Predator, 2001

Predator, 2001

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Fabian Marcaccio and Greg Lynn
Vacu-formed plastic, digitally printed and painted
w. 6m x 10m x h. 3m

Original site: Wexner Center for the Arts at The Ohio State University
http://www.wexarts.org

Collection of: Museum für Moderne Kunst (MMK), Frankfurt/Main, Germany

“…Inspired by the Arnold Schwarzenegger movie of the same name, The Predator, made of silkscreened and painted vacuformed plastic, is a painting/architecture mutant hybrid that transforms filmic special effects into effects of painting and architecture. The piece was designed digitally with animation software and then manufactured with computer-assisted processes. It is accompanied by a custom music mix by DJ Spooky.

…Marcaccio and Lynn share a great deal in theory, intention, and approach. Each is concerned with embodying animate-time in the objects he produces, without literally representing that time by showing motion as narrative. Each also sees in advanced digital technology the cultural, technical, and intellectual opportunities to work with the animate-time problem. This dialogue, distinguished form the traditional terms of previous cross-disciplinary efforts, forms the basis for an ongoing series of collaborations…”

George Legrady, Experimental Visualization Lab, UCSB.
http://www.mat.ucsb.edu/~g.legrady/

Herbert Muschamp, “ART/ARCHITECTURE; Ideals made of paper and the Impact of the Unbuilt” New York Times, March 11, 2001.
http://www.nytimes.com/2001/03/11/arts/art-architecture-ideals-made-of-paper-and-the-impact-of-the-unbuilt.html?pagewanted=all

Sishe Chin, Predator: Mutation of Design
http://www.chinsishe.net/architecture/08au810.shtml

“…Esta obra es una materializacion en espacio tiempo de un efecto especial proveniente de la pelicula de ciencia ficcion del mismo nombre.

Una estructuralizacion del efecto de camoflage hecho construccion habitable.

Es una colaboracion entre el arquitecto Greg Lynn y el autor de estas lineas.

El objetivo no fue el integrar la arquitectura y la pintura, si no, en cambio, mantener la especificidad de ambas pero llevarlas a su punto mas voluptuoso.

Pintura y arquitectura se encuentran en una piel estructural (curtan wall) que se auto sostiene y fluye en sinuosas multi direcciones. Todo es imagen, material y transparencia reverberante. Como si el eco o vibracion se transformara en materialidad palpable. Los intrincados eventos topograficos arquitectonicos son contestados con actividades pictoricas en “ritornelo”, fluyendo en desarrollos de piso, pared y techo continuos, pudiendo ser recorridos desde el interior o exterior.