Sophia Molnar Di Biase Master's Portfolio

Evolve S op hia M olnar Di B ia se

contact S ophia M olnar Di Biase Master of Advanced Architec ture IAAC June 2019 sophia.dibiase@gmail.com (719) 216 3947 2689 Juniper Ave Boulder CO 80304

Multiscalar Porosity Masters Thesis Reciprocity BLURB Digital Fabrication Vertical Vineyard Forces of Nature LAMA Hermitage Osage Community Center Private Jet Boulder Hostel Studio Shed Photography References

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Multiscalar Porosity Master’s Thesis Abstract: This research seeks to develop a material that is bone inspired, lightweight, structurally enhanced, and graphene enforced. Further, the material fluctuates its gradient of porosity according to specific architectural applications. With the natural structure of bones as the overarching precedent, one c an interpret rigidity and elasticity as key drivers of this research. Moreover, collagen and calcium phosphate make up the majority of out material ingredients, as they jointly offer a structural equilibrium of semi-ductility.

We designed and outlined our stand the drivers of pore effects of added graphene, physical and computational pore placement.

studies to undergeneration, the and finally the analysis of our

Specifically, upon investigation, sodium bicarbonate and added ice define p ore size in a controlled fashion when added to the base mixture and lyophilized. While the sodium bicarbonate controls material density at the molecular scale, added ice of varying sizes sublimates and results in the large scale porosity.

As we expanded our research, we found that the introduction of graphene oxide adds mechanical enhancement. Small pore size leads to structurally increased performance while large pore size allows for material saving strategies. This comparative study of structural behavior, pore size to compressi ve rigidity in the material was then applied to architecture with computational analysis. Digitally we interpreted compressive and tensile properties of the given architectural form and then applied the finely calculated pore size and distribution.

From these findings we conclude that sodium bicarbonate and finely distributed ice within a lyophilized sample fabricate controlled multiscalar porosity limitless by scale or architectural form.

This work was completed by the following researchers: Sophia Molnar Di Biase, Eszter Olah, Sara Alves da Costa, Anaisa Franco.

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M u l t i sc alar Po r o s it y

Mu l ti sca l a r P or os i ty

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Why the strong need for this material?

Construction waste is the largest contributor to landfills on earth. While population growth is constantly increasing, changes in fabrication methods are not keeping up. We took a step back and not only researched a material that is mainly composed of biodegradable substances, but one that also factors in material savings and nearly eliminating construction waste.

The main components of lightness and mechanical enhancement were inspired by the natural strength and weightlessness of bone.

The principal stress alignment of trabecular bones vary in porosity and consists of more material volume in areas of higher tension and compression. Upon further examination, collagen and calcium stand as the main ingredients of bone, and thus initiated the basis of our research.

A building material that is structurally enhanced with graphene allows for easier assembly and greater flexibility in size of individual components, as they are lightwe ight and easier to place and rearrange during construction. Further, the multiscalarity of porosity eliminates material where appropriate and thus saves on construction energy and costs.

How do we apply this material?

With sodium bicarbonate as the molecular pore generator, lyophilized ice stands as the large scale material saving pore generator.

Based on the deflection analysis and tension and compression strain on the given application, the gradient of porosity is applied (as exemplified with the sphere distribution in the third analysis on page 7). To summarize, the areas in red with high deflection res ult in low porosity while the blue areas of low deflection define the largest porosity.

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M u l t i sc alar Po r o s ity

high deflection medium deflection low deflection

tension compression

low porosity

high porosity

Mu l ti sca l a r P or os i ty

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The shape of the architectural proposal showcasing the final material was developed by manipulating two joint shapes: a rectangle and a triangle.

Intently folding, opening, and closing the geometry at different locations resulted in the formation and division of the space.

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M ul t i sc alar Po r o s ity

With our material applied to the roof, light filtration and material optimization go hand in hand to structurally showcase our lightweight mechanically enhanced building material. With hidden joinery, the roof appears to be one uniform solid: exemplifying the material's limitless form.

