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Dante antonio BALDASSIN

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Selected Works 2013-2018

U n d e r g r a d u at e A r c h i t e c t u r a l D e s i g n P o r t f o l i o

Syracuse University School of Architecture

631.357.2528 dabaldas@syr.edu

d. A. Baldassin - 2018 - selected works

undergraduate architectural design portfolio


03 d. A. Baldassin - 2018 - selected works

There is a deep seated belief that architecture effects change through its physical presence. Its physicality gives it reality, placing great importance on its formal and material traits. These traits, are not to be understood as isolated aesthetic conditions, but rather as a means of establishing meaningful associations to themes and concepts related to the discourse of architecture. Focused on the process of fabrication, I work across scales - ranging from conceptualization of discrete artifacts to systematically designed spaces. In its physical form, materiality is explored to invent new perceptions and functions using analog processes - allowing innate material properties to influence its transformation. With an intense focus on making, these transformations seek to invite new readings of static materiality in an attempt to open up new possibilities for construction.

U n d e r g r a d u at e A r c h i t e c t u r a l D e s i g n P o r t f o l i o

Syracuse University School of Architecture


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CONTENTS

D. A. Baldassin - 2018 - selected works

selected works 2016-2018


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38

52

Embrace it

d w e l l i n g a s i d e n t i f i c at i o n

disturbing static perceptions of iconic architectural elements.

u s i n g t h e “e m b r a c e ” a s a m e t h o d o l o g y f o r developing structural systems.

an urban aimed to inspire identity a m i d s t t h e r i g i d f r a m e w o r k o f t h e c i t y.

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I f w a l l s c o u l d ta l k

contents

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72

78

F r i d ay n i g h t l i g h t s

facade factory

i t e r at i v e c e r a m i c s

mapping the nightscape of urban environments.

a critic on mass production of historically established architecture.

exploring the material language for “ n o t h i n g n e s s ” a n d t h e “ i n t a n g i b l e .”

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The other place

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Professional works

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finding strategies for indirectly representing the unrepresentable.

compiled works.

experience - phone - email social media

Connect


06 d. A. Baldassin - 2018 - selected works

01 if walls could ta l k Thesis 2017 - 2018 advisors - roger hubeli & julie larsen


07

Indirect communication, forces us to reconsider the static ways in which we understand form and representation in architecture. In contrast, it opens up new representational possibilities between objects over time, as well as offer an alternative to

literal and symbolic forms of representation. Through acts of literal representation, entities such as suburban homes embody how the duplication of architectural form and typology dilute the intent and reason behind iconic architectural elements; somehow landing further from their actualized selves. This thesis seeks of memorialize the idealized suburban home; marking the end of a history. It places importance on the reconciliation of blasĂŠ application of iconic architectural elements, the consequences of their resultant spaces, and the tension between ruination and its inherent opposite: historic preservation.

i f w a l l s c o u l d ta l k

Architecture is an archive for the past and present, seeking to preserve memories intrinsic to built forms. They allude to memories, events, and pasts, which manifest themselves in physical forms. Through physical and ecological acts of erosion, structures fade, crumble, and disintegrate; distancing ourselves from and their idealized form. We are conditioned to view works as ideal conditions: regularized, clean, and tidy. We constantly clean and refurbish to achieve this idealized state, claiming for an erasure of evolving histories. In its essence acts of historic preservation and the blind reproduction of standardized architectural elements seek to recreate the past directly (by rebuilding in likeness), but in actuality, they tend to bring us further away from understanding history, time, and meaning.


Reuse

08 d. A. Baldassin - 2018 - selected works

In order to see artfacts in new contexts and conditions, they undergo transformative processes. These processes vary at different degrees of obscurity; bringin us further away from standardized iconic recognition - into a realm of newfound imaginitive form. With newfound control over physical transformations of commonplace materials, we examine the extent that we can obscure the meaning of found standardized construction materials in your local hardware store. Without an ‘Instruction Manuel’- prescribed by societal standards - these objects investigate new combinations and uses for these ‘found’ construction materials. In this regard, elements are critiqued and bastardized. Faucets lead to nowhere, gutters are solidified, and insulation is combined with the heaviness of concrete to invent a new material.

1.

The action or practice of using something again, with no or few changes; by taking, but not reprocessing, previously used items.

2.

The action of using something again.

Recycle 1.

to treat or process (used or waste materials) so as to make suitable for reuse

2. to alter or adapt for new use without changing the essential form or nature.

Misuse 1.

use (something) in the wrong way or for the wrong purpose.

2.

the wrong or improper utilization of something.

Reappropriate 1.

The process by which an entity reclaims either terms, artifacts, or events that were previously conceived, and altered in a way that changes how it is understood.


