Cut, Paste | Analogue

Cut, Paste | Analogue

Francis McCloskey

Cut, Paste | Analogue

Francis McCloskey as Designers

These two entries start with a similar idea:

Reproduction pulls together both of these entries by seeking to defamiliarize the existing building through operations that disrupt, and render the building as mere 2d surface in dialogue with a real 3d building. By dividing the elevation of the building into two parts: the building and the image, production enters into dialogue with reproduction. This dichotomy introduces print technology as a counterpart to building technology, while drawing out a conversation in regard to their appli- cations and relevance.

How does a printed signified building differ from an actual building?

This collapse of 3D space and time flattens our perception of the building to a picture; forever immortalizing it as image, rendering it a static ideal, an unmovable, never changing, and flat reproduction of a building. This side represents the architectural elevation drawing as half of an ACTUAL architectural elevation.

The real building on the other side is still subject to weathering, maintenance, light phenomena, corrosion due to weather. Its context, temperature, and time of day, all change its visual qualities. The realness of the building can be appreciated, its metal and glass surfaces, and even the moss growing in its recesses.

Together they communicate a precision about digital coating technology, and help us draw out contrasts through a single face of a building, generating complexity through simple legibility. Through the façade as image, and through the image of that façade, the objects can provide us with a mode to critically acknowledge the relevance of this technology, and its potential for future architectural applications.

franklin romero jr. + francis mccloskey lopez

Project Credits
Spencer Courtyard
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Spencer Courtyard

London, United Kingdom - Build completed in 2019
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