Dustin White Professional Portfolio

DUSTIN WHITE SELECTED PROJECTS

DW | DF DUSTIN WHITE

DESIGN AND FABRICATION BROOKLYN, NY

SELECTED PORTFOLIO

17th International Architecture Exhibition Venice Biennale 2021, Italy “CRISPR-Locus” Arsenale, Venice, Italy, 2021 By bringing together stone, glass and metal in a lively, dynamic narration to inscribe a public open room, “a micro plaza”, the installation “CRISPR” turns spatial resonances into a stage for social encounters, an emotional observation point of the beauty and power of water, still hidden by walls and the extensive complex of buildings. It is a sensorial immersion into exaptation as a reflection on the passing of time but also into the uniqueness of an inspiring place that went through a history of transformations: the Arsenale, one of the landmarks of Venice.

“CRISPR” traits are revealed by its rules and at times latent principles which, if written computationally, are generating non-linear geometries, interchangeable as well as non-adaptive functions and relationships. The design is translating ideas, digitally generated, into cutting edge production techniques of three key sectors, natural stone, glass and metal, exemplifying excellence in traditional Italian artisans, trademarks of Made in Italy.

Collaboration with: Pongratz Perbellini Architects Fabrication by: Pimarlimestone (Pavimento, sedute e vasi in pietra/ Stone pavement, benches, poufs and vases) Mille 997 Srl / Bulbo srl (Parete in Metallo, Metal wall cover) Berengo Studio1989 (vetro di Murano, Murano glass)

CORAL TABLE

SEPTEMBER 22nd 2019 EXHIBITIONS:

Marmomac - Natural Things Verona, Italy

Curator:

Raffaello Galiotto

DESCRIPTION: For the Marmomac 2019 Natural Things Exhibition, a collaboration between Dustin White (DW Design & Fabrication), and Matteo Generelli (Generelli Sa) proposed a large format table design featuring a continuous woven minimal surface geometry, fabricated in “palissandro bronzetto” (brown marble). The tables design strategy generated a support system that takes its inspiration from landscape erosion and coral reef growth patterns with variable diameter members creating a non-repeating, non-symmetrical, organic and natural support structure. These systems are comprised of seven points of connection to the tabletop and four points of connection to the ground reflecting an idea of growth, branching, and layering overtime. To achieve the design and formal system of the table, a custom generated form finding software was used with the intention of creating unintended or unexpected shapes which resulted growth and branching patterns found in coral reefs, and the software allowed the shapes density and scale to be controlled to result a dynamic overall form.

Length: 3 meters Weight: 2 tons MATERIAL CONSULTANT - Maurizio Barberio (Barberio Colella Arc) FABRICATION - Generelli S.A.

pt. 02

pt. 03

pt. 01

pt. 04

pt. 05

pt. 06

pt. 07

pt. 08

Coral Table

ISOMORPHIC STAR TABLE 2020

Collaboration with Michael Sean Stolworthy MSMD Studio - Las Vegas, NV

ISOMORPHIC STAR TABLE 2020

DESCRIPTION: A creative study that gave birth to a mathematical piece of functional art forged in bronze, steel and rosso levanto marble. Blending our respective design disciplines allowed for the playful creation of this unique piece. Harnessing the power of Maya & Rhino software, together we explored and generated surfaces that expressed isomorphic star patterns derived from their Collaboration with Michael 2D vector origins.Sean Stolworthy

MSMD Studio - Las Vegas, NV

DESCRIPTION: A creative study that gave birth to a mathematical piece of functional art forged in bronze, steel and rosso levanto marble. Blending our respective design disciplines allowed for the playful creation of this unique piece. Harnessing the power of Maya & Rhino software, together we explored and generated surfaces that expressed isomorphic star patterns derived from their 2D vector origins.

ISOMORPHIC HEX TABLE 2020

Collaboration with Michael Sean Stolworthy MSMD Studio - Las Vegas, NV DESCRIPTION: The second design collaboration with MSMD studio forged in bronze and glass. Blending our respective design disciplines allowed for the playful creation of this unique piece. Harnessing the power of Maya & Rhino software, together we explored and generated surfaces that expressed isomorphic star patterns derived from their 2D vector origins.

