Exhibition opening, 7:30pm on Monday the 5th of February. And will be open to the public until March 9th. Admission is free, all are welcome.
MANUAL OF SECTION EXHIBITION: This exhibit exploits the differences between an exhibition and a book. Rather than one copy, 64 copies of the book are put on display. Each is open to one of the cross-sections in the book, and is held and illuminated by its own stand. The assembly of stands is arranged from left to right unfolding the sequence of the book into the space of the gallery, with each book clipped to the next for stability. Designed and fabricated by LTL, the displays are comprised of 704 parts and 896 pieces of hardware, which reflect the interest in detail and assembly within the drawings themselves.
MANUAL OF SECTION: Manual of Section is the first comprehensive book on a fundamental architecture drawing type, an analysis of what it is and what it does. Lewis.Tsurumaki.Lewis foreground the section not only as a representational technique, ripe with the ability to demonstrate structure, interior space, and form, but also as a key locus of design invention. If the plan absorbs much architectural interest, serving as a means to control function, organization and movement, LTL argues that the section is the critical means for engaging social, environmental, and material questions. Designing and thinking through section establishes a relationship among architectural form, interior space, and site where the consequences of scale are tangible and visceral. As a cut into that which cannot be seen, the section embodies and reveals territories for architectural experimentation and exploration. Sections provide a unique form of knowledge, one that by necessity shifts the emphasis from image to performance, from surface to the intersection of structure and materiality that comprises the tectonic logic of architecture. An introductory essay explicates a typology of section as well as excerpts from a history of section. The body of the book is 63 detailed, cross-section perspectives of buildings that are key to the history of section in contemporary architecture. Conceived as a form of architectural scholarship based on drawings and not primarily texts, these were largely produced by archival research which, paradoxically, attempts to produce a comprehensive representation of that which cannot be seen or verified. Although inherently incomplete these drawings present an approach to analysis that is not based on reductive, dematerialized diagrams but rather a representational technique that foregrounds a more comprehensive complexity as the basis of architectural merit; where the abstraction of the section cut intersects with the inhabitation embodied by the perspective.
**Book Drawings: Erica Alonzo, Laura Britton, Nerea Castell Sagües, Debbie Chen, Erica Cho, Kenneth Garnett, Kevin Hayes, Alec Henry, Krithika Penedo, Rennie Jones, Van Kluytenaar, Anna Knoell, Zhongtian Lin, Lindsey May, Asher McGlothlin, Cyrus Peñarroyo, Anika Schwarzwald, Hannah Sellers, Abby Stone, Yen-Ju Tai, Regina Teng, Antonia Wai, Chao Lun Wang, Tamara Yurovsky, Weijia Zhang