Seth: I also have been working three dimensionally for a few years. My sculptures fit into the same theme. This piece titled “ORB” is actually a complete sphere, about this big and it sits on top of a pedestal. You can actually see this and some other pieces of mine in the Strip right now, at The Society of Contemporary Craft.
Eric: Here is an image that depicts the sort of drawings we do at Fisher ARCHitecture. This is a computer rendering so you can see our software is really good at depicting not only form, but also mood and tone. When you combine the computer models with sketches and physical models, you get a really clear idea what a building is going to look like.
Eric: In our next iteration we extruded one of the image fragments to create a floating city. My interns and I realized even as we were putting this new model together that as cool as it may look we were basically creating the image of architecture, an abstracted sound-bite, w/o thinking deeply about the true meaning of this new world…
Seth: Another direction we took was sort of analyzing how things fall apart and how does something become a ruin… This is an example of where we took a step back from the pure aesthetics in order to focus on the motion. (Our interns were SUPER helpful with this part!!)
Seth: Eric and I were meeting weekly for this and I when I sat down with his team and saw this for the first time I was speechless. I was thinking, What is this software? How do I have it? How do I learn it? It was the first time I had been underneath one of my paintings and the experience was just unbelievable!
Eric: It occurred to us during one of our meetings that one source of relevance for our fairy tale narrative was the news. Images of ruins have become imbued in our imagination in recent years as a result of 9/11 and of global-warming-enhanced events like Hurricane’s Katrina and Maria.
Eric: We were determined to learn more about the meaning of ruins so we started reading essays on the subject. It was while reading a Brian Dillon essay on the work of Julie Mehretu that we discovered it may be possible to reconcile these images of destruction and decay with, as Dillon writes, “the seeds of an as-of-yet-unfulfilled future”…
Seth: (Oh man, look at the shadows in that thing!) So we’re pulling together all of this inspiration and going back and forth… we’re using my original painting as a starting point and things really begin taking form! Where we land is on a narrative focused around this sacred ruin in a moment of collapse—some type of memorial that was preserved as it was falling apart.
Seth: We knew we wanted this debris scattered all around the sacred monument and were having trouble figuring out how to make it feel realistic. Maybe this mysterious object crash landed into the ground? One fun design moment we had was when I crumpled up all these little bits of paper and threw them on the ground. From there, we started visualizing our composition.
Eric: Working on this project has been both rewarding and frustrating. On the one hand I’m really learning from Seth and his work while continuing to push my own ideas forward. On the other, projects are like magnets that constantly pull you to them; but this is a very big magnet! I want to spend much more time on the project than I can…
Eric: Here are pics of Seth and me collaborating with our teammates, including Isidora, Shan, and Liang Fan who worked directly on this project. This process has been rewarding for me personally because it has made me feel connected to something larger than myself and the meetings have been really fun!