#trashbridge

[ryanbrowneart]

Pizza Steve on a Trash Bridge sketch cover commission. #pizzasteve #batman #beaver #trashbridge #eccc https://www.instagram.com/p/BvDAz0IADf_/?utm_source=ig_tumblr_share&igshid=9lopix5mq8s9

[beardocomics]

Also! There are some amazing comics debuting here at #eccc , I already bought my Bodie Troll TPB from the amazing @jaypfosgitt and am looking forward to grabbing Hope by @dirkmanning and @handmadecrown as well as Trash Bridge by @ryanbrowneart and @jim.terry.73 and @steveseeleyart ! Artist Alley all the way! #art #artistalley #trashbridge #comics #hope #bodietroll (at Washington State Convention Center)

[trashbridges-blog]

The second TRASHbridge completed.

#philadelphiaart #philadelphiapublicart #anthropoceneart #anthropocene#trashethnography #trashbridges #ppeh #anthropocenearchitecture #anthropocenedesign #upcycling #graphicstatics#digitaldesign #parametricdesign #formfinding #structuraldesign #publicart #installationart

[ryanbrowneart]

Various Trash Bridge sketch covers. Final day of #nycc! Come find me at table K-32! #trashbridge #batman #sketchcover https://www.instagram.com/p/BoolU9jn5-S/?utm_source=ig_tumblr_share&igshid=1a5lmvxzq918e

[ryanbrowneart]

@charlesdsoule is not very happy about the 3-D Cowboy prototype toy that @doomcodesigns made. I wonder why? This sweet toy will be resin poured in a variety of colors by @manormonster and available through my kickstarter going on right now! Link in my bio. Photobomb byTrash Bridge artist @jim.terry.73 #resintoy #kickstarter #trashbridge

[ryanbrowneart]

Put the final touches on issue one of our new book TRASH BRIDGE! Drawn by the amazing @jim.terry.73 and co-written with @steveseeleyart. Coming soon!!! #trashbridge

[ryanbrowneart]

@jim.terry.73 draws the best melting people! #trashbridge is coming along amazingly. Keep your eyes peeled!

[ryanbrowneart]

Trash Bridge just got punched in the groin by a sweet @traddmoore cover! Coming in 2018. Get ready for some serious garbage. #trashbridge

[ryanbrowneart]

New con season means new banner. That’s right. You heard me. #cursewords #godhatesastronauts #trashbridge https://www.instagram.com/p/B8PSv0phXmg/?igshid=n6ahkrgfkodr

[ryanbrowneart]

The amazing @jim.terry.73 continues to expertly draw the stupidly awesome stuff I write with @steveseeleyart #trashbridge #trashbridgeiscomingforyou

[ryanbrowneart]

Man. @jim.terry.73 is killing it on the Trash Bridge pages he’s been sending me. He sure draws some sweet garbagey mutants! More soon! #trashbridge

[ryanbrowneart]

Working with @jim.terry.73 (you should follow him) and @steveseeleyart (you should follow him) on a project I've been talking about for years. This is actually happening and this is going to be awesome! #trashbridge

[ryanbrowneart]

Doing a final lettering pass with @steveseeleyart on issue one of Trash Bridge. Just you wait—gonna change how you think of bridges forever! #trashbridge

[trashbridges-blog]

Hylomorphism, Architecture and the Anthropocene

Ingold defines hylomorphism as the process by which “practitioners impose forms internal to the mind upon a material world 'out, there'” (2013, 21). Design, in the different forms that it is seen today – from engineering design to architecture and graphic design – is implicitly thought of as being hylomorphic. Thomas (2007) traces the origins of hylomorphism in design to Plato’s theory of forms and Aristotle’s differentiation of hyle (matter) and morphe (form) in the theory of prime matter. She uses hylomorphism to explain the ubiquitous prioritization of drawing over construction in design practice and discourse, and the notion of the designer as a form-giver imposing order on chaotic matter. Thomas cites the focus of philosophers on plastic materials – such as Aristotle’s use of bronze casting to illustrate the theory of prime matter, and Descartes’s discourse on the shaping of molten wax – to argue that hylomorphism addresses only common, replicable properties of materials while ignoring the singular, unique properties that give rise to material diversity. This “sets up a [design] discourse in which form must be realized in matter, with the material being seen as merely interchangeable – just one instance of matter rather than another” (Thomas 2007, 5). Further, Ingold argues that  the “very distinction between the natural and the artificial… rests on the axiom of the hylomorphic model… namely that it is the imposition of pure form that raises naturally given raw material to an artificial state” (Ingold 2013, 81). The hylomorphic model of design thus appears anachronistic and ill-equipped to deal with the Anthropocene, where human activities can and do have significant impacts on the environment and the two cannot be separated.

Trummer (2006) describes hylomorphism as providing a static view of the world in which “form is fixed and matter is homogenous” (351), leading to an essentialist discourses on geometric typologies in architectural design from Bentham, through Durand and Quatremere de Quincy, to Le Corbusier, Aldo Rossi, and Rem Koolhaas. In this series of blog posts, I intend to trace the role of hylomorphism in architectural design starting from pre-classical Greece till today as a response to “How Did We Get Here?” – the central question posed in the 2017-18 PPEH Graduate Fellowship call-for-applications. The next blog post in this series will look at the changes in the meaning of hylomorphism from pre-Classical to Classical Greece. The subsequent posts will look at the impact of the use of perspectival and orthographic drawing in architecture in the Renaissance; at how industrialization and mechanization impacted the discipline through the design curriculum of the Bauhaus; the place of hylomorphism in the writings of Deleuze and Guattari’s differentiation between royal and nomad science; Menges and Hensel’s attempt to transcend the hylomorphic model of design through their notion of Morpho-Ecology; Ingold’s critique of hylomorphism and his articulation of making as an alternative model. The series will end with a discussion of the TRASHbridges project that I undertook as a PPEH fellow to attempt to implement what I have learnt from looking at hylomorphism in architecture in the context of the Anthropocene.

  References

Braham, William W. 1998. "What's Hecuba to Him? On Kiesler and the Knot." Assemblage 7-23.

Ingold, Tim. 2013. Making: Anthropology, Archaeology, Art and Architecture. New York: Routledge.

Thomas, Katie Lloyd. 2007. "Architecture and Material Practice." In Material Matters: Architecture and Material Practice, edited by Katie Lloyd Thomas, 1-12. New York: Routledge.

Trummer, Peter. 2006. "Architecture of the Many." In Morpho-Ecologies, edited by Achim Menges and Michael Hensel, 348-353. London: AA Publications.

[trashbridges-blog]

The second TRASHbridge under being assembled at Bartram’s Garden North

#philadelphiaart #philadelphiapublicart #anthropoceneart #anthropocene #trashethnography #trashbridges #ppeh #anthropocenearchitecture #anthropocenedesign #upcycling #graphicstatics #digitaldesign #parametricdesign #formfinding #structuraldesign #publicart #installationart

[trashbridges-blog]

The first TRASHbridge in the process of its installation at Grey’s Ferry Bridge.