ASTRAL BOOKSHELF Description: 3D Printed Stainless Steel Nodes with Carbon Steel shelves.

O-VOID DINING TABLE O-VOID DINING TABLEStainless Steel Nodes with Glass Top Description: 3D Printed Description: 3D Printed Stainless Steel Nodes with Glass Top

CORAL COCKTAIL TABLE VER 2 Description: CNC Milled MDF, with Lacquered White Finish.

FLOW COCKTAIL TABLE VER 1 Description: Hand formed stainless steel with glass top.

JACK JACK TABLE Description: Anodized Cast Aluminum

PERL RESIDENCE

PROFESSIONAL 2012-2016 PONGRATZ PERBELLINI ARCHITECTS | DESIGN TEAM 8 UNIT APARTMENT COMPLEX 17TH PEORIA ST. LUBBOCK TX CONSTRUCTION COMPLETED

DESIGN PROCESS

MCNAMARA RESIDENCE PROFESSIONAL

SINGLE FAMILY HOME CYBERSTONE LLC | DESIGN TEAM 17TH PEORIA ST. LUBBOCK TX CONSTRUCTION ON HOLD

MATERIAL: FIBER REINFORCED CONCRETE & WOOD COMPOSITE BUDGET: $100.00 PER SQ. FT.

REVISION SCHEDULE No.

Date

Description

FF +- 0 3204.6

TRUSS OUTLINES

9" 12'-516

HALLWAYS

239 SQFT

(806) 773-9358

FOLDED PLATE ROOF

57 SQFT

TILE

GREENHOUSE / ENTRY 122 SQFT

phone 806.392.4233 www.pongratz-perbellini.com email:christian@pongratz-perbellini.com

INTERIOR FOLDED PLATE

ARCHIVE

22 SQFT

TILE

OFFICE 3

176 SQFT

BATH

39 SQFT

STAINED CONCRETE FF +- 0 3204.6

PERGOLA

ISOMETRIC OPTION 1 2108 Broadway St. Lubbock, TX 79409 (806) 441 9988

50 SQFT

ARCHIVE

(806) 787-8422

STAINED CONCRETE

BATH

| MEP |

201 SQFT

TILE

5809 PRINCETON STREET LBB, TX 79416

OFFICE 2

96 SQFT

| STRUCTURAL DESIGN |

KITCHEN

OFFICE 1

196 SQFT STAINED CONCRETE

OWNERSHIP OF DOCUMENTS This document and the ideas and designs incorporated herein, as an instrument of professional service is the property of Cyberstone, LLC. (Christian Pongratz & Maria Perbellini). It is not to be used in whole or in part for any other project without the written authorization of Cyberstone, LLC. © 2013

NOT FOR CONSTRUCTION

Project No. 313

Date: 06.01.2015

SMOKEY MOUNTAIN SUPPER CLUB PROFESSIONAL

RESTAURANT FIELD OFFICE | DESIGN TEAM ASHEVILLE NORTH CAROLINA CONSTRUCTION COMPLETED

MATERIAL: SHIPPING CONTAINERS

JUMP INTO THE LIGHT LOCATION:

NEW YORK, NY

WITH:

PAVLINA VARDOULAKI

DESCRIPTION: Jump into the light is an intensive ongoing research project with Pavlina Vardoulaki to design a permanent interactive and programmable lighting installation for a VR and and VR Play Lab in Manhattan, NY. The project is early in its development but has resulted an interesting investigation into the realization of complex intersecting surfaces using a custom developed kerf cutting software developed by Dustin White. The images below are a series of studies, prototypes and experiments using the custom generated tools.

KALEIDOS INSTALLATION KALEIDOS is a interactive installation designed for Jump Into the Light a VR play lab in New York, NY. The project is a design collaboration with Pavlina Vardoulaki (Design Morphine). JIL commissioned an interative lighting installation for their primary VR gaming space. The response is our interpretation on a contemporary chandelier complete with programmable and sensor controlled LED lighting. The body is constructed from custom fiberglass 3D printed nodes and fiberglass rod, clad in a unique variably kerf cut PETG plastic shell.

