Dustin White Design & Fabrication Selected Works

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DUSTIN WHITE SELECTED PROJECTS


DW | DF DUSTIN WHITE

DESIGN AND FABRICATION BROOKLYN, NY

SELECTED PORTFOLIO


DUSTIN WHITE

OFFICE: DUSTIN WHITE DESIGN & FABRICATION ADD:

361 BERGEN ST. BROOKLYN, NY 11217

E: DWHITE@DWDESIGNFAB.COM Education 2007-2009

Master of Architecture | Clemson University

2002-2007

Bachelor of Science in Architecture | Texas Tech University

Clemson School of Architecture 145 Lee Hall Clemson, SC 29634 864.656.3898

College of Architecture Mail Stop 42091 Lubbock, TX 79409 806.742.3136

Administrative Appointments 2017 -

Director, Digital Technologies & Fabrication | New York Institute of Technology, | School of Architecture & Design

2014 - 2017

Director Fabrication Shops | Texas Tech University | College of Architecture

2016-2017 Academic Appointments 2017 2010 - 2017

Digital Design & Fabrication Program (DDF) - Fabricator

CAD/CAM & Rapid Prototyping specialists.

New York Institute of Technology | School of Architecture & Design | New York, NY Adjunct Assistant Professor

Texas Tech University | College of Architecture | Lubbock, TX Adjunct Professor

Professional Experience 2016 - Present Projects

Dustin White Design + Fabrication | Brooklyn, NY 361 Bergen St. Brooklyn, NY

Fa. 19 - Robotic Assembly with Plywood Elements | New York, NY | With Kyriaki Goti | In Production Fa. 19. - Discrete 3D Printed Joinery | New York, NY | With Christopher Pope | In Production Sp.19 - Marmomacc Stone Academy | Verona, Italy | “Coral” Table Series constructed in Marble | Fabrication with Generelli SA. (Switzerland) & Gruppo Tosco Marmi (Florence) | Exhibited September 26th 2019 Sp.19 - Jump Into the Light | New York, NY | Permanent Interactive Lighting Installation | Design and Fabrication with Pavlina Vardoulaki of Design Morphine | In Production Sp.19 - ARCH League Folly Function | Submission: Light Bloom | Design with Naomi Frangos Fa. 18 - Meljac North America Show Room Exhibition | New York, NY | Show room design and fabrication for the 2018 product line exhibition at Par Excellence Show Room. Su. 18 - The High Line Food & Retail | New York, NY | Design Team with Farana Gandhi Studio | Food and Retail Cart Design Proposal | Invited RFP Competition | Finalists 2nd Place. Sp. 18 - Stereoma | New York, NY | Installation designed and fabricated to support the Stereotomy 2.0 exhibition at Par Excellence | Installation in April 2018 Fa. 16 & Sp. 17 - South by South West (SXSW) Art Program | Austin, TX | “Spectroline” | Installation Proposal Fa. 16 - South by South West Eco (SXSW) Pop Up Installation | Austin, TX | “Synthetic Nature” | Installation Proposal with Robbie Eleazor Sp. 17 - Sp. 18 - “Infinity Helmet” 2.0 (VR) (AR) | Austin, TX | Installation


Fa. 16 - Infinity Helmet (VR) (AR) Installation | Project designed, fabricated and installed in Taos NM. 09-2016 & Austin, TX. 10-2016 Selected Exhibitions Su. 12 - 100% Gravity | 47th Marmomacc, Veronafiere | Verona, Italy, September 2012

Project team member, Pongratz Perbellini Architects. “Saddle Polihedra Screen”, new design for façade screens in stone, prototyping with Kienesberger GmbH & Co KG, Schluesselberg, Austria

Fa. 11 - Dispersed Memorial Exhibition | Asheville, NC

Team Member with Prof. Martha Skinner (Clemson University) -

Sp. 11 - Just Visiting Exhibition | Texas Tech University, College of Architecture