Mu l ti sc a l a r P or os i ty

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Re c i pr o c it y

The abstract fan-generated movement of sand inspired the architectural proposal and design of an aquatic floating society. Civilizations thrive on coastlines and riversides by taking advantage of drinking water, fishing, and irrigation. Throughout our study, we challenge the necessity of land for a well-functioning community structure and propose an environment in which floating villages are self sus taining with direct connection to their aquatic resources. Through a carefully controlled system of large scale fish farming, these bedrockanchored floating villages are continuously self supporting; boats retrieve fish from surrounding fish farms that are then sold at floating markets for the local inhabitants.

Re c i p r oc i ty

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INNER FEEDBACK LOOP

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The confluence of tides defines the transition between the occupiable radius of the human society and the harvesting and circulation area of fishing boats, as fish are drawn to these specific concentrations of nutrient rich water. This society maintains a mobile strategy of resettlement to prevent overpopulation and overfishing. To delineate, the semi-permanence of these civilizations allows for flexibility and adaptation; the floating communities reposition over the years as the sea is ever-changing and fluctuating in sea level. This continuous feedback loop of water and civilization adapting to one another results in systematic reciprocity of energy and resources.

This project was completed in collaboration with Deepak Sundaram and Surayyn Uthaya Selvan.

Re c i p r oc i ty

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THIS IS YOU (Gizmodo, 2015)

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B LURB

(Gizmodo, 2015)

(Masterfile.com, 2019)

THIS IS YOU (Psitek.net, n.d.)

(Mail Online, 2016)

(Raaijmakers et al., 2019)

BLURB

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The transition of social expression: the physical mask vs. the digital mask

STAGE 1 Physical for physical approval In 13th century Venice, Venetian Carnival era, people started wearing masks to break the hierarchy of society rankings. Attendees would wear these masks to hide their identities from authorities.

STAGE 2 Digital for physical approval With the extreme hype of social media in the early 2000s, people fixate on perfecting themselves with beauty filters for social validation. This, we define as the mask of the 21st century. The virtual society has gained a great deal of traction.

STAGE 3 physical for digital approval In 2053, the social and physical society has completely changed. Social media is not a tool to show ones “virtual life� anymore. Humans do not want to show themselves, as almost all information about us is accessible to the public. Thus, the human face is transformed and has become the mask that conceals our emotions.

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B LURB

(Web.500px.com, 2019)

(The Fashion Studies Journal, 2019)

(Gizmodo, 2015)

In the master’s course, Artifacts from the Future, we build a scenario of the year 2053 and design an artifact that tackles a specific social construct of that time.

The year is 2053. We live in a society in which we protect our emotional selves from the public eye and worldwide surveillance. Yet as emotional beings, we crave connection in this expressionless world and struggle to find a safe space for such human connection.

According to cultural historian, Tiffany Watt Smith, the crossover of emotion is evident in everyone. We rarely feel just one emotion, and emotions change and evolve over time. While technology has advanced to normalize facial recognition and emotional stability trackers, humans continue to crave social interaction and contact.

activate

connect

With the invention and development of the BLURB, we can once again share in detail how we feel without it being publicly logged and digitally documented.

How it works: Purchase your customized BLURB at BLURB.com and have it conveniently delivered. Activate your BLURB to personalize it to your mind and body. Connect your BLURB with anyone you wish to share emotions with.

There is no limit to the number of connections nor risk of hacking, as the BLURB operates on its own syncing system separate from the internet. When desired, touch the scanning sensor on the BLURB ring to initiate your body scan. Send and share your scan to the person or persons of your choosing and have them activate your scan at their convenience.

scan

Studying how the nervous systems of the body function in the early 2000s, we design the BLURB to work in unison with these nerve signals. The neurons transmit information with small electrical currents, and thus can be tracked and recorded. Without the time or risk of expressing emotion verbally in public, now you can administer your emotions in a safe, detailed, and discrete way.

What BLURB does for you: Be revolutionary - go off the grid and leave your electronic universe out of it The protected - feel secure sharing your emotions with a secluded system The instant - share at anytime and directly.