STEREOMA INSTALLATION April 22, 2018

EXHIBITIONS:

PAR EXCELLENCE NEW YORK, NY

DESCRIPTION: Stereoma is a site-specific gravity formed structure produced as an installation and exhibition design to support the Stereotomy 2.0 exhibition, that includes work from designers and architects investigating the future of stereotomy. Stereoma, takes influence from the Greek translation, which means the solid and unchanging place of the fixed stars and the firmament translation which connotes a solid structure, and embraces the notion of the heavens and sky as a vast dome, and later the Latin word “firmamentum”, according to the interpretation of Giuseppe Fallacara (Fallacara and Minenna 2014: 16-25). The installation creates an immersive and spatial experience using a vaulted or thin like vale, and programmed LED lighting. Constructed from mylar, the translucent and porous quality of the material created an ephemeral quality throughout the day and night weaving both natural and artificial light throughout the gallery space. The strips of LED lighting are controlled by a series of programmed fadecandy and aurduino boards that run various image simulations across the surface, creating a lighting condition that changes color and brightness. Through form finding software an optimal hanging shape was engineered to create defined zones which were specific to the work exhibited and allowed the work to be framed and viewed from any angle. The surface or ‘vale’ was rationalized in nine parts with six catenoid shapes connected to four stitched quad surfaces and realized by allowing the surface to be panelized with 1200 discrete elements. The panels were organized, labeled, nested, laser cut, and assembled in the NYIT fabrication lab, and designed with the intention to be flat packed, transported and easily assembled in ten parts on site.

LIGHTING DESIGN ASSISTANT - Karla Murillo FABRICATION AND INSTALLATION ASSISTANT - Lindsay Spiegelberg SPECIAL THANKS TO: Giusseppe Fallacara

STEREOMA INSTALLATION MAY 2021 Queens, NY

MELJAC SHOWROOM EXHIBITION

October 22, 2018

DESIGNED AND FABRICATED BY: DUSTIN WHITE DESIGN & FABRICATION

DESCRIPTION: MELJAC NORTH AMERICA is a French based luxury switch and outlet design and manufacturer. Meljac commissioned Dustin White Design and Fabrication to design and build their first show in New York. The show featured the 2019 new product line displayed a range of small lamps, switches and outlets.

The design concept completed in under three weeks, featured two stalactite geometries hanging in the space. The geometries offered a unique perspective of the objects allowing spectators to easily interact and view the precision quality that Meljac is know for. The objects also created a unique spatial and circulation opportunity allowing for people to circulate around and through the objects.

HIGH LINE JUNE 25, 2018 COLLABORATION WITH: FARZANA GANDHI STUDIO

COMPETITION: FRIENDS OF THE HIGH LINE FINALISTS - 2ND PLACE

DESCRIPTION: Our design concepts resonate with many of the High Line Food principles including “make it democratic and accessible” and “customer service is critical.” The reimagined High Line Food and Retail program offers an opportunity to not only enhance visitors’ experience and encourage them to stay a little while longer, but also has potential to invite new local audiences with different needs and resources and with means for a range of price points to the space.

OBJECTIVES: Inspired by memory of what the High Line once was, our food carts feature a painted metal canopy that visually connects across distinct carts to form a continuous “rail” which can continually reconfigure in pattern when modular base carts are rotated 1800 and/or rearranged to serve changing vendors as savory vs. sweet. This skeletal rail above functions to hang overhead items, hold integrated lighting, and also drape a canvas cover at the large cart location.

A lightweight, stainless metal screen folds down as vertical surface in both food and retail units and materially represent repeated fins echoing a set of railroad ties marching across the space. The High Line is continuous to promote linear movement, yet also episodic to provide moments of rest. Similarly, the various scales and locations of our carts are conceived of a singular vocabulary of materials and construction, yet are distinct in experience. This provides a branded, but distinct sequence of food and retail moments.

