The LA Forum’s 2016 Out There Doing It series comprises three nights of discussions at the Neutra VDL House with emerging Los Angeles practitioners in architecture, design, and urbanism. Each of the practices featured consider drawing—both as act and representation—at the center of their design ethos. In advance of the first panel on Thursday, October 27, we spoke to LA Forum Board Members Chris Torres and Matthew Gillis about the series and how the selected practices engage drawing and representation.
What is the collective theme of this year’s Out There Doing It and how did it develop? How do the selected emerging practices fit within this theme?
The collective theme of this year’s series reflects how designers in Los Angeles are interrogating and pushing the medium of drawing beyond the pragmatics of representation into spatial practices between the lines of art, architecture and landscape. We think that Los Angeles in particular, has a wide diversity of approaches to this subject.
Drawings are transformed through the work of Refik Anadol, whose project Infinity Room uses light to blur the boundaries between the virtual and physical realms. We see his practice of curating and manipulating data as an emerging field within the discipline of architecture and are excited that Refik is part of the series.
On the other end of the spectrum, we are intrigued by the work of Bureau Spectacular, who creates vivid cartoon narratives through architectural interventions. Their project, The Tower of Twelve Stories, created an architectural folly within the landscape of the Coachella music festival that is a 1:1 section of a fictional apartment building. The bubble like structure reveals both a quality of rigor in the purity of its engineering and also a quality of looseness, a playfulness that we find uplifting.
The duo at Claret-Cup explore representation by graphically mapping events and artifacts, exploring the urban ephemerality revealed in Los Angeles. Their graphic experiments range in scale and categories from curated culinary evenings like Blind-(d)ate to Folded Beauty, an installation at RedCat 2015 Donors’ Gala.
Mark Erickson’s representational work is situated within the confluence of historical drawing practices and contemporary computation in architecture. Cataloging a multitude of speculative drawing series; Nameless Curves, Euclid’s Wedge, Domestic Inversion, Mark expands the thinking and use of drawing techniques to create novel architectures.
The work of Katrin Terstegen reflects an overarching interest in openings and apertures, as evidenced by her decade long collaboration at Johnston Marklee on projects such as Vault House and Maison Martin Margiela. We are looking forward to the developments at her new practice.