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09

i f w a l l s c o u l d ta l k

0 1 . m at r i x o f c o m m o n ly r e c o g n i z a b l e o b j e c t s - t h e o b j e c t s a r e c o m b i n e d t o g e t h e r t o c r e at e o b s c u r e d f o r m s ( b o t h d i g i ta l & a n a l o g ) .

analog morphologies

digital morphologies


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10

d. A. Baldassin - 2018 - selected works

02.

0 1 . s ta n d a r d r e c o g n i z a b l e e l e m e n t s f o u n d i n y o u r l o c a l h a r d w a r e s t o r e . 0 2 . c o n c r e t e c a s t s e r i e s - o b s c u r i n g m at e r i a l d e f i n i t i o n s .


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i f w a l l s c o u l d ta l k


01.

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d. A. Baldassin - 2018 - selected works

0 1 . A b a n d o n e d s u b u r b a n c o m m u n i t i e s - o v e r e f f i c i e n c y c r e at e s s u r p l u s of suburban dwellings - mass production of architectural elements.


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The suburbs are the perfect representation of standardized construction practices. They epitomize the idea that each house looks the same, and that there is little distinction between them because developers systematize certain elements and strategies to build these efficient standardized formations. As these highly rationalized structures are repeated and multiplied on a variety of sites and contexts, intentionality of spatial and elemental design is lost entirely. Exterior elements are designed purely for aesthetic purpose, often with little or no regard to the direct spatial implications for the interior. With the rapid expansion of these sites, we don’t see any signs of this phenomenon slowing.

i f w a l l s c o u l d ta l k

These sites are characteristically thought of as economically efficient rationalized structures that are a systematized combination of certain elements, arranged together in an infinite number of ways. BUT remain visually similar due to certain recognizable elements.


01.

14 d. A. Baldassin - 2018 - selected works 0 1 . i d e n t i f y i n g i c o n i c t y p o l o g i c a l s u b u r b a n e l e m e n t s t h at a r e a p p l i e d p u r e ly f o r a e s t h e t i c p u r p o s e s .

In a larger scope, we follow these same prescribed ways of viewing standardized building construction: Iconic building elements (such as dormers, stairwells, bay windows, doors, window mullions, etc.) are blindly applied to structures, such as suburban homes creating “Frankenstein-like� masses in our built landscape. These conglomerate structures unintentionally obscure simplistic building form, creating inadvertent mutated objects themselves.


02.

15 i f w a l l s c o u l d ta l k

A blur is produced by layering the same image on top one another - edged become undefined, formal ambiguity is emphasized.

0 2 . r e p r e s e n t i n g e r o s i v e n at u r e o f b l i n d r e p e t i t i o n o f a r c h i t e c t u r a l elements.

The more these recognizable structures become a product of ad-hoc construction, the more our perceptions of their intended form becomes obscured and even blurred.


01.

02.

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04.

d. A. Baldassin - 2018 - selected works

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0 1 - 0 5 . i t e r at i v e c a s t s e r i e s o f a t y p o l o g i c a l s u b u r b a n h o m e - a s e a c h o b j e c t i s c a s t a n d r e c a s t i t c o n t r i b u t e s t o i t s f o r m a l o b s c u r i t y.

05.


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i f w a l l s c o u l d ta l k

Cast in plaster, these concrete representations of the suburban home are cast, recast, and cast again, each time mutating the idealized original form. Similar of a photocopy and that photocopy of a photocopy, over time our perception of the ‘original’ gets lost. Our framework (represented in the plaster mold) deteriorates, morphs, and crumbles, ending up in a state that is almost unrecognizable.

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07.

The material process of casting mimics the erosion of formal intent that we see in this climate of mass-produced architecture.

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06-09. time-lapse of the molds used to cast and recast - over time t h e m o l d d e t e r i o r at e s , m i m i c k i n g t h e p h e n o m e n o l o g i c a l c o n d i t i o n o f d e t e r i o r at i n g s ta n d a r d i z e d a r c h i t e c t u r a l e l e m e n t s o f t h e h o m e .

09.


01.

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d. A. Baldassin - 2018 - selected works

0 1 . m at r i x o f c o n g l o m e r at e e l e m e n t s - r e s u lt i n g i n a s e r i e s o f f o r m a l ly m o r p h e d s u b u r b a n h o u s e e l e m e n t s .


s ta i r w e l l

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procession

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03

04

threshold

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u n d e r s ta i r

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extruded dormer

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storefront

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cluster ii

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10

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cluster

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storefront ii

porch

i f w a l l s c o u l d ta l k

h a l l w ay

entrance


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d. A. Baldassin - 2018 - selected works

01.interior

view of the memorial


21 i f w a l l s c o u l d ta l k

In a very physical way, the process of casting this work represents the ideological deterioration of iconic forms of architecture. The exterior remains austere, edges undefined, referential but not definitive form. In stark contrast, the interior epitomizes extreme definition, is densely packed, and remains spatially awkward.

