Adam Marcus may count robots, 3-D printers, CNC routers, and enormous data sets as part of his typical design arsenal, but for his built work, he often returns to something as rudimentary as a pencil. In fact, one of the architect’s projects involved 8,080 of them: for an installation at the University of Minnesota’s School of Architecture called Centennial Chromograph, Marcus used polychromatic No. 2’s to fasten together a series of robotically routed wood ribs, each of which signified a year in the school’s history.
This interplay between the digital and the handmade has come to define Marcus’s sensibility since he opened his Oakland office, Variable Projects, in 2011. His creations—which he often describes as “data spatialization”—investigate how new technologies can physically (and practically) be applied to traditional architecture processes.
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