DESIGN APPROACH MAKE IT DEMOCRATIC AND ACCESSIBLE: to reflect the diversity of NYC and inspire new ways of looking at cities, public space, art, and community. Our material palette takes cues from what the High Line is today, using a language of steel frames, metal surfaces and tubing, vertical screens, and components that fold, hinge, pull out, and anchor. The food and retail units operate not only functionally and practically as vendor spaces, but also to reinforce relationships back to the city at large through poetic experiences. Internally, power coated metal surfaces provide a muted backdrop to prominently feature merchandise and equipment access without visual clutter.

Externally, (in open and closed positions), the units are selectively wrapped with mirrored metal surfaces that reflect both a social-scape of diverse human activities in the foreground and also the landscape and urbanscape of the context beyond.

MAKE IT SUSTAINABLE: to reduce, reuse, and recycle and echo High Line ethics. Our team uses natural, salvaged, and recycled materials, whenever possible. We are especially committed to using local available materials that minimize carbon footprint and material sizes that limit waste during fabrication. Specifications and lighting (LED) reinforce energy efficient and sustainable solutions.

PORTABILITY: Standard food carts are comprised of two bars (one thick and one thin) each subdivided with smaller modular pieces for ease of movement. Along with rail canopy above, these bars are pushed together to interlock when not in service. Savory and Sweet food carts are made of the same modules. Carts are interchangeable in use simply by rotating the layout 1800 to flip thick and thin bar locations - one against the wall at Chelsea Market Passage (as back of house: BOH) and the other interfacing with customer circulation (as front of house: FOH).

IMAGES: LEFT: ORIGINAL HIGH LINE RIGHT: FOOD CART PLAN VIEW

Large Food Cart | 16’x8’x7’

Large Food Cart | 16’x8’x7’

001

13

17

3

8

9

25

4

10

FOH p.o.s food display adaptable savory vs sweet

2 22

26

BOH service bar prep zone various vendor plug-in

24 12

6

23 2’6”

7

21 16

14

11

5 19

20

15 10’

18

6’

1

33

EXPLODED ISO 11 22 33 44 55 66 77 88 99

stainless metal skin point of sale exhaust / venting display shelving sink pos | ipad | wireless receipt refrigerator/ freezer removable shelving | bracket painted metal canopy

SMALL & LARGE FOOD CART 10 11 12 13 14 15 16 17 18

support hooks stove top / warmer storage / shelving stainless metal screen 6”caster branding | signage | art built-in electrical panel menu | logo display hot water heater

19 20 21 22 22 23 24 25 26

waste water tank 22.5 gal fresh water tank 15 gal cash box | register drawer counter level outlets interchangeable display cooler prep counter hot cooking equipment intergrated overhead light customizable counter top surface

Small Retail Cart Open | 7’x3’x7’

6” Spring Caster

Cam Lock

Laser Cut Metal Panel

Hinge with Catch

Bar Handle

003

01 02

01

02

01

02

01

02

LIGHT BLOOM JANUARY 7, 2019 COMPETITION: ARCHITECTURE LEAGUE OF NEW YORK PENDING RESULT

DESCRIPTION: Imagine an archetypal patterning of growth in color, surface, and texture. Light Bloom recalls dynamic archetypes found in nature, focused on transformation and evolution rather than fixed forms and species. It draws inspiration from nature to reveal adaptive, responsive, variable qualities in form, function, lighting, patterning, and in details of fabrication. Using a modular cladding unit of 18”x10” vacuum form plastic panels, the designs parts-to-whole finds its proportional elegance and “leaf” openings to let people flow through. Dynamic relationships between panels is generated by gradating color patterns reminiscent of tall green grasses and yellow flowers while variegated textures and colored surfaces allow sunlight to reflect and permeate the skin. All closed up and lit from the inside, the Bloom glows and maintains its sculptural essence, while smaller functional elements explore geometric growth pattern in laser cut metal sheets folded to fit within each other like layers of flower petals.

DESIGN APPROACH Light Bloom recalls dynamic archetypes found in nature, focused on transformation and evolution rather than fixed forms and species.