02.

0 1 . exterior view of physical memorial model - 4ft x 2ft - concrete c a s t.

The memorial is born out of the combination of exaggerated building forms. They string together to create a progression through an interior space that expands and contracts, amplifying and inhabitant’s spacial experience. This monumental structure, reduces materiality to one, placing priority on form and texture. In an attempt to critique the bastardization of iconic architectural form, this memorial seeks to reconcile a history of intentional form-making. It seeks to amplify an extreme condition in a series of spaces that calls attention to the misuse of iconic architectural form.


01.

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d. A. Baldassin - 2018 - selected works

0 1 . p h y s i c a l M o d e l v i e w s o f m e m o r i a l - 4 f t x 2 f t - c o n c r e t e c a s t. C n c ’ d f o a m m o l d , l ay e r e d c o n c r e t e


02.

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i f w a l l s c o u l d ta l k

01.planar

perspective.


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d. A. Baldassin - 2018 - selected works


i f w a l l s c o u l d ta l k

the procession

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01


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d. A. Baldassin - 2018 - selected works


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the cluster

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02


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d. A. Baldassin - 2018 - selected works


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the u n d e r s ta i r

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03


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d. A. Baldassin - 2018 - selected works


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the dormer

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04


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d. A. Baldassin - 2018 - selected works


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the ascension

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05


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d. A. Baldassin - 2018 - selected works


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the compaction

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06


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d. A. Baldassin - 2018 - selected works


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the exodus

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07


38 d. A. Baldassin - 2018 - selected works

02 Embrace it

spring 2017 advisor - roger hubeli assistant professor

partner - elena garcia


39 embrace it

Modern dance roots itself in the ability to connect dancers with nature and heighten sensory reactions to space while previous dance styles encouraged rigidity. Modern dancers are hyper-aware of their environments and it is integral to their dancerly expression to constantly be aware of their relationship to other bodies in space (incorporating all of the senses, not just sight). The relationship of the dancer to space, light, sound, and others dancers, influence movement and ultimately allow for new experiences with changing conditions and proximities to these elements. Inspired by the embrace of two bodies in space, we chose to emphasize the idea of intertwining. As two dancers come together to unite in dance (whether of contrasting styles or similar) elements like program represent those figural bodies in space. We are also interested in the contrast and contradiction of heaviness and the deception that comes along with that. In the project, members that appear to be structurally heavy, are falsely represented as such. Additionally, through the utilization of irregularly spaced bays we can further disorient users as to the live load of program. Our structure consists of deep and austere spanning members with lightweight precast panels suspended from them. The Volumes will appear to be large, intrusive, and heavy but in actually they are false volumes used to deceive the eye and create the illusion of interpenetrating spaces.


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d. A. Baldassin - 2018 - selected works

01.

SIte plan - master plan


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embrace it


42 d. A. Baldassin - 2018 - selected works

“ The Perfect Fit” explores the ideas associated with the operational strategy of “embracing.” Taking the multi-directional application of a precedented joint, we conjured an alternative way to seamlessly combine two complementary pieces. These interdependent pieces, fit precisely into one another sliding 3-dimentionally, following a specific set of procedures resulting in a completed form. Separate, the pieces become sculpturally independent; but it is not until the joining of the interlocking pieces that the negative space between them is satisfied; the recognizable form is complete. This design methodology was then implemented in the next design phase, where precast structural elements take on the idea of the “embrace” as a strategy of interlocking and aggregation. Additionally circulation mimics movements strongly associated with the dance. 02.

01.

01. mold-making process

01. exploded axonometric of mold parts


03.

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embrace it

04.

6 5 4 3 2 1

05.

0 3 . c o n c r e t e h a lv e s o f c o n s t r u c t e d j o i n t. 0 4 . o p e r at i o n a l s t r at e g y o n h o w t h e t w o h a lv e s i n t e r l o c k . 0 5 . c o n c e p t u a l t r a n s f o r m at i o n o f interlocking into structure.


01.

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d. A. Baldassin - 2018 - selected works

02.

0 1 . s p at i a l c o n c e p t s k e t c h , m o d e l s t u d i e s 0 2 . I n t e r i o r D a n c e r o o m rendering - concrete. 03. Prototype precast structural connection d e ta i l

03.


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embrace it

0 4 . c o n c r e t e S e c t i o n a l m o d e l - s h o w i n g u t i l i z at i o n o f h o l l o w p r e c a s t e l e m e n t s a s a m e t h o d f o r i n c o r p o r at i n g t h e “ d a n c e � i n t o c i r c u l at i o n .