Exhibition featuring visiting faculty: Jeff Nesbit, Daniel Pruske, Josh Nason, Victoria McReynolds, and Dustin White

Selected Competitions Sp. 19 - NYC x Design (ICFF) & Interior Design Magazine | Category: Exhibition/Installation | Submission: NYIT Stereotomy 2.0 Exhibition & Stereoma Installation | With Giuseppe Falacara | Finalists Sp.19 - ARCH League Folly Function | Submission: Light Bloom | Design with Naomi Frangos | Submission Su. 18 - The High Line | New York, NY | Design Team with Farana Gandhi Studio | Food and Retail Cart Design | Invited Competition | Finalists 2nd Place Fa. 16 - South by South West Eco (SXSW) Place by Design | Austin, TX | Infinity Helmet (VR) (AR) | Finalists Fa. 16 - South by South West Eco (SXSW) Pop Up Installation | Austin, TX | Synthetic Nature | Submission With Robbie Eleazor

Fa. 11 - Porter Henderson Library, Public Art Competition | Saddle Polihedra Screen | 2nd Place

Project team member for Pongratz Perbellini Architects (Professor Christian Pongratz and Professor Maria Perbellini) on the development of a competition proposal for a public art competition, “Saddle Polihedra Screen”. Completed digital models, drawings, diagrams, renderings, full scale prototypes, and presentation material.

FA. 10 - Sixth Annual National Sustainable Design Expo | Washington D.C. | Project: SEED Haiti Fa. 10 - UC Berkeley Haiti Summit | Berkeley, California | Project: SEED Haiti

Martha Skinner and Dustin White attended the summit, presented the SEED_Haiti proposal and participated in the Engineering and Infrastructure Breakout Session.

Sp. 09 - HATCHfest | Asheville, North Carolina | Project: SEED Haiti Sp. 09 - International Architecture Biennale | Rotterdam Netherlands | Project: SEED Haiti Lectures Sp. 18 - New York City, NY | Stereotomy 2.0 Symposium - Invited Speaker Fa. 17 - New York City, NY | Formlabs Roadshow - Demo discussing Resin 3D Printing | October 2017 Fa 14 - Lubbock, TX | COA Dialogues, invited panelist | Paper Architecture | COA, TTU Fa 13 - Lubbock, TX | COA Dialogues, invited panelist | Technology and Architecture | COA, TTU Symposium

Media Coverage / Interview

Sp. 19 - Automation in Design - Design By Automation | NY, NY | Co-Organizer with Pavlina Vardoulaki | Speakers include: Theo Spyropoulos, Rob-Stuart Smith, Li Chen, Maria Alejandra Rojas, Pablo Lorenzo-Eiroa, Marcella Del Signore, Pavlina Vardoulaki, and Dustin White Fa. 14 - 24 Frames - The Future of 3D Printing - PBS Local, Lubbock TX Sp. 15 - Inside Texas Tech - (Interview) The Future of 3D Printing - PBS Local, Lubbock TX Sp. 14 - CROP Publication, Interview | Digital Craft | COA, TTU

Honors and Recognitions Fa. 16 - ACSA New Faculty Teaching Award | Nomination by Associate Dean Clifton Ellis Texas Tech COA | Submission Fa. 16 - ACSA Collaborative Practice Award | Project Urban Stage, interdisciplinary collaboration project, COA other University units, city and community constituencies | Submission w/ Prof. Christian Pongratz Sp. 14 - Dr. Jones Teaching Award - Each year, the Knights of Architecture sponsors a college-wide election to


choose the faculty or staff recipient of the Dr. Jones Award. The recipient, in the spirit of Dr. Jones himself, has shown a devotion to the academic and personal advancement of the students in the College. Fa. 11 - Fa. 12 - Fa.15 - Global Visions Award | TTU | for outstanding contributions in advancing study abroad participation at Texas Tech University Sp. 09 - AIA Henry Adams Medal | Clemson University School of Architecture

Awarded upon graduation at Clemson University School Of Architecture for being the top ranking student in recognition “of scholastic achievement, character, and promise of professional ability”.

