,HICK
PROJECT TYPE
Exhibition
STATUS
Built, 2017
EXHIBITION DESIGN
Maxi Spina, Spinagu
Jia Gu, Spinagu
FABRICATION COORDINATORS
Ravyn Crabtree
Rishab Jain
SCI-ARC STUDENT WORKSHOP
Cheryl Linn
Saul Kim
Marianna Girgenti
Leo Liu
Luiza De Souza
Nicholas Perseo
Yunki Cheung
Bianca Hernandez
Cindy Liu
Adriane Yi
Rebecca Wiscombe
Daniel Arismendys Taveras-Hernandez
Siddardha Chalamala
Melissa Alvarez
Borja Lopez Calvino
German Diaz
Anna Bahudian
Justin Elliot
William Chen
Sammi Liang
Tucker van Leuwen-Hall
SCI-ARC FABRICATION SHOP
Brandon Youndt
Rodney Rojas
Josh Wallin
Hector Solis
ADDITIONAL ASSISTANCE
Jared White, Eastbridge Studio
PHOTOGRAPHY
Joshua White Photography
SPECIAL THANKS TO
Hernan Diaz Alonso, Stephanie Atlan, and Kate Merritt
This project is made possible with the generous support of the GRAHAM FOUNDATION and FORMICA
Thick is a research project and exhibition that explores material thickness as an active site of investigation. The project is the instantiation of an ongoing research project around the relationship between architectural instruments and architectural production. The research explores how thickness is itself a “deep” structure of design within the discursive spaces of descriptive geometry, digital tooling, material fabrication and construction. The project culminates with a two-month exhibition in the SCI-Arc gallery space, featuring new work by Maxi Spina and Jia Gu.
The exhibition is spatial, operating within / between / through the literal walls of the gallery, as well as operational, producing a collection of fragments that explores the section as an operative act through which figuration and form emerge. Coupled with a catalogue and public discussion, the exhibition expands on the problems of material thickness through the topic of sections, ruins, fragments, constructions, figurations, simultaneity, and representation.
In digital space, the profile of the chess set is rotated in half of a straight angle. Employing quarter turns, the project aims distances the notion of the profile from that of a figure. This results in a composition of ‘partial revolutions’, as the proportions of the whole are illustrated as fractions of a turn. Delineated profiles acquire a thematic quality, and they manifest in one of two ways: as the lines and curves indicating the cross-sections of the chess pieces, and as the typical imaginary curves of geometrical unfolding.