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d. A. Baldassin - 2018 - selected works

0 1 . S e c t i o n a l s t r u c t u r a l a x o n o m e t r i c - n a r r at i n g t h e d a n c e r s “embrace� throughout both the structural and mechanical systems.


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embrace it


01.

WEST ELEVATION

48

+53’- 0”

+45’- 0”

+29’- 0”

d. A. Baldassin - 2018 - selected works

02.

c

d.

e.

f.

g.

h.

i.

j.

k.

l.

section - dance

b

02.transverse

a

0 1 . f r o n t f a c a d e - e a s t e l e v at i o n a u d i t o r i u m 0 1 . e l e m e n ta l m at r i x

03.


h g

8.

7.

9.

K

12.

J

6.

I

4.

C

1.

B

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20

40

4

3

2

1

a

A

5

first floor plan

1

Offices Dance Rehearsal Space Locker Room Dance Rehearsal Space Storage Restrooms Kitchen Cafe Entrance Vestibule Dance Performance Space Auditorium Student Lounge Outdoor Terrace

01.building

b

2.

D

c

10.

3.

d

E

F

13.

e

G

embrace it

11 .

H

f

5.

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1’ = 1/8�

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13.


01.

Detail 3

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Detail 1

d. A. Baldassin - 2018 - selected works

Detail 2

01.

f a c a d e d e ta i l e d s e c t i o n


02.

05.

Steel cap Wood grid

Hollow precast concrete element

Metallic roof Rigid insulation Vapor control layer Precast concrete fins Precast concrete hanging element

Metallic covering Wood grid Precast concrete hanging element Aashto beam

HVAC duct

Precast concrete hanging element Hollow concrete column Triple glazing window

Strip light fixture

Steel frame

Steel cap

Glass channel

Rigid insulation Concrete sandwich panel

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Channel glass

Triple glazing

Concrete topping Rigid insulation Hollow concrete slab Precast concrete hanging element

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embrace it

03.

Wood bench Steel frame

Wood stud

HVAC duct Rigid insulation Wood frame

HVAC duct Light fixture

Wood false floor Aashto beam

Vapor control layer

Concrete topping

Damp Proof Membrane

Existing concrete block Precast concrete hanging element

Hollow precast concrete slab

Existing Concrete Tee Beam Existing Concrete column

Channel glass Concrete topping Hollow precast concrete slab Vapor control layer Rigid insulation Post-tensioning cables HVAC duct

Vapor control layer Rigid insulation Post-tensioning cables Concrete topping Rigid insulation Existing Tee-Beam

Precast concrete hanging element Strip light fixture Steel cap

Steel reinforcement Precast concrete fin

Rigid insulation

Sprinkler

Air cavity

Steel cap

Brick wall

07.

0 2 . r o o f d e ta i l 0 3 . f l o o r s l a b s t r u c t u r e d e ta i l 0 4 . s t r u c t u r a l f i n s y s t e m d e ta i l 0 5 . r o o f s t r u c t u r e d e ta i l 0 6 . h v a c d e ta i l 0 7 . e x i s t i n g s t r u c t u r e d e ta i l

04.


52 d. A. Baldassin - 2018 - selected works

03 dwelling as i d e n t i f i c at i o n fall 2015 advisor - elizabeth kamell associate professor

urban housing studio


53 d w e l l i n g a s i d e n t i f i c at i o n

The construct of dwelling in the urban fabric aims to create identity both in the context of its local environment and the larger framework of the city. A dweller’s connection with the community is situated on their adjacency to the public network around them. This urban social housing project is nestled between both the East River (off the eastern shoreline of Manhattan) and a communal field in the center of the island, essentially making the site an active bridge between the local community of Roosevelt Island and the larger construct of the city. Primary circulation fashions itself parallel to the river, focusing movement along the prominent features of the site that resemble community, where tertiary circulation serves to move out from this core to either field or city.


01.

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d. A. Baldassin - 2018 - selected works

03.

01. site plan 02. conceptual sketches 03. site section - from imagined interior community field to the east river.

02.


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d w e l l i n g a s i d e n t i f i c at i o n


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d. A. Baldassin - 2018 - selected works

01.

01.master plan goals & objectives e l e v at i o n .

02.

Emphasis of street Formation of consecutive courtyards. Proximity of community to water.

02.interior

c o m m u n i t y c o u r t ya r d


Creation of community promenade

Southern orientation to maximize sunlight.

Creation of wall through aligned facades.

57 d w e l l i n g a s i d e n t i f i c at i o n


01.

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d. A. Baldassin - 2018 - selected works

0 1 . s t r u c t u r a l u n i ta r y a x o n - a i m e d t o o p t i m i z e e f f i c i e n c y o f s y s t e m s for vertical units.


02.

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03.

d w e l l i n g a s i d e n t i f i c at i o n 02.