An architectural archetype has origins in an original form from which replicas are made, yet having potential for naturally exhibiting variability, altering its form to adapt to particular contexts. Light Bloom draws its inspiration from nature and reveals its adaptive, responsive, and variable qualities in form, function, lighting, patterning, and in details of fabrication. Using a modular cladding unit of 18”x10” vacuum form plastic panels, the design’s parts-to-whole finds its proportional elegance. As a volume, Light Bloom reads almost like a cube.

Measuring just over 8’ x 8’ in its footprint while reaching 10’ high, the top of its operable panels marks a datum line at about 8’ off the ground. Two seven-foot high doors on either side swing to 90 degrees, and two window leaves at the front pivot outward and up. The dynamic relationship between panels is generated through a gradating pattern of color, green like tall grasses at the bottom, clear in the middle near display areas, and yellow toward the sky like the color of many flowers. As a whole, the kiosk reads as one unfolding stream of color whose translucent quality infiltrates the space with light or haze. The entire structure is painted white to disappear amidst or behind the panels. The furniture takes on the colors of the panels. For the various uses of counter, storage, and seating, metal sheets are folded to fit within each other like Russian dolls, or layers of flower petals. Each one is laser cut with a geometric growth pattern, more porous on the sides where stability is less needed, and less porous on the tops which carry more weight. Placed in the garden outside the kiosk, light would also penetrate the openings in the surfaces, functioning at the micro scale as a folly to sit on.

Relationship to Socrates Sculpture Park Light Bloom defines the kiosk as an organic welcome beacon that lights the way into Socrates Sculpture Park. Day or night, it behaves as a colorful marker in the landscape to guide visitors towards activities and public events. The variable colors and patterning shapes of its exterior shell recalls the beauty of the natural world growing in the park. At dusk, the lit box marks the entrance to performances or movie screenings, reinforcing the Sculpture Park’s emphasis on cultural venues for integrating the community. Like an oversized garden lantern, it’s luminous and playful qualities appeal to all ages and cultures. As a simple construction system, it has the future potential to considered as a prototype that could populate many areas of the park for various uses, such as for food vendors. The overall system can “grow” by removing the panels and extending the framework to expand its size and capacity. It can be aggregated in a row by removing the door panels, or be “scaled-up” for other larger communal uses. The stacked furniture can be reconfigured as seating of various heights, different colors may be used to identify different functions. Interspersed, they could appear as flowers in a field.

ELEVATIONS

5

5

Front Elevation 1/4”=1’0”

Back Elevation 1/4”=1’0”

* Display area will be visible through clear panels

5

Right Elevation 1/4”=1’0”

5

Left Elevation 1/4”=1’0”

6

5 5

17

3

6

6 6

6 3

5

5 6

6

3

6

Detail at Door (Top)

1

3

2

6 5

3

6 5

2

6

6

5

1

1

6

4

15

Detail at Door (Bottom)

11 5 3 3

2

6 17

4

Detail at Window (Top)

7 Assembly Drawing - Exp loded Axo nometric

6

5 16

5

19 16

Detail at Window(Bottom)

Mold for Vacuum Form Panels - Movable Interior rod to create variable forms Scale 1”=1’-0”

Section Details at Door and Window openings Scale 2”=1’-0”

3

INFINITY HELMET 2015 - CURRENT EXHIBITIONS:

TAOS, NM - THE PASEO FESTIVAL AUSTIN, TX - SXSW ECO

COMPETITION: GRANTS:

AUSTIN, TX - SXSW ECO | FINALISTS SCHOLARSHIP CATALYST PROGRAM TTU - $3500.00

DESCRIPTION: The “Infinity Helmet” is a response to an invitation to participate in an art festival in Taos, New Mexico. The organizers were seeking ideas to resolve way-finding for an outdoor event, and ways to distribute artist information and educate the community. An idea was developed to challenge the normative event kiosk and typical information point. “Infinity Helmet” was designed as a small-scale architectural experiment or wearable prototype that creates an immersive virtual and physical experience and is intended to interact with users and users interact with it. On a technological level Infinity Helmet challenges the two-dimensional matrix of standard screen displays in media facades. Rectangular screens have become the norm for applications in architecture from billboards in Times Square to stand alone advertising billboards we see around us. Even at a smaller scale TV’s and phone screens have been defaulted to this rectangular format. Utilizing a set of polygonal shapes which serve as the source geometry for the design and help define the installations overall topology. The Infinity Helmet wants to blur the lines of these ubiquitous rectangular screens into a spatial immersive environment through its material and formal qualities.