Grants / Funding Fa. 19 - SLAB Grant New York Institute of Technology School of Architecture | Robotic Assembly with Plywood Elements | P.I. Dustin White & Kyriaki Goti | $5000.00 Fa. 18 - IRSC Grant New York Institute of Technology | Bio-Informed Structural Joint System Design | P.I. Naomi Frangos | Co P.I. Dustin White | $9,968.81 Fa. 18 - Sp. 19 - Office of the Dean - New York Institute of Technology | Automation by Design - Design by Automation | Symposium, Exhibition, Installation | $6,500 Fa. 17 - Sp. 18 - Office of the Dean - New York Institute of Technology | Stereotomy 2.0 | Symposium, Exhibition, Installation | $10,000.00 Fa. 16 - Scholarship Catalyst Program Grant | Texas Tech University | Project - Infinity Helmet | $3500.00 Fa. 15 - The Paseo Organization | Taos, NM| $1200.00 Sp. 15 - Texas Tech University & City of Lubbock | Urban Stage w/ Prof. Christian Pongratz | $12,000.00 Su. 13 - 48th Marmomacc, Veronafiere | Verona, Italy, September 2013

Prof. Maria Perbellini and Dustin White. Exhibition ARCH 4601 in Verona, Italy “Piazzetta Bra Molinari” “Forum del Marmo”, “Progetto Didattica Formazione 2013” (Texas Tech University)

Fa. 12 - 100% Gravity | 47th Marmomacc, Veronafiere | Verona, Italy, September 2012 Prof. Christian Pongratz and Dustin White. “Verona Acting School (VRAS)”, Study Abroad 2011, Student work Texas Tech, summer study abroad Verona IT 2011, “Forum del Marmo” (Texas Tech University)

Selected Publications

Su. 12 - Student Biennial Exhibition, AIA Houston, Architecture Center, Traveling Exhibition with TSA Convention, CoA submission - Submission Board Designer (Texas Tech University) Sp. 18 - Stereotomy 2.0 | edited by Giuseppe Fallacara; White, Dustin: Symposium, Workshop, and Exhibition on the future of stereotomy | Publisher: Librairie Du Compagnonnage Sp. 17 - Texas Architect Magazine - Spectroline_01 | March/April Issue Fa. 15 - Digital Media for Design: textbook on digital media, digital restricted publication date 01.15.2015, publisher Cognella Academic Publishing, an imprint of University Readers, Inc., CA, print publication Contributor | Ch 7-12 Various pages from 160 - 314 Fa. 15 - Digital Design and Fabrication _ Vol 01| Perbellini, Marie; Pongratz, Christian: This publication is Volume 01 of the Digital Design and Fabrication Program, a specialization of the Master of Science, College of Architecture, Texas Tech University. The book covers selected research work in building envelopes, interactive architecture, design_build and products by students and faculty over the past 4 years. April 8, 2015 SP. 15 - Urban Stage (LBB downtown revitalization) edited by Pongratz, Christian; White, Dustin: Urban Stage was a popular urban cultural event and an architecture installation to revitalize downtown Lubbock, Texas, during october 2014. Realized by students in the studio led by Pongratz & White D, Digital Design and Fabrication, Master of Science Specialization, DDF. March 27, 2015 Guerena, Elisia, “Plains Urbansim” Architects Newspaper. 03.31.2015. http://archpaper.com/news/articles.asp?id=7938


SELECTED PORTFOLIO

CONTENTS 01.

Coral Table

02.

Isomorphic Star Table

03.

Jump Into the Light

04.

Stereoma

05.

Meljac

06.

High Line NYC

01. 02. 03. 04. 05.

