Page 1

Christopher Mattiucci Spatial

Design


Space is...


created through both the

mind, somatic

and the the which space

body

the interplay of

and psychic, makes sense since the is experienced through

body and the mind.

the actions of the

perceived through In this sense, my intent has always been to render the com-

plexities of this interplay through the performance of the user’s body-mind relation, to use ways of making through the hands to play with perceptual concepts, and to view these

supposed binaries as whole existing within and

two

a creating space.

My Intent has been to question what space is capable of doing for this whole, this “in-between” state of bodily and intellectual intellect. I am still continually searching for the answer. Design is in

the search.


Table of Contents

Threshold

Metropolis Magazine ICFF Installation

Old Tobacco Warehouse Brooklyn, NY

International Contemporary Furniture Fair

Spring 2012

Spring 2011

?Theatre St. Ann’s Warehouse

R.E.M. Sleep Complex

33 Jay St. Brooklyn, NY

205 E. 13th St. New York, NY

Fall 2012

Fall 2011

Housing Works Bookstore Cafe’ 126 Crosby St. New York, NY Spring 2010

Boerum Hill Housing Project; First Floor 389 Atlantic Ave. Brooklyn, NY Spring 2010


Threshold The Old Tobacco Warehouse Brooklyn, NY Fall 2012 Collaborators_Jamie Perez_Tamara Sabler_Universitat Erfurt

Threshold is a conversation. It is banter between you, the on you were before and the one you will become. It is a moment in time which, like all moments in time, is ephemeral. The self is not only negotiating with their own body and space, but with the other. For when one crosses theshold one is rarely alone. This interdisciplinary collaborative project which exists in the liminal space between architecture and performance asks the self who enters to trace the body’s movement while moving through threshold, to feel the weight of their own movement as well as the impacts those movements have on space, self, and the other. The result is an unchoreographed choreography.


SITE:The Old Tobacco Warehouse The Old Tobacco Warehouse is currently located in DUMBO’s Brooklyn Bridge Park. The Warehouse, once used for the production and distribution of Tobacco, was a chosen threshold for its location and availabilty to spectators.


Initial Experiments in Elasticity and Motion


lobby

event

Detail

1/8” = 1’

EXISTING ARCH

WOODEN FRAME

FABRIC

TONGUE AND GROOVE


Examination of Motion, Opacity, and Color


Threshold’s Juxtaposition and Integration With Environment


? Theatre “All that stems by way of awareness, should be held to be of it.” -Arakawa St. Ann’s Warehouse Brooklyn, NY Spring 2012 Parsons Archive Spring 2012 Parsons ID Thesis Representative Instructors_Lee Altman_Nicholas Chelko

The experience of attending theatre has been socially scripted into society. Our bodies know how to experience it: how to enter, sit, absorb, leave, and wake up the next morning for whatever monotonous activity life has to throw at us. This cultural attitude leaves the spectator lifeless, limp and complacent. The architecture of theatre has the responsibility to strip these aesthetic social demands and act as the mediator between theatre and the body. Within performance, we enter a very different reality. We, the spectator, exist within the liminal space between the conscious and the unconscious. This is what our body tells us. Our body should not be something that simply sits and acts as a spectator but it should embrace, it should become something new. Architecture determines what body we are to become, theatre tells us how to be with that body. In theatre, we yearn for the invisible to become distinctly visible, to entertain our hidden impulses. Architecture is the manifestation of that invisibility, of that very something we are yearning for. Perhaps, architecture goes beyond the Tschumian event where performance does not just activate architecture, but architecture activates our ability to view performance. Once someone is able to reconcile with the fact of having body, and recognize the physicality of that body, it becomes a resource to understanding the representation of life that occurs on stage. In order to shake this socio-behavioral coding, I have transformed St. Ann’s Warehouse into a careful curation of haptic experiences, which makes theatergoers aware of their own presence in space and time.


Analytique: REX_Wyly Theatre In 1985, Richard Schechner declared performance as a lens by which to examine both ethnographic and anthropological inquiry in the essay, “Between Theatre and Anthropology.� This essay goes on to explore the twice transformative power of theatre; it being both transformative for the performers and transportive for the audience. The deer dancers of the american yaqui believe that when they adorn the deer mask they become neither deer nor man, they are transformed into an entity that is not representation and not not representation; a mediation between the body and the character. The audience is endowed with the ability to transport consciousness, to be in and of their body but their mind becomes closed off to personal existence and enveloped in the world of theatre. Schechner goes on to site both the Tai and Yu of the Noh Shite, where the tai is what is seen by the mind and the yu is what is seen by the eye. The Wyly Theatre, completed by REX in Dallas mediates this transformative power; through spatializing everything that Schechner was grappling with. REX realized the inherent need for performances not to be just of the proscenium, but to spread where ever the artistic vision may lead. The flexibility of the stage and seating, as well as the permeability of the facade facilitate this transformative power by allowing for a new world to be created with each piece, by becoming the catalyst.


