organic, TSOA

organic, TSOA https://tsoa-organic.com organic, TSOA Fri, 22 Apr 2022 00:26:25 +0000 https://tsoa-organic.com en Coming Soon https://tsoa-organic.com/Coming-Soon Sat, 16 Apr 2022 16:45:07 +0000 organic, TSOA https://tsoa-organic.com/Coming-Soon Coming Soon             Coming Soon             Coming Soon            Coming Soon            Coming Soon            Coming Soon            Coming Soon           Coming Soon          Coming Soon          Coming Soon         Coming Soon            Teaser https://tsoa-organic.com/Teaser Sat, 16 Apr 2022 16:36:26 +0000 organic, TSOA https://tsoa-organic.com/Teaser <img width="800" height="800" width_o="800" height_o="800" data-src="https://freight.cargo.site/t/original/i/bbdab31af433a4a3018ad27372368a9c4defe16d2181517edc1d439151d50fa6/ezgif-1-0a7275c44f.gif" data-mid="139805460" border="0" src="https://freight.cargo.site/w/800/i/bbdab31af433a4a3018ad27372368a9c4defe16d2181517edc1d439151d50fa6/ezgif-1-0a7275c44f.gif" /> Exhibition Slide https://tsoa-organic.com/Exhibition-Slide Thu, 21 Apr 2022 21:31:19 +0000 organic, TSOA https://tsoa-organic.com/Exhibition-Slide <img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/0e24c9f0cb0a5141ecbec5180eb739fbe0bd96fd3f24b2083545d429ec4faecd/DSC_4152.jpg" data-mid="140317941" border="0" src="https://freight.cargo.site/w/1000/i/0e24c9f0cb0a5141ecbec5180eb739fbe0bd96fd3f24b2083545d429ec4faecd/DSC_4152.jpg" /> <img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/25a0cde1a152070dbea1b404996c2c9d583c573ff491148df96dbfeb6bcf3402/DSC_4114.jpg" data-mid="140317994" border="0" src="https://freight.cargo.site/w/1000/i/25a0cde1a152070dbea1b404996c2c9d583c573ff491148df96dbfeb6bcf3402/DSC_4114.jpg" /> <img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/6f578a742d9c3dc805952e0b4476f0cb49489345b0190650aaf4440382c9c896/DSC_4099.jpg" data-mid="140317999" border="0" src="https://freight.cargo.site/w/1000/i/6f578a742d9c3dc805952e0b4476f0cb49489345b0190650aaf4440382c9c896/DSC_4099.jpg" /> <img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/8fd5bf0c6f0642519a2b90283ea59837ebbb9376a9901d7f5d19b301e1970c91/DSC_4017.jpg" data-mid="140887880" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/1000/i/8fd5bf0c6f0642519a2b90283ea59837ebbb9376a9901d7f5d19b301e1970c91/DSC_4017.jpg" /> Quote https://tsoa-organic.com/Quote Thu, 21 Apr 2022 23:43:34 +0000 organic, TSOA https://tsoa-organic.com/Quote "It has an organic quality. Entirely interdependent, if you know what I mean. I can't put it into words. The important thing is, it breathes!"—Carrie Fisher as April, Hannah and Her Sisters (1986) Copy 2 https://tsoa-organic.com/Copy-2 Thu, 21 Apr 2022 23:32:52 +0000 organic, TSOA https://tsoa-organic.com/Copy-2 Despite its persistent association with some of the most significant works for over a century, the word “organic” was never consistently defined by those who employed the term in architecture, including Frank Lloyd Wright himself. This group exhibition, organized by The School of Architecture founded by Wright in 1932, does not ascribe to any singular definition of the term, but rather expands on the multitude of its interpretations through the lens of process in design. What is organic for the architects and designers of today? The multifaceted and historical use of the term organic reveals its opportunities, issues, and problems. Can we find renewed value in organic thought given our transforming relationships to and narratives around “nature”, environments, histories, societies, technologies, styles, and materials? Where can the organic be positioned within their embedded processes of production, preservation, and perception? Which assumed meanings should be challenged or left behind, and where can we locate new opportunities and relevance? In December 2021, TSOA invited participants to reflect on these questions through an object that integrates elements of today’s changing conditions: of environments, societies, and built forms. Each carefully-considered work captures a dynamic set of processes that acknowledge environmental pressures, social engagements, material behaviors, or compositional structures that can inform both expanded meaning and new utility for this highly-debated