Micro unit sections

03.

Micro unit plan

04.

04.

interior perspectives.


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01.

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3

A 2

1

3

A 2 1

5

4

5 4

9 8

9

8

7

6

B

C

C

D

E

F

01.ground floor plan 02.1st floor plan 03.2nd floor plan (1st & 2nd f l o o r p l a n s a lt e r n at e t o e m p h a s i z e c h a n g i n g d i r e c t i o n a l i t y o f s i t e ) .

03.

5 4

9 8 7 6 B

7 6 B

C

C

D

E

F

d. A. Baldassin - 2018 - selected works

02.

A 2 1

C

C

D

E

F


04.

05.

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This urban housing project examines the relationship of social and formal aspects of dwelling in the city as it strives to create connections between the city, the community, and the individual.

d w e l l i n g a s i d e n t i f i c at i o n

To live within each dwelling, is to live in a space of contemplation. Furniture and amenities fold away and disappear into the structure of the unit - allowing each space to become austere and malleable. A hidden track system in the ceiling to insure wall mobility for the creation of flexible spaces. In conjunction, the screen facade system, becomes operable as apart of the track system. The green facade is broken up into panels. Closed will allow for a space for internal contemplation. Open, the spacial volume extends the dwelling into the surrounding community and urban context.

06. 0 4 . c e i l i n g t r a c k s y s t e m d e ta i l . 0 5 . m i c r o u n i t p l a n w i t h t r a c k s y s t e m . 0 6 . e x t e r i o r p e r s p e c t i v e o f i n t e r i o r c o u r t ya r d f a c a d e .


62 d. A. Baldassin - 2018 - selected works

04 f r i d ay night lights spring 2016 advisor - francisco sanin associate professor

partner - deena darby


63 i f w a l l s c o u l d ta l k

This project maps the city through light, using the lightscape that is produced through illuminants from both private and public sources. The individual lighting infrastructures of Shoreditch come together and create an entirely new landscape that can only be seen at night. This project attempts to create an atmospheric public space though combinations of pooled light that create choreographed connections and separations between programs. It illuminates the distinction between the activators of the space; those whole live, work, and interact with the environment. As the roof isolates, unifies, and personalizes the connected courtyards covered by the lighting infrastructure, it offers a flexible nightscape allowing different ways to see and experience this internalized city.


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d. A. Baldassin - 2018 - selected works

0 1 . ground - site plan drawing - maps visible landscape of shoreditch a s i f o n ly s e e n b y p u b l i c l i g h t s c a p e .


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f r i d ay n i g h t L i g h t s

03.

04 02.

02. light bubble diagram - light elements are assigned given radii 03. s a m e s i t e r e a d d u r i n g t h e d ay 0 3 . n a r r o w e d s i t e s e l e c t i o n - a d j a c e n t to above ground train line.


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d. A. Baldassin - 2018 - selected works

0 1 . s i t e s e c t i o n - t h r o u g h r o o d i n t e r v e n t i o n t h at a c t s a s g i a n t “ l i g h t m a c h i n e � c r e at i n g a n d e v e r c h a n g i n g n i g h t l a n d s c a p e .


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f r i d ay n i g h t L i g h t s


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d. A. Baldassin - 2018 - selected works

01.

0 1 . n e w ly a c q u i r e d n i g h t s c a p e c o n f i g u r at i o n - p r o d u c e d b y r o o f intervention.


02.

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f r i d ay n i g h t L i g h t s 02.

roof structural axon


01.

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d. A. Baldassin - 2018 - selected works

01.ground

f l o o r d ay p l a n


02.

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f r i d ay n i g h t L i g h t s 02.

ground floor night plan


72 d. A. Baldassin - 2018 - selected works

05 facade factory

fall 2016 advisor - luca ponsi adjunct professor

partner - david heinrich


73 FAcade facotry

This project provides a critical reflection on the mindset of Florentines and their apprehension to alter and amend historic buildings in an attempt to preserve nostalgia and history. Florentines foster a hesitation and resistance to alter these historic buildings in any way, other than to preserve what has already been established, even if it means completing a historical landmark to its original intension. This project boldly makes the choice to update and complete these facades that have been left plain for so many years. This thickened facade wrapper is now seen, first and foremost, as a large scale facade production factory”. It serves all aspects of production from importation of materials to assembly to exportation of the final product. The continuous fabrication of these “Authentic Facades” exaggerates the acknowledgment of something that has already happened due to the blind replication that already occurs. The Facade Factory demonstrate a trend that already exists, exaggerating it through imagining alternative forms of replication which deal with mass production of architecture.


01.

import 74

F a b r i c at e d. A. Baldassin - 2018 - selected works

02.