CORAL TABLE JUMP INTO THE LIGHT STEREOMA MELJAC HIGH LINE NYC

NYC 07. 06. LightLIGHT BloomBLOOM NYC INFINTIY 08. 07. Infinity Helmet HELMET 09. 08. Spectroline 01 SPECTROLINE 01 10.09. Magic LettersLETTERS MAGIC 11.

Carpets of Stone

12.

Perl Residence

13.

Smokey Mountain Super Club

14.

Spectroline 02

15.

Mirage

16.

Manufacturing Processes

10. 11. 12. 13. 14. 15.

CARPETS OF STONE PERL RESIDENCE

SMOKEY MOUNTAIN SUPER CLUB SPECTROLINE 02 MIRAGE

MANUFACTURING PROCESSES


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.











ISOMORPHIC STAR TABLE JUNE 1ST 2020

Collaboration with Michael Sean Stolworthy 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. In the end we made a beautiful drink table.






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.







Installation Detail Shots Installation to be completed October 2020...





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









STEREOTOMY 2.0 PUBLICATION NOVEMBER 2018 EXHIBITION PUBLICATION: STEREOTOMY 2.0 & DIGITAL CONSTRUCTION TOOLS EDITED BY: GIUSEPPE FALLACARA & DUSTIN WHITE

DESCRIPTION: The “Stereotomy 2.0 and Digital Construction Tools” event was held in New York from April 16th to April 29th, 2018 at the New York Institute of Technology’s School of Architecture and Design (SoAD). The aim of the event was to disseminate theoretical and practical culture related to stereotomic architecture, from its sixteenth-century origins to the latest design applications. Interest around Stereotomy started to reawaken in the early 1990’s, within the researches about the history of construction. This new, favorable cultural climate has allowed a rediscovery of the discipline, both for its historical value and the unexpressed design possibilities. The diffusion of parametric modelling and digital fabrication tools creates the ideal conditions to design and build new stereotomic prototypes, which are typically characterized by considerable architectural and geometric complexity. Stereotomy today is no longer a historical discipline relegated to the past; it has returned to being the subject of study in several research centres across the world: Stereotomy 2.0. The event, conceived by Giuseppe Fallacara, supported and promoted by Maria Perbellini, Dean of SoAD NYIT, and edited by G. Fallacara and Christian Pongratz (Interim Dean of the School of Interdisciplinary Study and Education, NYIT), is in collaboration with the New York Institute of Technology, New Fundamentals Research Group, Zaha Hadid CoDe and part from AKT II. The event included several activities in many locations in New York City: a competition with workshops, a symposium and an exhibition. Finally, an exhibition held in the Par Excellence gallery presented the stateof-the-art research on digital stereotomy through physical models, prototypes and posters. The exhibition also included three prototypes of stone furniture, one made of massive stone and two of thin fibre-reinforced stone. This relatively new axis of research applies stereotomic techniques to the world of furniture design, thanks the latest generation of CNC machines and 3D modelling tools, which allow the creation of complex shapes informed by ergonomic data and optimized by structural analysis software developed in a full parametric environment. Among the three prototypes, “Lapella” by Zaha Hadid Architects has been designed, expressly for this exhibition, as the masterpiece of the event.


Building Construction I | 2017 | Prof. G. Fallacara

Building Construction II | 2018 | Prof. G. Fallacara

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SYMPOSIUM Curated by: Giuseppe Fallacara & Maurizio Barberio

Hernan Director and CEO, SCI-Arc (Southern California Institute of Architecture), and Principal of Xefirotarch Respondent: Maria R. Perbellini, Dean and Professor, NYIT School of Architecture and Design

03.07 “Déjà Vu"

NYIT Auditorium on Broadway 1871 Broadway Manhattan Campus

Fabio Pablo Design Principal e-Architects, Associate Professor, The Cooper Union Respondent: Naomi Frangos, Associate Professor, NYIT School of Architecture and Design

