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Impasto HOuse
Impasto HOuse
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Impasto HOuse
This house project is about extending a painterly sense of overlay and brush stroke into architecture. We see this sensibility as an update to the modernist interest in the blending of building and landscape as is apparent in the Neutra houses neighboring the site. In these examples, the lines of plan and section, carried out as beams or columns and planes, extend into space and begin to blur the boundary between the interior and exterior. Here, autonomous elements, or cells, are layered on top of one another.
On the exterior, at the edges or boundaries of these cell regions, mutations and morphing techniques are most prevalent within the individual cells. This is akin to layered brush strokes blending between regions of color but it is carried out as a three dimensional composition using architectural elements of structure and skin. This is not the simple structure and infill skin of the Neutra houses, but a frayed and textured structure and skin which not only weave in and out of each other, but also the landscape. Boundaries are blurred or erased entirely by excessive moments where the skin and structure become inseparable from ornamentation. The image of the home becomes similar to the painted canvas where regions and zones are perceivable but their distinct edges no longer exist.
Our brush strokes are the grid cells. Our grid is a diagrid made up of the faces of a composition of rhombic dodecahedrons. The grid of the modernist is not so dissimilar to the contemporary mesh grid used to rationalize but also generate hyper fluid geometry. One is a box – the other a blob. Both are used to generate an overall sculptural form be it orthogonal or curvilinear. Our technique involves blending the figural/sculptural and the diagrid at the level of the grid cell which can then tesselate into any number of scales. These grid cells are then used to compose the overall form. This juxtaposition causes a dissolution of mass but also an unpredictable shifting between orthogonal and curvilinear geometries in terms of composition. In addition, because of the complexity of the figuration and its ability to be associated in multiple and complex ways, the repetition of the cells are not felt. Instead the pack of figures swarm and seem almost recognizable yet entirely strange.
Because impasto gives texture to the painting, it can be opposed to flat, smooth, or blending techniques
On the exterior, at the edges or boundaries of these cell regions, mutations and morphing techniques are most prevalent within the individual cells. This is akin to layered brush strokes blending between regions of color but it is carried out as a three dimensional composition using architectural elements of structure and skin. This is not the simple structure and infill skin of the Neutra houses, but a frayed and textured structure and skin which not only weave in and out of each other, but also the landscape. Boundaries are blurred or erased entirely by excessive moments where the skin and structure become inseparable from ornamentation. The image of the home becomes similar to the painted canvas where regions and zones are perceivable but their distinct edges no longer exist.
Our brush strokes are the grid cells. Our grid is a diagrid made up of the faces of a composition of rhombic dodecahedrons. The grid of the modernist is not so dissimilar to the contemporary mesh grid used to rationalize but also generate hyper fluid geometry. One is a box – the other a blob. Both are used to generate an overall sculptural form be it orthogonal or curvilinear. Our technique involves blending the figural/sculptural and the diagrid at the level of the grid cell which can then tesselate into any number of scales. These grid cells are then used to compose the overall form. This juxtaposition causes a dissolution of mass but also an unpredictable shifting between orthogonal and curvilinear geometries in terms of composition. In addition, because of the complexity of the figuration and its ability to be associated in multiple and complex ways, the repetition of the cells are not felt. Instead the pack of figures swarm and seem almost recognizable yet entirely strange.
Because impasto gives texture to the painting, it can be opposed to flat, smooth, or blending techniques
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