Marc FornesMagazine Architecture Interviews | 10 Jul 2017
THE FACTORY OF EXPERIENCES
Marc Fornes is the face of THEVERYMANY, a studio based in New York that is balanced between art and architecture. This exercise is of enormous boldness and has made Marc a reference in structures and atmospheres´ conception created through research and development applied to computation and digital fabrication. With a background in architecture, as well as the team´s members, Marc Fornes left behind the practice in prominent studios, such as Zaha Hadid`s, and fully embraced his long-lasting interest in computation and succeeded in creating a code as a means to form architectural installations. Over the last ten years the work of THEVERYMANY studio led to Structural Stripes, a construction system through which custom-made parts create complex, self-supporting curved surfaces. Permanent or temporary, Marc Fornes`s works can be seen all over the world, in public or private places, where art and architecture merge, challenging the perceptiveness to check all the structures´ different angles or travel to its core. Every project, wavy and almost constantly wrapped up in bright colours, is an invitation to the senses, to diverse interpretations and organic allusions, depending on the observer. Some of his works are part of private or museums´ permanent collections or of cultural organizations, such as the Centre Pompidou in Paris. Marc is a regular speaker at several events and the work he developed, for example, for Louis Vuitton earned him the A + Jury Award in the Pop Up category.
With ROOF Magazine, Marc shared, among other aspects, the vision he has about the viewer`s perception and the importance of architecture training for the understanding of a three-dimensional experience.
Your training is in architecture. Do you consider this experience essential for a clear understanding of space? What other tools did architecture gave you?
We are architects practicing at the edge between art and architecture. Everyone in the studio is an architect by training. This enables us to know how to work in teams, to manage teams of different skill sets and interests, from clients, fabricators, construction managers, managing schedule and budgets, and also helps in the understanding of everything as system and parts, different scale, assemblies. Most importantly, enables us to understand and work around the notion of experiencing space, ergonomics, dimensioning, which is absolute key when working with organic forms, which do not have a single height, width and depth.
How and when did digital get your attention?
We see a difference between digital and computational – computational started by early websites where there was no software, you had to program. Before that, a very early start in programming: as a child, our computers required DOS to launch. My brother would enter lines of code, and I`d be waiting for the games to start. We eventually got Mac`s "le mange disquette" (in French translates literally to "the floppy eater" because he looks like a face that eats the floppy disk). Suddenly we didn`t have to wait! Yet, it must have provoked some sort of early interest. The attention grew towards the end of the 90s as programming picked up – first for the website, then flash (2D). Eventually evolved through architectural study and the addition of the third dimension to the digital.
Featured in ROOF 9
Irene Neuwirth Pop-Up, With Boffo, 2011, New York
Labrys Frisae, Art Basel, 2011, Miami
Situation Room, Storefront for Art and Architecture, 2014, New York. ©Miguel de Guzmán
Under Magnitude Rendering
Under Magnitude, Range County Convention Center, 2016, Florida
World Expo Pavilion, 2017, Astana, Kazakhstan. ©Isadora Faustino
Text: Cátia Fernandes
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