The collection of drawings reflects a new conception of architectural texture, artificially produced and radically scaled. Here, texture is no longer tied to material specificity or the three-dimensional; it is amorphic as it transforms into two-dimensional artifacts into tactical images. Historically, texture has been an important aspect of building culture, the speculative nature of the indefinite materiality seen in each artifact is what creates juxtaposition between the syntax and synthesis of the drawings. Despite this fundamental shift toward the amorphic, architecture has failed to generate novel conceptions of texture; it has remained a matter of surface rather than it creating the architecture itself. Families of objects derived from specific qualities, such as lumpy, wrinkly, or bumpy, are drastically scaled to produce formal ambiguity. What appears in one instance as bumps on a surface shows up in another as stand-alone bumps, blurring the distinction between an underlying form and a surface-based texture. Further, texture informs the way objects aggregate as adjacent textures nest together in a series of loose fits. The drawings explore the nature of artifacts as pure texture, rendered in tone, and eidetic form.
The hikers observatory is located to the east of Vatnajökull National Park in Iceland. Constructed from traditional Nordic materials such as raw iron and wood. Creating a visceral spatial experience that derives from ancient Viking ship building techniques.
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