concept. The exhibition areas follow an existing rock face as the display surface for the collected objects and span the interior and exterior rooms of the Crafts III building at Arcosanti. Arising at a pivotal moment in the school’s transformation, the show celebrates the broad range of voices, issues, and contexts that have renewed potential to shape organic thought within its own continual process of re-evaluation. Exhibition Design and Table Regionally-sourced pink sandstone pedestals and Yavapai Coral ground cover subtly complement the existing rock formations captured by Arcosanti’s Crafts III building, marking the fluid boundaries of the exhibition. Inside, Table as Compositional Object (2022) by S. Lloyd Natof—a great-grandson of Frank Lloyd Wright—exhibits a refreshed approach to compositional design principles learned from Wright’s furniture, paired with a 19th-century definition of organic as integration (form, structure and ornament as one). Credits https://tsoa-organic.com/Credits Thu, 21 Apr 2022 23:55:53 +0000 organic, TSOA https://tsoa-organic.com/Credits Aranda/Lasch Tucson, AZ & Brooklyn, NY Arcosanti Ceramics Studio Arcosanti, AZ Ja Architecture StudioToronto, Canada LANZA AtelierMexico City, Mexico PRŠIĆ & PRŠIĆProvidence, RI SO-ILBrooklyn, NY Studio Sean CantyBoston, MA Tawaw Architecture CollectivePhoenix, AZ Terrol Dew Johnson Tohono O’odham Nation, AZ T+E+A+MAnn Arbor, MI Organic at The School of Architecture A partner exhibition to WASH Issue 5, edited by TSOA students and faculty Organized by Stephanie LinDean, The School of Architecture Exhibition DesignPresent Forms Exhibition Table Design S. Lloyd Natof Graphic DesignEric Lee Design and Fabrication AssistantChristopher Dela Pole Installation TeamShelby Hamet (lead), Daniel Ayat, Terrell Bascus, Chris Cabarcas, Christopher Dela Pole, Tristan Durham, Elise Dusenshine, Nora Fagan, Jeremy Gusset, Archie Kinney, Will Palmer, Sebastian Paoni Special thanks to The Cosanti Foundation Works https://tsoa-organic.com/Works Fri, 22 Apr 2022 00:26:25 +0000 organic, TSOA https://tsoa-organic.com/Works Works Aranda Lasch https://tsoa-organic.com/Aranda-Lasch Fri, 15 Apr 2022 23:03:21 +0000 organic, TSOA https://tsoa-organic.com/Aranda-Lasch         ArandaLaschPetrichor, 2022 <img width="2667" height="4000" width_o="2667" height_o="4000" data-src="https://freight.cargo.site/t/original/i/78170595fa93284cdaa552f866dac5d2002c0f084910513827818c409e5d612a/DSC_3471.jpg" data-mid="140808194" border="0" src="https://freight.cargo.site/w/1000/i/78170595fa93284cdaa552f866dac5d2002c0f084910513827818c409e5d612a/DSC_3471.jpg" /> <img width="2667" height="4000" width_o="2667" height_o="4000" data-src="https://freight.cargo.site/t/original/i/c65c9d28c4664f0e0a1c62b3a4b0ca7a97a009bf592ca7c7b885d5af6bfe1697/DSC_3503.jpg" data-mid="140808193" border="0" src="https://freight.cargo.site/w/1000/i/c65c9d28c4664f0e0a1c62b3a4b0ca7a97a009bf592ca7c7b885d5af6bfe1697/DSC_3503.jpg" /> A pleasant smell that frequently accompanies the first rain after a long period of warm, dry weather. The word is constructed from Ancient Greek pétra ‘rock’, or pétros ‘stone’, and ichor, the ethereal fluid that is the blood of the gods in Greek mythology.        This work is from a new series of experiments using found material from the Sonoran Desert to create design objects, extending decade-long research into desert materials as a vehicle for experimentation and expression. The process begins with the gathering of Desert matter found in and around Tucson, Arizona. This includes commonly found wild materials like bear grass, yucca, dirt, mallow, and creosote along with cultivated material like copper, volcanic dust, and agave fiber. This desert matter is mixed with a yucca-based paper pulp to create a series of vessels that probe the deep material culture of the Sonoran Desert. Arcosanti Ceramics Studio https://tsoa-organic.com/Arcosanti-Ceramics-Studio Fri, 22 Apr 2022 00:14:04 +0000 organic, TSOA https://tsoa-organic.com/Arcosanti-Ceramics-Studio         Arcosanti Ceramics StudioSix Bells, 2022 <img