The social application - share your BLURB comfortably and privately in any social situation.

share

A 21st century anti-surveillance tool-kit Finally. Share how you feel without your face revealing it. BLURB.com BLURB was designed in collaboration with Hena Micoogullari and Nicola Colella

receive BLURB

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D i g i t a l F ab r ic at io n

Through digital fabrication, various methods were explored to design and construct light filtering globes. CNC milling foam to act as a mold for dyed resin resulted in the earth-like sphere. Applying a waffle connection to laser cut components played with amount of light emitted depending on one’s angle of view (seen in the top image on this page). Finally, 3D printing a thin-ridged surface stood as more of a modest and blurred filtration of light (bottom image on this page).

This project was done in collaboration with Justin Sheinberg and Manan Jain.

Di gi tal Fa b r i c a ti on

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V e r t i c al V in e y ar d

Verti ca l V i n e y a r d

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Ve r t i c al V in e y ar d

Starting with individual design proposals, we collaboratively transitioned from a spineinspired repetitive system of triangular modules to a more material saving vertical vineyard.

The final design incorporates the modularity and limitless stacking system while allowing for larger openings in the center. These spaces host hanging planters for the grape production of this innovative proposal for land-saving agriculture. A closed loop hydroponic system encourages ease and flexibility in grape production. That is, not only can square footage of land be saved by growing in the vertical direction, but one such system can be brought to the urban farming setting as well.

With the human population growing at its exponential rate, the need for alternate food production methodologies drove this design build.

The five meter tall full-scale prototype was finalized by the Vertical Vineyard Workshop at the Institute for Advanced Architecture, Catalonia, in collaboration with The Architectural Association School of Architecture, London.

Verti ca l V i n e y a r d

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FORCES OF NATURE A SUBTLE AQUATIC INSPIRED FORM-FINDING STUDY

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Fo r c e s o f Nat u r e

Through computational design, adaptable and mobile surfaces were analyzed to design a shady gathering space for the rooftop of the Institute for Advanced Architecture, Catalonia (IAAC). With modifiable variables such as edge length, tension, anchor points, and inflation loads, various scenarios were discovered and documented. With shorter edge lengths, and lower inflation, the structure is more rigid and close to the ground: suitable for high wind sites and off-season use. The larger openings are suitable for events and high use as the large openings allow for ease of circulation.

F o rces of N a tu r e

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Once we collaboratively finished the design and fabrication of a 140 square foot hermitage at the LAMA Foundation, a spiritual retreat center in Taos, I designed and fabricated two sliding door storage units for the interior. I wanted to both incorporate enclosed storage for cleanliness as well as exposed shelving for ease of access. By laser cutting geometric imagery of The Great Wave of Kanawaga, the symbolism of the LAMA Foundation’s focus on spirituality and worship was subtly carried out and displayed for guests of the remote hermitage.

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LA M A He r m itag e

L AMA H e r mi ta ge

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OSAGE ST. COMMUNITY CENTER

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O sa g e C o m m u n it y C ent er

The up and coming Highlands Community in Denver is not only a desirable district to live in, but is also full of social attractions such as restaurants and pocket parks. The addition of a community center creates a localized and accessible location for the various users to gather and connect. As one moves vertically through the center, the square footage of each floor decreases to exemplify the transition from public to more private spaces.

The first floor contains a sunken courtyard that invites people to gather socially while exploring the gallery space and coffee shop. The second and third floors include more secluded areas such as film rooms and offices.

Osage C o m m u n i ty Ce n te r

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While 3D modeling a private jet, I modernized the interior to create a more homey, intimate, and comfortable method of transportation. The design and structure were made using Rhinoceros, and the rendering was produced with VRay rendering tools.

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Private Jet

Finely designing the interior of the jet allowed me to explore the capabilities of modeling irregular shapes in the 3D software. The curvature of the walls initiated interesting lighting and reflection studies.