Research: Meyerhold Biomechanics Russian Constructivist Vsevold Meyerhold developed a particular approach to actor training, known as biomechanics, which sought to create a theatrical reality beyond the reach of the stanislavskian actor. Biomechanics, which took cues from Stanislavski’s work, is based on the idea that psychological and physiological processes are inextricably linked. Meyerhold argued that one could call upone emotions in performance through the use of movement and gesture and he developed a strictly codified system of choreographic sequences (known as etudes, or “studies”) used to express specific emotional and physical scenarios. In depth research into Meyerhold’s Etudes became the framework for a spatial and experiential interjection throughout the theatre, to ask theatre goers to process through beyond muscular possibilities.


Analagous Models Exploring the Spatialization of Biomechanics


Loss of Sight

Procession and Indoctrination Into Theatre

Loss of Site


Recognition of the Other

Recognition of Self


Plan

N

0

5 10


The Other Performative Landscape: Rubber: Resistance to the body. Cushion: Give to the body. Marley: For the body. Self-Serve Bar: Outfit with crevices and plateaus. The bar is about tolerance and how much one controls themselves (or doesn’t. The crevices force one to understand their own body and its presence in space. The plateaus beg for the inibriated to climb up and perform.

Fabric Lanes: Ask theatre goers to feel the weight of their own physicality as well as the subtle touch of the other.

Forced Reconciliation with the Other.

In both theatre and architecture we are constantly confronted with the other. In architecture it is the other people we are processing with, in theatre it is both the spectators we are sharing the performance with and the others being represented on stage. In each case we see them, but they are not them, they are us. They are the very entities to which we endow our own self image, our own hopes of what we can possibly be, and the things that we are, and the things that we are not. The other is a mirror.


The Light Room: This is a full immersion in light, it eludes to the absence of space and all that is left is the body.


Oscillating Theatre: The flexible floor volumes both allow and ask for new typologies and topologies of theatre to be created.


Housing Works BookStore Cafe’

A Whole New Level of Reading 126 Crosby Street Ground Floor New York, NY 10012 Spring 2011 Instructor_Alan Bruton Research into the state of being of bamboo was the conceptual formwork for a renovation and redesign of the Housing Works Bookstore Cafe’ on Crosby St. The space was an attempt to recreate the experience of bamboo’s rapid regrowth, both horizontally and vertically on behalf of the user. In order to articulate this experience a sloped, circulatory system was implemented to emphasize a physical, postural growth for each individual. The sloped space was an exploration of the inherent dualities in the plant, the matrix of what is growing below ground in conjunction with what is growing above. This binary coincided with the inherent programmatic dualities in a book store cafe’. One program, the cafe’ is an open environment for both eating and socializing with others. The other, a bookstore is intended for the very privatized act of reading. These two almost paradoxical entities are both independent and at the same time interdependent. There is a very tentative oscillation between the two in one space. This space is a conversation between these elements and their correlation with one another.


Generative Patterns of Bamboo

Bamboo Studies

Initial Research

Rhyzome Extrusions


Rhyzome Frames

Bent and Repeated


Multi Dimensional Explorations Recreation of the environmental experience of bamboo using the board as a building block to replicate bamboo’s inherent qualities.


The Space of Bamboo Line drawings exploring the multi dimensional explorations.


A B

N

Plan 0

5

10


Perceptual Examination of Sloped Space These Pen and Ink drawings explore one’s experience traveling around the sloped space through figure ground.


Section A

Section B


Boerum Hill Transitory Housing Project: First Floor; Transitory Living Placing The Displaced 389 Atlantic Ave. Brooklyn, NY 11217

Fall 2010 Instructor_Gabrielle Perez Rendon The first floor in this proposed three story brownstone was designated for impermanent residents. In an attempt to get a grasp on the creation of spatial forms that would create “good” relationships amongst these different families, I looked to Rudolf Arnheim. In 1976, Arnheim in his book, Visual Thinking, attempted to connect the way in which people perceive abstract concepts with form. He wanted to give form to concepts such as the past, present, and future, as well as good and bad relationships. These apartments were designed thinking about the spatial implications of Arnheim’s studies. The spaces which were broken up for varying degrees of privacy, overlap in some areas but remain consistently separate in others. The partitions were also put in place in order to promote a sort of “parallel” lifestyle for these families, so their relationships can begin to intertwine for their betterment. The Partitions were created through the abstraction of two parallel lines, which in turn create curved spaces carved out of the original volume in a way that is meant to be conducive to a continuous, fluid existence.


