Portfolio Joseph Chiafari
Portfolio
theater model color powder print 2012
texture map photoshop 2012
exterior view poured rubber + steel 2002
“Tenuous Equilibrium”
Design .08 - .12
explorations in the pile as form spring 2012, architectural design studio Accretion, Clustering, Excess and The New Loaded Whole development of a new formal language or building topology
“Hasan Residence” volume still intact fall 2007, peter gee architect 245 83rd street, brooklyn, ny 11209 an exercise on maintaining volume remains unrealized as of winter 2012
“Organization Systems: Recreation Center”
Material Research .10
aggregated whole body units spring 2010, architectural design studio drawing and model explorations devised a multiple part approach by negotiating solid, void, and transition elements
“Diagramming and Spatial Constructions” fruit-craft spring 2010, visual studies seminar drawing and model explorations a collaboration with Han Zhang combining colliding skin conditions
“SCI-Arc 2012 Grad Thesis”
Installation .01 - .12
dirty privileged matter summer 2012, architectural thesis semester drawing and model explorations harnessing anexact depictions as a new formal language research into containing the mutted line
“Corian Research” geometrically configured fall 2011, advanced tectonics seminar drawing and model explorations a collaboration with Gaela Bongo, Sean Lee, Mostafa Ghaffari, + Joseph Ramiro a design + build exploration with 1/4” thick corian
“McHale Archive” hard, soft, and translucent spring and summer 2001 + 2002, architecture independent study 310 hayes hall, 3435 main street, buffalo, ny 14214 a collaboration with Mehrdad Hadighi, Tim Burke, Jose Chang, + Noboru Inoue design + build with 1” thick poured rubber + 1/2” aluminium
table of contents a portfolio by Joseph J Chiafari
massing model color powder print 2012
front elevation
right elevation
rear elevation
left elevation
plan
explorations in the pile as form “Tenuous Equilibrium�
branching
Tenuous Equilibrium: Accretion, Clustering, Excess and The New Loaded Whole was a studio concerned with revisiting the Busan Concert Hall competition brief. The goal set forth from the beginning was to develop a proposal with a potentially new formal language or building typology. Initially the studio was tasked with altering an existing grasshopper code to elucidate formal results that they could explain as a strategy for massing. With the formulation of this initial mass my approach centered around the permeability and potential stratifying of the vertical trajectory. By providing void conditions I developed a base condition separate from a hovering mass that would eventually be tasked with housing the body of the concert hall. The strategy centered upon methods of circulation that would connect the base lobby area with the overhead mass of the building. My approach developed from a rectilinear geometry set to a polyhedral base unit to account for the desire to arrive at a more bulbous or organic looking result.
mass characteristics mental ray + illustrator 2012
After completing the initial mass studies we were instructed to use a similar approach to develop the mass of a theater. The goal was to incorporate seating and proscenium opening considerations into the orientation of the base geometric element. My proposal incorporates the theater and building mass together by nature of the geometric primitive that links to two spaces together. The theater was modified to fit an area voided out of the central vertical mass, where both geometry sets to begin to link to one another and shape public spaces. These then re-inform the circulation system that wraps around the exterior. The result is a building that has a unique play on transparency and shading while providing a new iconic structure for Busan.
“Tenuous Equilibrium” explorations in the pile as form spring 2012, architectural design studio Accretion, Clustering, Excess and The New Loaded Whole development of a new formal language or building topology
Void
Joseph Chiafari
Instructor_Marcelo Spina
AT_James Vincent
Jos
seph Chiafari
void
facade shading
Project Description “Tenuous Equilibrium” Proposed Exterior Spina Instructor_Marcelo
AT_James Vincent
Joseph Chia
volumetric studies illustrator, maya + mental ray 2012
placement
nt Isometric
Joseph Chiafari
Instructor_Marcelo Spina
mass
ss Isometric
Joseph Chiafari
Initial Orientaion “Tenuous Equilibrium�
Instructor_Marcelo Spina
AT_James Vince
project conception illustrator, maya + mental ray 2012
nesting
placement
circulation
carving out
Diagraming an Approach “Tenuous Equilibrium”
project documentation illustrator, maya + mental ray 2012
Theater Plan
plan at theater level Joseph Chiafari
site plan
Instructor_Marcelo Spina
AT_James Vincent
Joseph Chiafari
Instructor_Marcelo Spina
AT_James Vincent
section
Context on the Site Joseph Chiafari
“Tenuous Equilibrium”
Instructor_Marcelo Spina
AT_Jam
front elevation
Front Elevation
Joseph Chiafari
Side Instructor_Marcelo SpinaElevation AT_James Vincent
side elevation
Joseph Chiafari
Instructor_Marcelo Spina
chimney removal absent brick + mortar 2008
attic floor interior elevation view
rear elevation
chimney tear down detail
crawl space plan view
crawl space interior elevation view
crawl space plan view
volume still intact “Hasan Residence�
* 245 83rd st, R2
nyc zoning map 22b An historic Victorian home, a liquidity crisis, and a client with outdated property information, coalesced this past fall into a fuming ball of frustration. How he was stymied by a difference in square footage he didn’t comprehend, I’ll never understand. Yet, the real estate broker in him demanded that we retain every square millimeter, while completely reshaping the home’s aesthetics.