P r i va te Je t

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This final bachelor’s assignment sought to develop organic shapes that embrace curvature and stray away from linearity and square design. The play with form leads the creation of a two-story hostel located near the Mesa Trailhead at the base of the Flatiron Mountains in Boulder, Colorado.

The landscape at the base of the mountains is an iconic site for the recreational hostel. The city of Boulder attracts outdoor enthusiasts to mountain bike, rock climb, hike, and ski. While studying the site, I was immediately drawn to the concept of bringing the outside into the built space and vice versa. Bridging the gap between shapes as well as the natural built environment guided the overarching design.

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Bou l d e r Ho s te l

The solids and voids and curvatures of the early parti models guided the separation of uses throughout the hostel. Incorporating a large courtyard emphasized bringing natural light and airflow into the structure and was a result of such divisions of space.

Furthermore, the orientation of the hostel allows for the slanted roof and taller walls to point to the southeast, the spectacularity of the wide views on site. This positioning also defines the courtyard and focal point of the two roof angles, leading to the separation of these curved surfaces.

B o u l d e r H os te l

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A

Womens bathroom Mens bathroom Pool Elevator Atrium Computer lounge and library Storage Kitchen and bar Reception

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Art gallery Dining area Sports equipment rental Kiosk Lounge and TV room

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Womens bathroom Mens bathroom Pool Elevator Three two person rooms Two one person rooms Master suite room Entertainment area B

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B ou l d e r Ho s te l

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The focal points and high use areas of the hostel are the courtyard and large patio space. These host the social gatherings and dining experiences of the guests while the upstairs secludes the spaces of more private rooms and bathrooms.

The library and gallery spaces on the first floor invite guests from all over the world to become more informed of the nature and activities offered in the area.

The blending of indoor and outdoor space stands as a main design agenda. This seeks to encourage users to become one with their surroundings while having access to leisure and necessities during their stay. The indoor-outdoor pool as well as the dining area exemplify this while the shape and curvature of the building are inspired from the surrounding landscape.

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S t u di o S h e d

Working as the lead interior designer at Studio Shed, I designed modular multi-use backyard spaces.

These included offices, pool houses, yoga studios, art studios, and workshops. With prefabrication as a main objective, production and design varied in size as well as finishing details of siding, color, and window layout. We designed and shipped to clients all over the United States.

S tu d i o S h e d

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S t u di o S h e d

Designing units as large as 16x34 square feet branched away from single use rooms and resulted in complete living spaces. As seen in this home comprised of three of the largest units, the individual structures broke up the various uses. In other words, one 16x34 space stood as the kitchen and dining space, the second unit included bedroom and bathroom, and the third space provided the living and lounging area.

S tu d i o S h e d

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Messe Basel New Hall, CH

Vitra Haus, DE

Vitra Haus, DE

Messe Basel New Hall, CH

Vitra Design Museum, DE

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P ho t o g r ap h y

Vitra Campus, DE

Vitra Fire Station, DE

Vitra Fire Station, DE

Vitra Fire Station, DE

Vitra Design Museum, DE

Girona, ES

Photogr a p h y

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Girona, ES

Basel’s Markthalle, CH

Warteck Brewery, Basel, CH

Vitra Campus, DE

Kunstmuseum Basel, CH

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P ho t o g r ap h y

Herzog & De Meuron Office, CH

Banff National Park of Canada

El Potrero Chico, MX

Banff National Park of Canada

Banff National Park of Canada

British Columbia, CA

Banff National Park of Canada

Three Sisters, Canmore, Alberta, CA

Three Sisters, Canmore, Alberta, CA

Ph otogr a p h y

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Photo Credits: G i zm od o. ( 2 0 1 5 ) . H e r e' s h o w mu c h lig h t in g c a n c h a n g e t h e wa y som e on e 's f a c e lo o ks . [ o n lin e ] A v a ila b le a t : h t t p s : / / g iz mo d o.c om /h er e s - h o w- mu c h - lig h t in g - c a n - c h a n g e - s o me on e s - f a c e - 1 6 2 0 6 4 8 0 7 6 [ A c c e s s e d 1 D e c . 2 0 1 9 ] .

