At least since Leonardo Da Vincis first attempts to describe turbulence, architects have been fascinated by the dynamics of flow - perhaps seeking an escape from the solid, stable nature of buildings. Beginning in the 1990's, architects have used digital software to imbue structures and spaces with some of the same qualities as Da Vincis meticulous drawings: fluidity, undulation, instability and temporality. But while software has allowed architects to create novel, dynamic forms digitally, they have struggled to translate these qualities to the physicality of the material world. Slipstream is a physical structure that confronts that leap directly, translating a 2-dimensional digital line drawing into 3-dimensional space.
Alluding to Lebbeus Woods' 2010 'Slipstreaming' drawings of flow, the installation is a single drawing extruded through the gallery space and cut away to produce a set of interconnected spaces. The linear extrusion acts as both structure and dynamic visual filter, shifting views through the installation and between the spaces it defines. It's integrity as a structure is masked by both its redundancy and bright coloration. Employing gradients that diffuse and coalesce along its length, color amplifies the undulating lines, establishing cross currents that intensify as visual eddies. Irreducible to form, structure, or graphic, Slipstream is a combined phenomenon of the three.
FreelandBuck With Teoman Ayas and Robert Canavino
Additional Info: The structure was essentially a 2d line drawing turned into a 3d structure, and the drawings are an extension of that idea - digitally created line drawings that were intended to evoke flow and turbulence. They were made through a grasshopper and rhino software and then manipulated in illustrator to evoke different graphic mediums that were not digital - charcoal and paint for instance. See attached for several of them.
For the Slipstream structure, a similar 2d drawing was extruded in the computer and then carved away to make the curving walls. Each of the notches was calculated and drawn by a grasshopper routine and then the (1800) pieces were cut from plywood with a computer controlled mill. They all fit together without fasteners - the redundancy of pieces creates structural stability and keeps everything in place. The entire structure is only wood and paint.