OBJECTIVES: The research explores, both disciplinary novelty and technological innovation. In disciplinary terms the project offers itself as an occasion for the exploration into topological mesh modeling and its advantages for flatbed fabrication. This is a prototype for specific ideas and interests that are being pursued in the discipline, through custom coding of software and fabrication tools that provide the opportunity to reduce design and fabrication times.

Students: Karla Murillo, Christopher Verette, and Fabiola Vazquez were instrumental in the project, where they assisted with construction of early prototypes.

3D Printed Study Models

(natural)

(natural)

natural cavity (wiring/ tech) cavity (wiring/ tech)

iPad video apps camera wireless

iPad video apps camera wireless

social (digital) social (physical)

Social (digital)

iPad video apps camera wireless Social (ph ysical)

DESIGN PROCESS FORM GENERATION

01 POLYHEDRAL

02 FACE REMOVAL THE STARTING POINT OF THE DESIGN PROCESS IT TO IDENTIFY OR CREATE A POLYHEDRAL GEOMETRY.

03 4 PT. SURFACE THE SECOND STEP IS ALTERING THE GEOMETRY BY CREATING OPENINGS BY FACE REMOVAL

04 MINIMAL SURFACE THE THIRD STEP STITCHES THE OPENINGS AND EDGES WITH 4 POINT SURFACES

A SURFACE RELAXATION PROCESS CREATES A NEW SURFACE THAT IS IN COMPLETE EQUILIBRIUM

MERGING STEP 4 AND STEP 2. ESTABLISHES STRUCTURAL EXTERIOR SHELL WITH HEXAGONAL TILLED MINIMAL SURFACE INTERIOR

DESIGN PROCESS ASSEMBLY PROCESS

04 MINIMAL SURFACE

UNROLLED PANEL

2 PANELS ATTACHED

?

DESIGN ITERATION 01 HAS 800 PARTS OR 400 UNIQUE HEXAGONAL PANELS. EACH PANEL IS LASER CUT UTILIZING FLATBED MANUFACTURING OR LASER CUTTING.

DEPENDING ON THE RESOLUTION OF THE MESH NET WE GENERATE FEW HUNDRED TO THOUSANDS OF UNIQUE PANELS.

Part A

Part B

DEVELOPED TOOLS ALLOW US TO BREAK THE 3D MODEL INTO SECTIONS AND LABEL EACH OF THE PANELS FOR REFERENCE DURING THE ASSEMBLY PROCESS. THIS REDUCES THE NEED FOR ADDITIONAL CONSTRUCTION DRAWINGS.

SPECTROLINE_01 APRIL 15, 2016

Students:WesleyThomas, Karla Murillo, Fabiola Vazquez, Patrick Walker, Alex Littlepage The project is a response to a two day grasshopper specific workshop where students studied dynamic surface relaxation tools and minimal surfaces. The Students were tasked with adapting the content and designed – fabricated – installed the project in three weeks. The project entitled “Spectroline_01” is an interactive and space engaging installation proposal that is site-specific response provided by the BLANKA organizers. Spectrolines intentions look to blur and challenge normative existing spaces and how we occupy and operate within the boundaries of these spaces. Spatially the formal characteristics look to manipulate the compression and expansion within a limited fixed volume, and also begins to question the speed in which one moves through a space.

These spatial zones are enhanced or responsive due to motion sensor controlled lighting modules, which are coded to produce a set of various effects.

The project is composed of around 1200 laser cut mylar Xs that are connected with grommets to create a singular surface that is suspended from various anchor points. Mylar was a choice material because of its light weight and high tensile strength.