0 1 . i m o r tat i o n o f r a w m at e r i a l s 0 2 . f a b r i c at i o n o f 0 3 . a s s e m ly o f e l e m e n t s i n t o c o n s t r u c t e d f a c a d e .

03.

individual elements

Assemble


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Facade factory

01

03 02


01.

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P r e s e n tat i o n

disassemble d. A. Baldassin - 2018 - selected works

02.

EXPORT

0 1 . p r e s e n tat i o n o f n e w f a c a d e i n f r o n t o f e x i s t i n g f a c a d e - l e s s c h u r c h 0 2 . d i s s a s s e m b ly o f f a c a d e & p r e p a r at i o n f o r s h i p p i n g 0 3 . e x p o r tat i o n .

03.


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05

06

FAcade factory

04


78 d. A. Baldassin - 2018 - selected works

06 i t e r at i v e ceramics

fall 2017 advisor - linda zhang boghosian fellow

partner - birani nyanat


Inherent to the process itself is and uncanny relationship between the simulations distance (difference) and coincidence (sameness) of each cast doppelganger. This oscillation between the exteriority (distance) and interiority (coincidence) of the distinction between cast objects produces a liminal dimension which allows for the tangible and intangible, and the material and immaterial, to touch. It is precisely their supposed distance and unitary nature which is undermined by the uncanny

This methodology forces us to reconsider the static ways in which we understand form and representation in architecture. In contrast, it opens up new possibilities of oblique representation, communication between objects and over time, as well as offering an alternative to literal and symbolic forms. The sameness of each iterative cast reveals difference between them. In this space of difference, we developed performative and time-based forms of representation. Their iterative vessels explore possibilities to contain ritual through time-based action. While some projects utilize objects from the ritual itself, leaving imprints and traces on the mold and cast, as well as explore the performative properties of the material and the process itself as containers for their rituals.

i f w a l l s c o u l d ta l k

The process of ceramic slipcasting is one of iteration, transference and performance-more specifically of time, negation, and action. Its Process of becoming requires two molds: the plaster mold used cast ceramic slip, and another mold used to cast the plaster mold, demanding the double negation of an ordinary object. It not only produces an altered version of the ordinary object, but also reproduces an endless array of doubles through iterative casting. Through this layered alterity, we pursue new forms of coherence which reexamine the stability and unity of objects, allowing us to reconsider the ways in which we represent reality.

doubling inherent to slipcasting, revealing the interobjective and intersubjective reality of the casts. Therefore, each cast iteration can only be understood in relation to its doubles- its series, molds, and originary objects. In its most unified interpretation, the casts can be read as a snapshot of the lifespan and changing form of the mold, necessarily bound together. Yet, in some projects, the mold is entirely lost in the process. In others, the originary object, is lost to the process while the mold remains.

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Using slipcasting as a methodology, we explore material language for “nothingness� and the immaterial intangible dimensions of reality. Focusing specifically on rituals, we used slipcasting to explore indirect forms of representation, manipulating materials to make the intangible visible.


01.

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02.

01.

Ritual plan.

02.ritual

section.


i t e r at i v e C e r a m i c s

02.

03.

04.

01-04. final fired ceramic pieces - produced from burning out and i n t e r i o r w o o d e n b o x t o c r e at e a v o i d - c r e at i n g a d o u b l e c h a m b e r e d volume.

Smoking is a cyclical process, where the state of stress in an exponentially growing condition. The iterative urns identify the state of stress product of external forces that accumulate over time. In our slip-casting process, the urns are repeatedly fractured and reformed to allude to textural representations of stress, resulting in the aggregation of fragmented parts to make a whole.

01.

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The ritual of smoking a cigarette is composed of two parts: the inhale and the exhale. The produced iterative objects seek to represent the act of smoking through the formation of chambers: the blob and the sage holder. As the sage holder is burned, the sage holder itself disintegrates and smoke funnels to the hollow blob. Through the act of burning and experimentations in materiality of the sage holder, the presence of an anterior object is made known in the void. The presence of the sage box is referenced through its absence in the form of a void in the artifact. After burning out the box, fragments of slip that surround the sage box are collected in the void. The juxtaposition of these two phenomena alludes to formal relationships, suspending the artifact somewhere between the past and the present.


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d. A. Baldassin - 2018 - selected works

03.

0 1 - 0 4 . i n t e r i o r c e r a m i c v i e w s ta k e n a f t e r k i l n f i r i n g - p r o d u c e d b u r n s , charred interiors, and fragmented remains.

04.


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i t e r at i v e C e r a m i c s


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d. A. Baldassin - 2018 - selected works

01. A p p ly H e at

1a

2a

3a

4a

5a

1b

2b

3b

4b

5b

01. conceptual diagram - explaining the profound effect of the f o r c e f u l a p p l i c at i o n o f h e at t o d r y t h e s l i p.

Pour


02.

