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M.Arch I
Fall 2007
International Contemporary Furniture Fair ������������������

Professor Virginia San Fratello ���� ������

Initial Design Proposal

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Beginning with a hybrid in existence (spider



silk spun from goat milk), I created a series ����


of matrices which examined architectural �������������� �������� ������ �������

components and furniture typologies. By �������� �����

recombining these elements in the same ������ �������������������

way the spider silk gene is inserted into the

goat’s genetic makeup, a list of conceptual
approaches was generated. These textual
design generators were used to create initial ���

proposals for the group project to follow.



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Using the textual document, a reconfigu- ��������� ����


rable wall was created. The wall is made


of glass blocks with embedded LED lights. ��


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Like a large LED sign, graphical connota- ������� ������� ����������

tions of furniture are lit up, suggesting pos-



sible uses. The blocks are able to move in



and out, creating a limitless range of pos- �����


sible conditions. ���� �������� ������ ��������� ���������� �����


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Matrices of recombinant “DNA”



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Reconfigurable wall

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Through the matrices, numerous design concepts were generated

The sections were designed to be ergonomically correct

The Construct fully closed on one side, revealing the textual document encoded on the facade
International Contemporary Furniture Fair
Professor Virginia San Fratello
Group Project (12 students)
1 of 5 on Design Team
1 of 12 on Construction Team


Through the initial design phase, the idea

of a reconfigurable wall was developed fur-
Model with scale figures ther. Utilizing digital design and fabrication
techniques, a customized pattern of ribs that
provide a unique profile every 3/4” create a
hybridized landscape of furniture. Realizing
there is a considerable amount of waste as
byproduct, we used the waste to create the
internal structure. The material waste from
the fabrication of the rubs is used to hold the
assembly together. This structure then forms
a pattern of letters, creating a textual docu-
ment that describes the design process. The
Construct is composed of 10 sections that
can be close packed together or opened
to become fully inhabitable. Therefore, it is
constantly changing over time, transforming
Visualization of the surfaces of the Construct depending on the occupancy.

Axonimetric drawing presented along with the Construct

The Construct fully deployed into a landscape of furniture

Visitor’s occupy the Construct

International Contemporary Furniture Fair
Professor Virginia San Fratello
Group Project (12 students)
1 of 5 on Design Team
1 of 12 on Construction Team


As part of the design team, I contributed to

the design of the five profiles which com-
prise the structure. I also was in charge of
design representation through axonimetric
and perspective drawings which were pre-
sented along with the Construct.


Melissa Bauld, Sam Bennett, Jeremy

Chinnis, Kim DeMars, Megan Duffy, Mason
Edge, Matt Frankel, Natalie Gambill, Danny
Herrera, Marc Leverant, Derrick Simpson,
Tanner Sharpe

Example of a typical sectional rib used for construction

Different types of seating and shelving allow multiple ways of engaging the Construct
Florence, Italy
Professor Martha Skinner
Group Project (8 students)
Design Development

The work of the Fall 2005 studio was asked

to be exhibited at the Beyond Media Festival
in Florence, Italy. The studio was given one
room in the Stazione Leopolda in which we
could present our work. As the studio dealt
with mapping, we created a large scale
mapping device that would allow interaction
between the work done previously in the se-
mester and the visitors to the exhibit.

By using over 18 miles of string threaded

through laser cut panels of varying den-
sity, an inhabitable, penetrable space was
created. The volume was made luminous
and measureable by a projection of slowly Plan diagram showing projection cycles
changing color and moving horizontal lines
that penetrated the space at different densi-
ties, marking time at three different rates.

Rendering of installation
Construction document of panels and connections

String panels and installation photographs

Visitors watch as reprojected images of previous users illuminate the space

Changing colors and lines map the interaction of visitors as they enter the space
Florence, Italy
Professor Martha Skinner
Group Project (8 students)
Design Development


The volume of string and the projected lines

were deformed by the movement of people
as they passed and engaged the work em-
bedded within the string volume and playing
on two small LCD screens. These deforma-
tions were captured with daily video record-
ings and re-projected into the volume dur-
ing each following day in a layered process
which developed a video drawing of the mo-
tion and activity through the space in time
over the course of a week.

Visitors who came to see the work were

drawn to the silky tactility of the surface
of the volume, quickly disappearing into it
while others already inside would suddenly
reemerge while interacting with the disap-
pearing and reappearing ghosted projec-
tions of the previous users of the space.

The light and colors of the projection filtered

through the various densities of moving
string creating from without a luminous invit-
ing solid and from within an experience like
that of being submerged in water. This effect
was phenomenological for visitors, creating
a dialogue with Moholy-Nagy’s “space-time
synonym” example which inspired the work.
The project submerged people into a space
of refraction, light, color, depth, movement
and fluidity.


Donna Horne, Knox Jolly, Addison Wood-

rum, Fraysse Lyle, Mason Edge, Sheldon
Lovelace, Jonathan Pitts, Marc Leverant
Advanced Digital Modeling and Fabrication
Professor Ron Rael


Energy Void, a sculpture by Isamu Nogu-

chi, served as the generator of form for this
schematic building design. The sculpture it-
self is dynamic and energtic, framing a view
and creating not only itself (the positive), but
also creating a sense of negative space.
Thinking about the sculpture as the nega-
tive rather than the positive, the building
sits itself in the void, occupying what is not
there. The building responds to the energy
of the sculpture itself by capturing the nega-
tive space into a fluid built form.

The sculpture is light, organic and open. The

building responds to these qualities of space
by creating open glass and atrium spaces.
The building is clad in a bris-soleil system
which wraps around the curtain walls of
glass. These louvres create interesting plays
of light in the interior of the building.

