Manifold / Corps et Cadre
Cooper Union for the Advancement of Science and Art
New York City / Etats-Unis
Cooper Union for the Advancement of Science and Art
New York City / Etats-Unis
La Cooper Union for the Advancement of Science and Art, créée en 1859 à New York, compte parmi les établissements d’enseignement supérieur les plus anciens et les plus réputés du pays. Elle se consacre à la préparation des étudiants aux métiers de l’architecture, de l’art et de l’ingénierie. Son Great Hall sert le public en tant que centre de liberté d’expression et est aussi un témoin de l’histoire et des idées américaines. En reconnaissance des défis contemporains posés à la discipline et à une pratique architecturale significative de l’architecture, l’école d’architecture Irwin S. Chanin. a engagé un dialogue interdisciplinaire avec les beaux-arts, l’ingénierie et les sciences humaines. Elle a pour but de maintenir un environnement intellectuel propice à la liberté de pensée et à l’exploration tout en défiant l’insularité du processus d’invention, démontrant ainsi le rôle de l’architecte en conversation avec le monde.
The Cooper Union for the Advancement of Science and Art, established in 1859 in New York City, is among the nation’s oldest and most distinguished institutions of higher education, dedicated to preparing students for the professions of architecture, art and engineering. Its Great Hall has served the public as a center for free speech and a witness to the flow of American history and ideas for over 150 years. In recognition of contemporary challenges to both the discipline and a meaningful practice of architecture, The Irwin S. Chanin School of Architecture has engaged in a cross-disciplinary dialogue with the fine arts, engineering and the humanities to sustain an intellectual environment that fosters freedom of thought and exploration while challenging insularity in the process of invention, demonstrating the agency of the architect in conversation with the world at large.
The Cooper Union for the Advancement of Science and Art, established in 1859 in New York City, is among the nation’s oldest and most distinguished institutions of higher education, dedicated to preparing students for the professions of architecture, art and engineering. Its Great Hall has served the public as a center for free speech and a witness to the flow of American history and ideas for over 150 years. In recognition of contemporary challenges to both the discipline and a meaningful practice of architecture, The Irwin S. Chanin School of Architecture has engaged in a cross-disciplinary dialogue with the fine arts, engineering and the humanities to sustain an intellectual environment that fosters freedom of thought and exploration while challenging insularity in the process of invention, demonstrating the agency of the architect in conversation with the world at large.
La beauté peut être interprétée comme l'étrange, l'alien rendu subtilement familier. Notre proposition explore cette idée en créant une expérience intermédiaire entre les contrastes: une géométrie non cartésienne dans une cour orthogonale et la continuité perceptuelle d'un plan en fuite. Avec des couches de translucidité et des artifices visuels d’alignement, l’installation révèle la transformation constante d’une surface qui serpente à travers l’espace. Il entrelace plusieurs lignes colorées en une seule construction polychromatique fluide. Les visiteurs le perçoivent comme une frontière continue, reconnaissant qu'il s'agit de surfaces séparées au milieu de la cour ou observant les formes floues des autres visiteurs. En utilisant les portes et les ouvertures existantes comme points de terminaison, l’installation réaffirme la cour en tant qu’espace collectif en chorégraphiant de nouvelles méthodes de déplacement et en facilitant les réunions dans différentes intimités, que l’espace soit restreint ou grand. Deux espaces sont encadrés, l'un familier et l'autre voilé, amorphe, étranger et mystérieux.
Beauty can be interpreted as the uncanny, the alien made subtly familiar. Our proposal explores this idea by creating an experience that mediates between contrasts: a non-Cartesian geometry in an orthogonal courtyard and the perceptual continuity of a vanishing plane. With layers of translucency and visual artifices of alignment, the installation reveals the constant transformation of a surface that meanders through space. It interweaves multiple colored lines into a single fluid polychromatic construct. Visitors experience this as a continuous boundary, recognizing it to be separated surfaces when in the middle of the courtyard or seeing the blurred forms of other visitors. Using the existing doorways and apertures as endpoints, the installation reasserts the courtyard as a collective space by choreographing new ways of moving and facilitating meetings at different intimacies, whether the space is tight or expansive. Two spaces are framed, one familiar, and the other veiled, amorphous, alien and mysterious.
Beauty can be interpreted as the uncanny, the alien made subtly familiar. Our proposal explores this idea by creating an experience that mediates between contrasts: a non-Cartesian geometry in an orthogonal courtyard and the perceptual continuity of a vanishing plane. With layers of translucency and visual artifices of alignment, the installation reveals the constant transformation of a surface that meanders through space. It interweaves multiple colored lines into a single fluid polychromatic construct. Visitors experience this as a continuous boundary, recognizing it to be separated surfaces when in the middle of the courtyard or seeing the blurred forms of other visitors. Using the existing doorways and apertures as endpoints, the installation reasserts the courtyard as a collective space by choreographing new ways of moving and facilitating meetings at different intimacies, whether the space is tight or expansive. Two spaces are framed, one familiar, and the other veiled, amorphous, alien and mysterious.
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