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i t e r at i v e C e r a m i c s 02.

release of hardened ceramic piece from the plaster mold.


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0 1 . p o u r i n g & m at e r i a l s t r e s s i n g p r o c e s s post kiln firing

02.

final ceramic object -


03.

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i t e r at i v e C e r a m i c s 05. 04.

0 3 . f i n a l c o l l e c t i o n o f i t e r at i v e s e r i e s 0 4 . i n t e r i o r v i e w o f c e r a m i c piece. 0 5 . exterior view of cracked/eroded surface.


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01.

series collection


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I t e r at i v e C e r a m i c s


90 d. A. Baldassin - 2018 - selected works

07 the other place spring 2018 advisor - linda zhang boghosian fellow

partner - reide mcclain


In tangent to the directionality of site, we question the directionality of storylines, disparate accounts and opinions. Across the middle, in a horizontal sequence, we track the stages of the presentday memorial of new asphalt. Each instance in the sequence heightens and complicates the topography, acting as disrupting moments to the grain. In the beginning of our process, we interrupt with yellow, bringing an uncanny presence to each of these nodes in the story line. Unsettling in its alienated eerie existence, the yellow sits among colors that are closer to each other, their difference sometimes barely noticeable.

the other place

The presence of opposing directionalities exemplifies both the physical transportation system of the road and sidewalk, as well as a more symbolic connotation in regard to the black lives matter vs. blue lives matter movements. The road is in constant opposition depending on the side in which you travel. As an interstitial indicator, double lines mark the middle of the road. These double lines act as a neutral zone between opposing grains. We can question the role of this neutral zone, when Michael Brown’s body

interrupts them, laying neither left nor right, but directly in the middle. 91

We questioned whether Michael Brown was running through the bullets, or whether he was running from them? In tangent to the directionality present on the site, we question the directionality of storylines, disparate accounts and opinions. Mirroring directionality of site and the meandering of storylines, we investigated momentum or wandering as strategies applied to going away from or going through serves the “ongoing process of ‘deformation’” towards “formlessness,” as defined by Georges Bataille.


a s p h a lt r e p l a c e d a s p h a lt m a r k e d i n s ta n t m e m o r i a l b l o o d s ta i n s body covered

01. Conceptual plan for reimagined topography of the existing site 0 2 . m a p p e d e v e n t s - e x p r e s s e d a s n o d e s 0 3 . p i c t o r a l d o c u m e n tat i o n .

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body bleeding

d. A. Baldassin - 2018 - selected works

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body struck

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street as is

01.


04.

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the other place

06. 05.

04. final collection of topographical tile series 05-07. close-up o f p o u r i n g p r o c e s s ( c o l o r d i s s i p at i o n , l ay e r b u i l d - u p, e d g e b l u r r i n g ) r e s p e c t i v e ly

07.


94 d. A. Baldassin - 2018 - selected works

The Canal is a connection between trades, place, and people, in a linear directional sense. However through this linear force, it simultaneously disconnects either side, you end up on one side or the other – both in a physical sense and social, cultural and economic sense. The Canal’s ghost, which is also a very present physical twin, Erie Blvd, which access 1-81, is the contemporary version of the Eerie Canal for Syracuse, where vehicles replace the boats, but direction and motion are still in play, at an accelerated rate. I-81 disconnects two prevalent black neighborhoods in Syracuse, acting as a powerful and purposeful political move of oppression. A physical division between a community of people, enacted as a response to the potential rise in political power of this black community. We’re interested in exploring these areas that exist between connection and disconnection, exploring the wandering between two oppositions and the implications of that duality on the sensibility of our tiles. The locks from the monument are subconsciously connecting different geographical points of the canal, as they’re an aggregate of locks along the old canal, but that simultaneously present a disconnect from the actual site of the monument. We displace a few of our tiles, as a nod to the locks, and replacing those tiles with the same language of our adjacent rows, above and below.


the other place

row 3

Side 4

row 3

Side 3

row 3

Side 2

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row 15

0 1 . c l o s e - u p e x c a v at e d t i l e s 0 2 . r o w i l l u s t r at i n g c o n n e c t i o n a n d d i s c o n n e c t i o n 0 3 . C e n o ta p h u n r o l l e d e l e v at i o n .

r.1 6 r.1 5 r.1 4 r.1 3 r.1 2 r.1 1 r.1 0 r.0 9 r.0 8 r.0 6 r.0 5 r.0 4 r.0 3 r.0 2 r.0 1

03.

row 3

Side 1

02. 01.

row 15

row 15

row 15


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01-04.colored

slip pouring process for front face of each tile.

04.


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the other place 05.

