin SCI-Arc, Spring 2013

148

Jorge Mutis SCI-Arc, Fall 2010

Title

Objects:

Title

Objects:

Jorge Mutis SCI-Arc, Fall 2010

150

Ursla Trost and Haibo He SCI-Arc, Fall 2012

Title

Objects:

Title

Objects:

Ursla Trost and Haibo He SCI-Arc, Fall 2012

152

Daniel Karas and Peder Brand SCI-Arc, Fall 2012

Title

Objects:

Title

Objects:

Daniel Karas and Peder Brand SCI-Arc, Fall 2012

154

Mona Flehan Mengwen SCI-Arc, Fall 2012

Title

Objects:

Title

Objects:

Mona Flehan Mengwen SCI-Arc, Fall 2012

156

Solar Labrie and Lily Nourmansouri SCI-Arc, Fall 2012

Title

Objects:

Title

Objects:

Solar Labrie and Lily Nourmansouri SCI-Arc, Fall 2012

158

Francisco Barron SCI-Arc, Spring 2013

Title

Objects:

Title

Objects:

Francisco Barron SCI-Arc, Spring 2013

160

Biography Contributors

Elena Manferdini

Mario Carpo

Sarah Hearne

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Yale School of Architecture

PhD at UCLA A+Ud

BIOGRAPHY

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BIOGRAPHY

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Paulette Singley

Benjamin Farnsworth

Woodbury Cultural Study Professor

Assistant Professor at Syracuse University

BIOGRAPHY

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BIOGRAPHY

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ACKNOWLEDGEMENTS

ACKNOWLEDGEMENTS (translation)

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