Robotic Touch—How Robots Change Architecture NYIT Auditorium on Broadway 1871 Broadway Manhattan Campus

and Digital Construction Tools 04.20

Carlo Founding Partner, Carlo Ratti Associati, and Professor of the Practice and Director, MIT SENSEable City Laboratory Respondent: Jeffrey Raven, FAIA, LEED BD+C, Associate Professor and Director of Graduate Program in Urban and Regional Design, NYIT School of Architecture and Design

02.21

Senseable Cities

NYIT Auditorium on Broadway 1871 Broadway Manhattan Campus

A3134e/1217/1M

04.04

16 West 61st Street 11th floor auditorium Manhattan Campus

Architecture in Formation: The Post-Digital as Design Authorship

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Architect, Gramazio Kohler Research, ETH Zurich Respondents: Naomi Frangos, Associate Professor, and Marcella Del Signore, Associate Professor, NYIT School of Architecture and Design

02.07

All lectures start at 6:30 p.m. R.S.V.P. to archevents@nyit.edu New York Institute of Technology is a registered provider of AIA/CES educational programs. Image: The Shed, Diller Scofidio + Renfro

On Friday, April 20th, 2018, in the 11th Floor Auditorium of the NYIT Manhattan Campus, there was the symposium “Stereotomy 2.0 and Digital Construction Tools”, introduced with opening remarks from the Dean of NYIT School of Architecture and Design Maria R. Perbellini. Moderated by Christian Pongratz, ten speakers from around the world contributed to the symposium. Following the conclusion of the speaker presentations a diverse debate on the presented issues and research occurred between the presenters and the public. Resulting a unique conversations on the future of Stereotomy in the built environment.

• Giuseppe FALLACARA, Associate Professor, Polytechnic of Bari, and Visiting Professor, NYIT School of Architecture and Design • Christian R. PONGRATZ, Interim Dean, School of Interdisciplinary Studies and Education, NYIT School of Interdisciplinary Studies and Education • Shajay BHOOSHAN, ZHC, Zaha Hadid Code • Edoardo TIBUZZI, P.Art, Akt II • Maurizio BARBERIO, Micaela COLELLA, New Fundamental Research Group • Dustin WHITE, Director, Digital Technologies & Fabrication, NYIT School of Architecture and Design • Bruno COMBERNOUX, Director of the Institute for Research and Training in Stone Professions for the Compagnons du Devoir Respondent: Giuseppe FALLACARA, Associate Professor, Polytechnic of Bari, and Visiting Professor, NYIT School of Architecture and Design

Symposium:

Stereotomy 2.0 and Digital Construction Tools 16 West 61st Street, 11th floor auditorium, Manhattan Campus, 9 a.m. – 5 p.m.

Exhibition:

Location: Par Excellence, 459 West 18th St, New York Dates: April 20–29, 2018 Opening: April 20, 2018 at 6 p.m. Visiting hours: Monday to Friday, 9 a.m. – 6 p.m.

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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’


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p.o.s food display adaptable savory vs sweet

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BOH

service bar prep zone various vendor plug-in

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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

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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


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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

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Front Elevation 1/4”=1’0”

Back Elevation 1/4”=1’0”

* Display area will be visible through clear panels

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Right Elevation 1/4”=1’0”

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Left Elevation 1/4”=1’0”




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Detail at Door (Bottom)

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7 Assembly Drawing - Exp loded Axo nometric

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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”

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PLAN AND SECTIONS

NOTES 01. 02. 03. 04. 05. 06.