B u i lt c e n o ta p h - f r o n t e l e v at i o n - f i n a l e x h i b i t i o n


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d. A. Baldassin - 2018 - selected works

0 1 . B u i lt

C e n o ta p h - f i n a l e x h i b i t i o n


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the other place


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08 professional works

summer 2016 fernando romero enterprise -free city -latin american art museum


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Professional work


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d. A. Baldassin - 2018 - selected works

0 1 . 3 f t x f t - a c r y l i c p h y s i c a l s e c t i o n a l m o d e l - L at i n A m e r i c a n A r t Museum


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Professional work


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d. A. Baldassin - 2018 - selected works

01.3m

x 3 m - a c r y l i c p h y s i c a l m o d e l o f F R - E E C i t y a g g r e g at i o n


02.

3m

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3m 3m

0 2 . i m m i g r at i o n i n f o g r a p h i c m a p 0 3 . n o d e d e n s i t y a g g r e g at i o n 0 4 . 8 - m i n u t e w a l k i n g r a d i u s t o t r a n s p o r tat i o n 0 3 . t r a n s p o r tat i o n s y s t e m .

05.

2m 2m

Professional work

03.

2m

3m

3m

12m

2m

Highest net immigration

Highest net emigration

04.


106 d. A. Baldassin - 2018 - selected works

09 connect Dante Antonio Baldassin 100 west 57 street N e w Yo r k , N Y 1 0 0 1 9

dabaldas@syr.edu 631. 357. 2528 @eastsidesketcher Syracuse University

school of architetcure ‘18


education 2013 - 2018

2012 June 2013

experience Aug. - Dec. 2017

Syracuse University School of Architecture (Syracuse, NY) Bachelor of Architecture - Magna Cum Laude - Deans List GPA: 3.60 Abroad: London, England: Spring 2016 l Florence, Italy: Fall 2016

Cornell University Summer Architecture Program (Ithaca, NY) Produced hand drafted drawings, physical models, and visited local firms GPA: 3.8

St. John the Baptist Diocesan High School (West Islip, NY)

Deans List - High Honors with AP Distinction - National Honor Society GPA: 4.0

Undergraduate Teaching Assistant (Syracuse, NY)

Assisted teaching a section of students representational strategies, such as drawing in plan, section, elevation and perspective, in order to convey broader conceptual design ideas through hand constructed drawings.

May - Aug. 2017 May 2017

Architectural Intern - Doban Architecture (Brooklyn, NY)

Produced contruction drawings and details using Revit and AutoCAD. Worked on a variety of projects ranging from schematic design to construction administration for the NYC School Construction Authority.

King and King Prize Competition (Finalist) Syracuse Dance Center (Syracuse, NY ) - Used Revit, Rhino, V-ray , Photoshop and Illustrator to design an addition to an existing structure as a part of the newly proposed campus master plan.

May - Aug. 2016

Architectural Intern - FR-EE / Fernando Romero EnterprisE (New York, NY)

Assisted with digital & physical modeling. Produced models for projects. Created diagrams and final exhibition models for a project presented in the London Biennale.

May - Aug. 2015

Fabrication Intern - Surface Grooves (Oyster Bay, NY)

Sept ‘15 - May ‘18

Set Designer - First Year Players (Syracuse University)

affiliations

Aug ‘17 - May ‘18 Fall ‘15 2013 - Present

skills

Digital

Physical

Assisted with designs to determine the best manufacturing techniques. Operated Laser cutter and CNC mill to assemble final models. Used Photoshop and graphic design skills to rework their online catalogue.

Beta-real - Boghosian Fellowship Exhibition - (Syracuse, NY)

Assisted the current fellow with the creation of architectural ceramics as apart of the final exhibition. Took part in conceptual design for manufacturing plaster molds & slip-cast ceramic tiles.

Thinness Pavilion - R. Hubeli & J. Larsen - (Syracuse, NY)

Assisted with pavilion construction, prepped and poured molds, and finished built work. Architecture Peer Advisor (Orientation Leader) Architecture Student Organization (Syracuse University) - Graphic Designer / Student Representative Student Ambassador, School of Architecture American Institute of Architecture Students (AIAS) - Class Representative First Year Players - Set Designer, Graphic Designer, Asst. Choreographer Groovestand Acapella - President, Business Manager, Graphic Designer Dance Works - Choreographer

Revit, Rhinoceros, SketchUp, V-Ray, AutoCAD, Illustrator, Photoshop, InDesign, Diva, Climate Consultant, Keyshot Laser Cutting, CNC, Woodshop, Model Making, Hand Drafting


Profile for Dante Antonio Baldassin

Dante Antonio Baldassin Undergraduate Architecture Portfolio  

Syracuse School of Architecture '18 Selected Works 2013-2018

Dante Antonio Baldassin Undergraduate Architecture Portfolio  

Syracuse School of Architecture '18 Selected Works 2013-2018

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