Structurally the building is made of eight

floor plates connected by a central core. A
grid of columns responds to the form of the
building and spreads over the floor plates.
The glass curtain wall is directly related to
the design process. A NURBS form inhabits
the void of the sculpture, creating a mesh.
This mesh is reduced and structural mem-
bers are swept along the mesh lines to cre-
ate the framing and bracing for the curtain
wall system. Attached to these braces are
the sun-shades which wrap around the con-
tours of the building.
Pedestrian view looking up
Pedestrian Cladding
view looking
view up system
looking up Cladding system

Interior Completed model

Detail of cladding
Savannah, GA
Professor Martha Skinner


Examing the property of water of attraction,

I studied both analytically and subjectivally
the way water droplets react as they move
and come into contact with one another.
Formally, water droplets coming together
are looked at through hand drawings which
examine a curvilinear formal language. Ana-
lytically, video and 3D modeling are used to
track the positions of actual water droplets
as they come together and fuse into a larger

These studies then transform themselves

into a small aquarium structure for Savan- Hand drawing examining formal properties of water droplets
nah, Georgia. The space is sublime; it is
large and open with large tanks filling the
room. The occupant gets a sense of being
submerged into the water, as if being with
the fish on display. The aquarium interacts
with the urban fabric, allowing casual pass-
er-bys to see a portion of the activity of the
schools of fish.

Initial sketch looking at the spaces created

Pastel studies of the transisitional boundary between river and land

Section through aquarium Inside the aquarium, surrounded by water

Interior rendering of main lobby space

Pastel studies of the transisitional boundary between river and land

Mapping the Body in Motion
Professor Martha Skinner

Through the use of video, photography,

sound, projection and 3D modeling, the
body is mapped as it engages the built en-
vironment. The movement of the body is
described through a series of investigations
utilizing light to construct a diagram/map of
its progression in space. Colored lights at-
tached to the head, arms, torso and legs are
recorded with time-lapse photography. These
images become a template for 3D modeling,
which are then thought of as a vector travel-
ing through space, creating a mass model of
the activity. The model is then sectioned in
1 second intervals, becoming a CAT scan of
the body’s progression and then modeled in
the physical dimension as a series of planar
sections through time and space.

Time-lapse photograph of body, plan view

Time-lapse photograph/drawing, front view Physical “CAT Scan” model, front view

Phsyical “CAT Scan” model, side view


With the collected information from the space/

motion map project, an installation was created
in the architecture hall at Clemson University.
A map of the body’s movements as it ascends
and descends the stairs was replayed on three
LCD screens inserted into the central staircase.
The amplification of such a simple experience of
climbing the stairs attempts to make each occu-
pant of the space more aware of both their sur-
roundings and their engagement with it.

Video still of person interacting with installation

A Mass-Customizable Affordable House for New Orleans
Project Team

a mass customized affordable house for new orleans

Designed by fieldoffice, this project address-

es the destruction and lack of response to what you need:

The Dry-In House allows you to customize the profile of

the housing need after Hurricane Katrina. your home. Use the space below to draw the desired profile
for you home. You will design two profiles, one for the
exterior (roof-line) and one for the interior (ceiling

On the project team, I developed renderings

plane) of your house.
1. Place dots on the blue grid at desired heights. 2.
Draw lines to connect dots. 3. You have created the
profile of your home, place your drawing in the envelope

and diagrams for the 2006 Venice Biennale,

provided and mail.

which presented the project. I developed a

make your outlines here:

book that accompanied the drawings as well

The dry-in House is founded on the idea of bringing the same
level of empowerment to the design process that currently exists 12'
in the construction process of a Habitat home. The silhouette of

as built a 1/4” scale model of a prototype

each house can be as unique as the silhouette of each owner. The
owner will customize the configuration of the roofline and also
the ceiling line of their house.
living kitchen bath



Utilizing CNC truss plate technology, dry-in your house plan:

house allows the home owner to customize

the profile of their new home. The key con- s living kitchen bath

cept is to allow families to participate in the r

design of their home and get them back to e
screened porch

their home sites as quickly as possible and

to give them the oppurtunity to finish and plan

* please refer to the glossary of terms on back of page

further customize their home over time.

* for additional information from other Dry-In House
homeowners please visit online at

Worksheet for home owners to design the profile of their new home
Once the house has been “dried-in,” the owner can further customize their home (1 of 5 presented at the Venice Biennale)

Model view of one possible design of nearly limitless possibilites

Rendering of a typical city block, integrating the dry-in house into the fabric of New Orleans (1 of 5 presented at the Venice Biennale)
Steinhatchee, Florida
Project Team, Schematic Design

As part of the project team, I developed the

roof as a performative structure, responding
in form to the necessities of being off the
grid in rural Florida. Utilizing solar panels
and wind power, the roof begins at the opti-
mum angle for solar arrays, according to the
latitude and longitude of the site. The roof
then transforms slowly, inverting itself to
collect rainwater. The rainwater is collected
and stored to provide both potable and non-
potable water. Some of this collected water
is used to cool and heat the slab as a pas-
sive system.

The interior spaces are large and open, cre-

ating a dramatic loft space that celebrates
the dynamic morphing rooflines. The living
spaces can be completely opened up to the
outside, allowing natural prevailing winds to
cool the space.
Site diagram (credit Tripp Massengill)

Working digitally, I developed the model en-

tirely in 3D and created renderings and dia-
grams of the house.

View from marshes surrounding the house. It is cut into the forest, a transistional boundary between the wetlands and the forest

Diagram of collection processes

Interior rendering of loft space