width="2667" height="4000" width_o="2667" height_o="4000" data-src="https://freight.cargo.site/t/original/i/ac1ea8b0d9513192b2e19f328b07761cd4286c4557d86de5a387580e8c5c19d5/DSC_4106.jpg" data-mid="140808846" border="0" src="https://freight.cargo.site/w/1000/i/ac1ea8b0d9513192b2e19f328b07761cd4286c4557d86de5a387580e8c5c19d5/DSC_4106.jpg" /> <img width="2667" height="4000" width_o="2667" height_o="4000" data-src="https://freight.cargo.site/t/original/i/1edfe2c644d5cc40324025094e7dfbe05a7a8849dc4298f8a0be2cfb463a1e22/DSC_4743.jpg" data-mid="140888320" border="0" src="https://freight.cargo.site/w/1000/i/1edfe2c644d5cc40324025094e7dfbe05a7a8849dc4298f8a0be2cfb463a1e22/DSC_4743.jpg" /> The art of Ceramics is one of our greatest historians; often the only evidence of peoples long since past are clay fragments, both decorative and utilitarian. Using clay to create vessels and objects seems intrinsic to the human experience. The materials are organic and abundant, the process is simple, and the products endure; in this way Ceramics is also one of our greatest common denominators, as nearly all cultures developed the art independently beginning as far back as 28,000 BCE in the Paleolithic era.         At Arcosanti, we make ceramics outdoors, which is an exercise in patience, intuition, and adaptation. We work to control the moisture content of the clay as much as possible, adjusting our process during the seasons to maintain production; clay dries much more quickly in the 100-degree heat of the high desert summer. We utilize all four elements as our materials and tools; in the silt-casting process, earth is both the medium and the method. The silt used in production is sourced from the Agua Fria riverbed that flows through Arcosanti and sits on Yavapai-Apache land.         For this piece, we conducted two experiments with different variables using the silt-casting process. The six bells hanging in a spiral were cast successively in the same mold, rather than reconstituting the silt after each pour. Each generation of bell grew larger as the earthen mold disintegrated, took on a more pronounced texture of silt, and, with increasing size, deepened in tone. The centerpieces are the product of our second experiment, documented through video by Ana Vazquez: on the Agua Fria riverbank, we did a small silt pour, sourcing all the materials hyper-locally. Dry river clay was mixed with river water for the slip, and into the silt of the riverbed, we impressed river rocks to create the molds. Ja Architecture Studio https://tsoa-organic.com/Ja-Architecture-Studio Fri, 22 Apr 2022 00:15:40 +0000 organic, TSOA https://tsoa-organic.com/Ja-Architecture-Studio         Ja Architecture StudioOrganic Sway, 2022 <img width="2667" height="4000" width_o="2667" height_o="4000" data-src="https://freight.cargo.site/t/original/i/2537f1dc805cdf29e4b9a2d0f9c8597bc93d0fadaba93531cc8da53f520d88b6/DSC_3953.jpg" data-mid="140808890" border="0" src="https://freight.cargo.site/w/1000/i/2537f1dc805cdf29e4b9a2d0f9c8597bc93d0fadaba93531cc8da53f520d88b6/DSC_3953.jpg" /> <img width="3712" height="5568" width_o="3712" height_o="5568" data-src="https://freight.cargo.site/t/original/i/0aeaa119e284b0ef73e4cbf81fbe00f5c64c1254660c5e89e7d3c83290c25121/DSC_3945.jpg" data-mid="140808891" border="0" src="https://freight.cargo.site/w/1000/i/0aeaa119e284b0ef73e4cbf81fbe00f5c64c1254660c5e89e7d3c83290c25121/DSC_3945.jpg" /> For the TSOA Organic exhibition at Arcosanti, we bored the Cooper House, a drawing made by Frank Lloyd Wright circa 1887 when he applied for a job at the Sullivan’s Office.         The boring of the house reveals two characters: the stair with its geometric configuration and the two-sided fireplace with its typological clarity. There are odd role swaps between Wright and Sullivan in the development of their work. Wright reduced the organic to its core geometric principles and allowed it to be the architecture. Sullivan lusciously expressed the organic as an applied but critical layer over and onto the known building types; the tomb, the bank, the palazzo…         The disciplinary sway between these two modes of thinking is still present in architecture and our lightwood frame staging of this sway will bring to the fore the theater between this binary; a binary as constructed as any other in our cultural history, thin and projected, yet persistently at play.