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Pivoting door panel (48”W x 90”H each) Pivoting window panel (48”W x 37”H each) 2”x2”x1/4” steel structure, welded 2”x2”x1/4” steel foot, bolted to structure for leveling Vacuum formed Plastic sheets, 18”W x 11”H x 0.04 thick 2 layers of1/4” thick plywood, CNC, 1” wide horizontal and vertical grid size to align with plastic panel edges, pre-drilled holes for panel attachment with screws Service counter with display shelf underneath (see furniture) Lockable storage bins under display (see furniture) Mobile Stool (see furniture) 0.11 ga steel plate, laser cut (for furniture) 3/4” plywood floor Display area on shelving unit under counter visible from outside Pamphlet holder accessible from outside LED paper strip lighting with remote control fixed to steel Locking device 1”x1” solid steel section welded frame (for mold) 3/8” diameter steel rod (for pivots) 1/4” diameter steel rod (for door handle) Weld Fold Hinge

1

Plan 1/4”=1’0”

5

5

5

3

3

6

1

5 14

6

1 7 12 9 11 4

Section showing door openings 1/4”=1’0”

4

Section at Window Opening 1/4”=1’0”

8

2




INFINITY HELMET 2015 - CURRENT EXHIBITIONS:

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

COMPETITION: AUSTIN, TX - SXSW ECO | FINALISTS GRANTS: 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

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MIRROR

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MIRROR

+

+

+

001_A

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5

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2

1

1. 2. 3. 4. 5. 6. 7. 8. 8

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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 R2

mm

TOTAL TILE THICKNESS: 20mm

R5

15 -10 mm

840.0446mm

48 5

R3 R1

15 -10 mm

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 B4

B5

B5 x2

C1 B5

B4 A3

A4 B3

B1

C1 x1

B2 A2

A1

pongratz-perbellini ©


PERL RESIDENCE

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


DESIGN PROCESS


SPECTROLINE

COMPETITION + RESEARCH Competition: SXSW Pop Up Installation 2018 : Austin, TX Dichroic Painted Resin 3D Print


MIRAGE

COMPETITION + RESEARCH Competition: SXSW Pop Up Installation : Austin, TX Dustin White with Robbie Eleazor

DESCRIPTION: “Mirage” is a response to a five day competition for SXSW Eco Pop Up Installation. The proposal is a detached 10’x10’ synthetic surface condition that reflects the balance between the urban fabric and natural landscape. The design explores new spatial qualities, material effects, and volumetric intricacy through continuous surface geometries and skin topology systems. The resulting design opens-up opportunities at various scales in architecture, product, and landscape design. The installations form, color, pattern and material qualities mimic the surroundings, but its pleated shingled geometry and surface patterning evoke a more synthetic sensibility. The installations site location looks to blend the natural and the artificial to provide a more sensitive architecture that has minimal ground contact and is influenced by time and site objects. Its location is set near an existing tree, and this object influences the bounding edges of the design to accept and integrate the natural object. The formal strategy of the project plays off the set 10’x10’ boundary by slightly shifting the corner points which will affect how users circulate around the project. There is also an embedded drive curve logic built into the surface that establishes the surface pleating effect. At first glance one might notice the surroundings projected onto the design by its reflective embedded patterns but on closer inspection the laser cutting and CNC milled digital patterns emerge. To aid this effect a mirror film pattern is overlaid onto the pleat surface that creates a blurred condition between the natural and the synthetic. The final layer of adding LED tubes to the three void spaces of the surface will extend the idea of the blurred condition between the natural and synthetic. Prototype in process.....

DEEP SURFACE birds eye views pleated surface overview

DEEP SURFACE birds eye views pleated surface overview


SMOKEY MOUNTAIN SUPPER CLUB 2011-2014

RESTAURANT FIELD OFFICE | DESIGN TEAM ASHEVILLE NORTH CAROLINA CONSTRUCTION COMPLETED


MANUFACTURING PROCESSES & GEOMETRY STUDIES 2014 - CURRENT

Description: The following series of images is a never ending and constant exploration of material, geometry, and computational studies Skill building and a continuous effort to challenge and investaigate material effects and affects through machining processes and computational programming. The images represent a random selection of experiments of working with a range of digital software including, grasshopper, rhino, maya, computer aided manufacturing software and many others, and also many digital fabrication machines including: laser cutters, various 3D printers, and CNC machines.









DW | DF DUSTIN WHITE

DESIGN AND FABRICATION BROOKLYN, NY

SELECTED PORTFOLIO