M a st e r f i l e .c om . ( 2 0 1 9 ) . S t u dio po r t r a it wh it e b a c kg r o u n d n o t sm i l i n g n ot a n i m a l s S t o c k P h o t o s - P a g e 1 : M a s t e r f ile . [ o n lin e ] A v a i l a b l e a t : h t t p s://www. ma s t e r f ile . c o m/ s e a r c h / e n / s t u dio + po r t r a i t +w h i t e +b a c k g r o u n d+ n o t + s milin g + n o t + a n ima ls [ A c c e s s e d 1 Dec. 2019].

P si t e k .n e t . ( n .d .) . T h e M a s t e r K e y S y s t e m | Ch a r le s F H a a n e l | F R E E . [ on l i n e ] A v a i l a b l e a t : h t t p: / / www. ps it e k. n e t / pa g e s / P s iT e kT M K S Co n t e n t s . h t ml# s t h a s h . mj0 3 t V kK . dpbs & g s c . t a b = 0 .

We b .5 0 0 p x . c o m. ( 2 0 1 9 ) . 5 0 0 p x . [ o n lin e ] A v a ila b le a t : h t t p s : / / we b . 5 0 0 px . c o m/ p h o t o / 2 9 7 2 1 2 4 7 / V e n i c e -Ma sk -b y-A d r e a -Si l v e s t r i/ ? u t m_ me diu m= p in t e r e s t & u t m_ c a mpa ig n =n a t i v e sh a r e &ut m _ c on t e n t = we b& u t m_ s o u r c e = 5 0 0 p x [ A c c e s s e d 2 Dec. 2019].

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Re f e r e n c e s

M a i l O n l i n e . ( 2 0 1 6 ) . P h ot o g r a ph e r r e v e a ls in t ima t e ph o t o s o f me n c r yi n g a n d w om e n l a ug h in g . [ o n lin e ] A v a ila ble a t : h t t p s : / / www. d a i l ym a i l .c o.uk /f e m a i l /a r t ic le - 3 7 9 8 4 1 9 / W h a t - s a dn e ss-j oy-R EA L L Y -l ook -l i k e -P h o t o g r a ph e r - c a pt u r e s - me n - c r y in g - wo me n -l a ug h i n g -c l a i m s-se xe s-su p pr e s s - e mo t io n s . h t ml [ A c c e s s e d 1 D e c .

2019].

R a a i j m a k e r s, M., R a a i j m a ke r s , M . , R a a ijma ke r s , M . a n d D a y , C. ( 2 0 1 9 ) . Sc r e a m ... M on i q u e R a a ijma ke r s . [ o n lin e ] M o n iqu e R a a ijm a k e r s. A v a i l a b l e a t : h t t p s : / / www. mo o n - p h o t o g r a p h y.n l /2 0 1 8 /1 0 /1 9 /sc r e a m/ [ A c c e s s e d 1 D e c . 2 0 1 9 ] .

We b .5 0 0 p x.c om . ( 2 0 1 9 ) . 5 0 0 p x . [ o n lin e ] A v a ila b le a t : h t t p s://w e b .5 0 0 p x.c om /p h o t o / 2 9 7 2 1 2 4 7 / V e n ic e - M a s k- b y - A n d r e a -Si l v e st r i /?ut m _ m e d i u m= p in t e r e s t & u t m_ c a mpa ig n = n a t iv e s h a r e &ut m _ c on t e n t =w e b &ut m _s o u r c e = 5 0 0 p x [ A c c e s s e d 2 D e c . 2 0 1 9 ] .

T h e F a sh i on St ud i e s J our n al. ( 2 0 1 9 ) . Co n s ide r in g S n a p c h a t F ilt e r s a s D i gi t a l A d or n m e n t — T h e F a s h io n S t u die s J o u r n a l. [ o n lin e ] A v a ila ble a t : h t t p ://w w w .f a sh i on st u die s jo u r n a l. o r g / [ A c c e s s e d 2 D e c . 2 0 1 9 ] .

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S op hia Mo lna r Di Bia se