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 with Timon Covelli and Hyeree Kwak

with Timon Covelli and Hyeree Kwak

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 with Jack Lipson and James Coleman  The loop is part existing and part invention. It affects and is affected by urban space-time. They can work at various scales and through different means to mitigate the multiplicities of ever-changing inputs. The city can through loops be understood via play, engagement, estrangement and association-as a story infinitely reread and continuously misunderstood.   Every day you must relearn the world. The loop is an open system. It’s about experiencing the same view, thought, or event again and discovering that nothing is ever the same.   Usually the state of being on loop  becomes apparent through the experience of a knot of loops, a kind of materialization of friction. The loops themselves contain no friction, rather present themselves through it. The loops do not necessarily contain or intersect, but mutate and overlap. They are reentrant. The acts of wandering and discovery become nested in this idea. The city can thus grow through reinterpretation, governed by the frictions and flows of particular desires. This isn’t so much a new frontier. The frontier doesn’t so much exist anymore. Everything has been claimed. Instead it’s about the elimination of structures that existed before that opens things up to the possibility of making new ones. It’s about the strength of your connections, not their organization. This is what helps you move from one point to the next. 

with Jack Lipson and James Coleman

The loop is part existing and part invention. It affects and is affected by urban space-time. They can work at various scales and through different means to mitigate the multiplicities of ever-changing inputs. The city can through loops be understood via play, engagement, estrangement and association-as a story infinitely reread and continuously misunderstood. 

Every day you must relearn the world. The loop is an open system. It’s about experiencing the same view, thought, or event again and discovering that nothing is ever the same.


Usually the state of being on loop  becomes apparent through the experience of a knot of loops, a kind of materialization of friction. The loops themselves contain no friction, rather present themselves through it. The loops do not necessarily contain or intersect, but mutate and overlap. They are reentrant. The acts of wandering and discovery become nested in this idea. The city can thus grow through reinterpretation, governed by the frictions and flows of particular desires. This isn’t so much a new frontier. The frontier doesn’t so much exist anymore. Everything has been claimed. Instead it’s about the elimination of structures that existed before that opens things up to the possibility of making new ones. It’s about the strength of your connections, not their organization. This is what helps you move from one point to the next. 

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 collaboration with Ian Donaldson

collaboration with Ian Donaldson

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 3D printing as distribution method opens up for pattern-making and localized color variation integral to the built form. Pictured distribution methods propose both a designed method, where prescribed instructions can be designed or premediated by the architect, as well as a time-based deployment where the final color scheme is a result of the building process. Instead of merely applied, color becomes algorithmic, descriptive of instructions performed in a prescribed sequence and deviation there from.In this continuous flow of material, color is capable of showing differences. Whether a visual cue or manifestation of spatial reasoning, color maintains a clear parallel to the empirical providing a bridge from the digital or premediated, where colors exist as numbers, to the material as light interactions making differences intelligible to human vision.

3D printing as distribution method opens up for pattern-making and localized color variation integral to the built form. Pictured distribution methods propose both a designed method, where prescribed instructions can be designed or premediated by the architect, as well as a time-based deployment where the final color scheme is a result of the building process. Instead of merely applied, color becomes algorithmic, descriptive of instructions performed in a prescribed sequence and deviation there from.In this continuous flow of material, color is capable of showing differences. Whether a visual cue or manifestation of spatial reasoning, color maintains a clear parallel to the empirical providing a bridge from the digital or premediated, where colors exist as numbers, to the material as light interactions making differences intelligible to human vision.

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