Hunches, approximations, and shots in the dark
“Using pre-spatial language prompts can trigger inventive programmatic thinking, imagine germinal objects, verdant programs, fallow surfaces, knotted thresholds—all subject to change at the flip of a phase shift…just like that.” This is one of many spontaneous and provocatively aphoristic statements offered by Perry Kulper with the intent to derange the thinking and process of students of architecture.
As subject for Perry’s multi-valent approach to representation, the Catalyst will give open-ended exploration to programmatic regeneration within the context of the sublime yet ruinous Southeast Minneapolis Industrial [SEMI] area.
Perry Kulper, Associate Professor of Architecture, University of Michigan
Perry Kulper is an architect and associate professor of architecture at the University of Michigan. Prior to his arrival at the University of Michigan he was a SCI-Arc faculty member for 16 years as well as in visiting positions at the University of Pennsylvania and Arizona State University. Subsequent to his studies at California Polytechnic State University, San Luis Obispo (BS Arch) and Columbia University (M Arch) he worked in the offices of Eisenman/ Robertson, Robert A.M. Stern and Venturi, Rauch and Scott Brown before moving to Los Angeles. His interests include the roles of representation and methodologies in the production of architecture and in broadening the conceptual range by which architecture contributes to our cultural imagination.
Perry Kulper pushes architectural drawing as a cosmos of information and possibilities that optimistically resist the banal and simplistic reductionism so typical of contemporary architectural representation. Both Perry’s drawings and those he inspires of his students display objects as background, and background as object in a constant visual journey of an architecture that doesn’t settle and always evolves: an architecture of ideas. If "action painting” is produced by the dynamics of dripping, smearing, and sweeping brushstrokes of paint to reveal the complex character of abstract art, then “action drawing” would be something like juxtaposing lines, planes, volumes, typographical elements, photographs, and paper cutouts on a drawing that aims to uncover the intricate universe of architectural ideas.
Eric Amel, University of Minnesota