Publication | Texas Architect (March/April issue)

CATENOID DIMENSIONS BUBBLES ARCH 5503 10.24.16

4'-6"

3'-10 1/2"

3'-6"

3'-6"

PVC PIPE 4'-2"

SCREW HOOKS ACRYLIC RING IR SENSOR & LIGHT MYLAR DICHROIC FILM EYELET PVC PIPE 9'-0"

ZIP TIE

4'-10"

2'-1 1/4"

6'-0" SCALE: 1” = 1’

5'-6"

MAGIC LETTERS Competition: Porter Henderson Library ASU Univ. | San Angelo, TX Pongratz Perbellini Architects | Design Team Member Module Materials: Marble, Cast Stone, Concrete, Fiberglass DESCRIPTION: The design proposal recalls the buildings library function because it interprets the traditional shape of the library stack in form of a contemporary modern sculpture, but questions its traditional meaning in the contemporary information society. The sculpture is made from many components, whose geometry is derived from a single saddle polyhedra shape which reiterates along the existing banquette and thus refers to the multiplicity of the interacting student body. The perforated wall elements interconnect through curved shape prolongations, their form being in analogy to the Rambouillet Ram’s horns and the design conceptually in reference to the region’s ranching heritage.

The design proposal reflects these revolutionary changes and the empty stacks become filled with transparent cylinders containing historical references but mostly letters in form of round illuminated discs. The geometry of each individual base module of the interactive wall forms the shape of an abstracted eye, (two mirrored saddle polyhedra form “the eye”) which contains a magic letter as a thin acrylic disc. LEDs are used as light sources embedded into the base module, to propagate light effects, attract passersby, and visualize the illuminated letters through wired external digital input.

Marble Prototype

Cast Stone Prototype

MIRROR 1.

2.

3.

4.

+

5.

6.

7.

8.

STEEL NUT 2x Cross Square Tubes 2”x2”x 0.2” 2x Extension cylinders 3/8” TYPE 316 STAINLESS STEEL THREADED ROD 3/8” x 3’ Stainless Steel Anchor Cylinder 3/8” 2x Extension Rods 9.8”x0.39 for LED discs 1” X 1” X 0.11” GA. 304 Stainless Steel Square Tube 8.0 Ft 4x Steel plates 10”x10”x0.3”

1

2

3

4 5 8

6

+

+

+

7

+

MIRROR

+

+

MIRROR

+

+

+

001_A

+

6

5

2

4

3

2

1

1.

2.

3.

4.

5.

6.

7.

8.

8

7

BOLT WASHER Connection TO ARM ACRYLIC Disc with diameter of 9.2” NUT ILLUMINATED LETTER 2x Extension Rods 9.8”x0.39 LED CIRCUIT BOARD 3.4”x 2.2” x 0.062” with LED’s 0.078”

CARPETS OF STONE MARMOMAC VERONA IT | Pongratz Perbellini Architects | Design Team

R1: DROP DOWN -5/10 mm

R2: CUT -20 mm

R3: FILLET TOP: 20MM BOTTOM: 15-10MM

R4: FILLET TOP: 20MM BOTTOM: 15-10MM

R5: SCORE LINES 5mm Tool Diameter DEPTH: 2mm

pongratz-perbellini ©

20mm

15 -10 mm R5

15 -10 mm

R2

mm

TOTAL TILE THICKNESS: 20mm

840.0446mm

48 5

R3

15 -10 mm

R1

485mm

19 TOTAL TILES

A1

10 TILE TYPES A1 x2

A2 x2

A3 x2

A4 x2

B1 x2

B2 x2

B3 x2

B4 x2

A2 B2

B1

B3 A3

A4

B5 x2

B4

B5 C1

B5

B4 A3

A4 B3

B1

C1 x1

B2 A2

A1

pongratz-perbellini ©

Test Cut # 1 Toolpath Type

Ramairo Diaz Time

Tooling Used

Tooling Dims

Stepover

RPM

Cut Per Inch

Parallel Roughing

8.62 min

1/2” Ball Nose

Flute - 1.25”

40% of bit

16,000

300

Spiral Finishing

1 hr 2 min

1/2” Ball Nose

Flute - 1.25”

15% of bit

16,000

300

Texture Iteration_02