Rudolf Arnheim Studies Designed to connect the way in which humans percieve form in correlation to abstract concepts such as time and relationships.


Formal Explorations Using Arnheim’s studies as a conceptual groundwork, I began to look at the form of good relationships in order to articulate parallel spatial relationships.


A Bed Detail

Threshold Detail

B

C

D

N

E

F 0

5

10


Section A

Section E

Section B

Section F

Section C

Section D


Section View Of Parallel Living


Swiss Army Beds Depending on the duration of the family’s stay in the apartments, there was a certain need for modularity. The beds could be swung around to create a single sleeping space, or swung out for 2 or 3 people.


ICFF Installation for Metropolis Magazine International Contemporary Furniture Fair 2011 Spring 2011 Instructor_David Stark

In a collaboration between 11 architecture, interior, and product design students the installation for Metropolis Magazine at the International Contemporary Furniture Fair was designed and fabricated. The design incorporates all the program metropolis required as well as creating a Richard Cera-esque experience by funneling the users through the structure using stringed planes. The structure asks them to experience the connection between all forms of design, just as Metropolis has been doing for 30 years.


Initial Iteration

This iteration expresses the connective environment that Metropolis produces for all forms of design, utilizing the magazine itself to funnel users through the space.


Formal Concept Using the 30th anniversary logo in combination with the ideas derived from the initial iteration to create form.


Program

Magazine Take Away

Next Generation Competition Display

Seating/ Storage

Conference Table

Seating/Magazine Storage

Magazine Take Away

Reception/ Subscriptions/ Storage


Structure 18 pairs of 3” square steel tubes act as “ribs”, welded at angular connections and painted black.


Renders


R.E.M. Sleep Complex

The Architecture of Sleep 205 E. 13th St. New York, NY Fall 2011 Instructor_Natalie Fizer After studying sleep in relation to psychology I began to derive spatial conditions which choreograph the concsious waking actions of the user’s quotidian experience up until the moment of sleep. Freud wrote of how it is our minute experiences that sift into the unconcious during sleep to produce dreams. He stated that consciousness is the experience of both space and time, while in one’s unconscious state all that is percieved is space. At the moment of sleep, the form of this zone takes on that of a “pure”space with no beginning and no end, while the rest of the structure ask one to be concious of their physical and mental contemplative states to create habitual actions before the moment of sleep.


Analogous Models Models examine Freud’s Theory of the unconscious, looking at a spatial model of the fragmented actions of the quotidian in both space and time filtering into the space of the as a purely spatial experience void of time.


Fragmented conscious actions in both space and time.

State of unconscious in space.


Form Finding Experiments These castes explore form that like the unconscious, seek a spatial condition with no beginning and no end, a condition of pure space void of time. The form then became that of a pod to house the sleeping body.


Sleep Pod Detail The sleep pods offers a sleep position that forms to the body optimal for breathing during sleep. The fenestration allows for light to enter the pod, while not directly hitting the sleeper.


Initial Iteration The first iteration of the sleep center, took the single sleeper’s experience and multiplied it for collective sleeping of 325 users.


A

B

C

14th St.

Ovoid spaces of mental contemplation Stepped spaces for bodily betterment.

Light wells for both the body and the mind. D

D

Cave of mental contemplation.

Sleep Pods

13th St.

A

Basement Plan 0

5

10

B

C


A

C

B

14th St.

DOWN UP

UP

UP

D

D

13th St.

A

GROUND LEVEL PLAN N 0

5

10

B

C


A

C

B

14th St.

DOWN UP

UP

UP

UP

D

D

13th St.

A

Third Level Plan 0

5

10

B

C


A

C

B

14th St.

D

D

13th St.

A

Roof Plan 0

5

10

B

C


13th St. Elevation 0

5

10


Wax Carvings In an attempt to choreograph the conscious somatic and psychic habitual actions of the everyday, I began to carve the space that the human body creates as opposed to exists within.

Plaster Castes After carving the space the body creates, I caste plaster on top of the wax in order to articulate the volume of the space created.


Section A 0

5

10


Stepped Physical Space

Crawling Circulation

The form of the stair is meant for one’s somatic experience throughout the space. The stair forces one to always concentrate on where their walking, to physically exert themselves.

The dropped cieling compresses the body asking it to enter a position close to laying while transitioning closer and closer to sleep.

Section B 0

5

10

Ramped Mental Space

Cave of Mental Contemplation

The form of the ramp is meant for one’s psychic experience. The ramp allows one to take the focus off of their body and are fully able to dwell.

This form derivative of the orignal form finding studies, is meant to be circulated around with small inaccessible openings to the inside where one can always contemplate what is inside, but never fully know.


Section D 0

5

10


Portfolio  

Portfolio

Advertisement
Read more
Read more
Similar to
Popular now
Just for you