The proposed amendments to the Cannabis for Private Purposes bill that seeks to further decriminalise cannabis usage and legalise South…
Interrupted Projections: Another Global Surface, or Territorial Recodings on the WorldSheet
TOTO Publishing, September 1996
Paperback | 8-3/4 x 11 inches | 87 pages | Japanese/English | ISBN: 9784887061422 | 1500¥
GALLERY MA featured the work of the young Las Angeles architect Neil M. Denari in a show titled “INTERRUPTED PROJECTIONS.” Denari has won wide acclaim for his various projects, such as his radical entry in the Tokyo International Forum Competition for which he received Honorable Mention. While not quite breaking free from the constraints of tradition and standards, Denari seems to challenge the conservatism of contemporary “architecture,” always making viewers conscious of the essence of architecture and its latent potential.
For Denari, contemporary architecture exists within a society filled with a mixture of coded images that trancends the concrete “thing” itself. Denari seeks to discover the possibilities of architecture within such a society, as well as how architecture can be made to fuse with society. Denari offered one solution to these questions in the space of GALLERY MA.
The exhibition area was equipped with a NaviCam (support: Sony Computer Science Laboratory, Inc.), which will serve as a device for visualizing the concepts of the exhibition. Individual visitors could analyze concepts by accessing barcodes scattered throughout the exhibition area.
GALLERY MA also sold “GALLERY MA BOOKS 04 Neil M. Denari INTERRUPTED PROJECTIONS,” a graphic two-dimensional presentation of the show as realized in the three-dimensions of GALLERY MA.
The graphics also appear dated, especially the prevalence of boxes with rounded corners defining the boundaries of text and images. This was 1996, after all, when computers had already influenced graphic design and were just starting to work their way into architectural practice. Denari was an early adopter, using software to help model smooth forms and surfaces but also creating an aesthetic of computer-generated architecture. With very little white space, the book is a visual feast, with renderings and text fitted onto the page alongside barcodes, logos, colored shapes — any graphics to fill the page and convey a sense of coolness. I’m not sure how well the book captured the “visual experience” and “seduction” of the exhibition, but today it stands as an excellent illustration of architectural thinking twenty-five years ago.
* Syndicated content from A Daily Dose of Architecture Books.