new purchase, we understood the shape we were allowed to operate within. This did not significantly augment our typical process of developing geometries via a zoning analysis. We were pleasantly surprised to see how much space was up for allocation. While the heights were astounding, a modest 600 square feet exceeded allowable norms. This was 19% over the 3,200 square feet determined by evaluating the lot.
Fortunately, Mr. Hasan had done his homework with the Landmarks Preservation Commission. He understood that his building’s 19th-century façade was something we could alter. Yet he had not researched the domicile’s zoning parameters. The faulty premise he used while purchasing this home was its proximity to a medium-density zoning block. Not surprisingly, in a dynamic metropolis such as New York City we still retain a bureaucratic Department of Buildings. To Mr. Hasan’s dismay, the agency had recently down-zoned his new neighborhood. To his surprise, I was excited by this conundrum; it was an excellent design opportunity.
Surprisingly, these regulations increased our flexibility to meet the client demands. Mr. Hasan had marginally considered his aesthetic sensibilities and a scale with which to occupy the building. Happily for me, regulatory limitations provided a framework with tangible dimensions.
Mr. Hasan’s desire to maintain the volume he had purchased quickly negated his initial instinct to tear down and build a new structure. A quirk exists in the zoning code which allows alterations on existing buildings to supersede allowable standards, if the alteration does not increase the building’s degree of non-compliance. With this information, the client was willing to work with us, designing based on the existing conditions. As long as we maintained 50% of the exterior walls, we were allowed to redistribute floor area throughout the home.
The second floor became the family’s bedroom area. A master bedroom occupies the front of the house, closest to the noise from the street. This configuration shields the children from excess noise and light, ensuring a better night’s rest.
We arrived at our design by weighing Mr. Hasan’s initial concerns and drawing diagrammatic plans. Working with these documents, the decision was obvious: volume would be pushed down from the attic. Mr. Hasan stated his intension to exclusively use this floor for additional sleeping quarters.
Coming down to the first floor, we developed a great room capable of hosting large family gatherings, where the dining room and living room can function as one. The mechanical facilities are easily accessed from a side entrance while also being accessible from the kitchen.
Armed with a program of simplifying the floor plan and providing maximum-height spaces, we began with a detailed Sadly, with all of the work completed, this home remains unsurvey of the existing Victorian. After documenting Mr. Hasan’s built because of financial issues.
“Hasan Residence” volume still intact fall 2007, peter gee architect 245 83rd street, brooklyn, ny 11209
Project Description “Hasan Residence”
Volumetric Shifts “Hasan Residence”
volume to be relocated wood siding 2008
left side elevation view from interior stair window
left side elevation detail view from interior stair window
Area Justifications “Hasan Residence”
Reutilized Walls “Hasan Residence”
Fitting into the Existing Envelope “Hasan Residence�
volumetrically equated wood siding 2008
rear elevation left side front elevation left side detail photoshop poche
photoshop poche
cobinatory potentials rhino + illustrator 2010
aggregated whole body units “Organization Systems: Recreation Center�
plan
body
section
unit develpment system rhino, illustrator + photoshop 2010
Organization Systems: Recreation Center was an informative exercise on how to conceptualize and achieve a desired condition using both an expansive vocabulary in geometry and an informed layout of a structure. The material exercise was the most exciting portion, where we were devising an approach and struggling through assembling spatial conditions we would later manipulate to achieve a final building. Exploring the material possibilities allowed students to think three dimensionally without the restrictions of meeting the demands of a program. This enabled me to devise a multiple part approach by negotiating solid, void, and transition coupled with negotiating multiple levels of transparency. These exercises informed the final structure by empowering the designer with an arsenal of spacial solutions which could be implemented to meet programmatic requirements. My personal challenges arrived when we were required to link these conditions seamlessly together. The studio was informative in the possibilities and short comings in devising such a systematic approach. Yet I learned through the experience of the faculty and my peers, whereby I was exposed to a myriad of approaches in designing with such an exciting program in mind.
body on site rhino + illustrator 2010
“Organization Systems: Recreation Center” aggregated whole body units spring 2010, architectural design studio drawing and model explorations devised a multiple part approach by negotiating solid, void, and transition elements
Project Description “Organization Systems: Recreation Center”
body analysis polyurethane rubber 2010
unit develpment system deployed worm’s eye axonometric rhino + illustrator 2010
render quality testing excerpts from surface combination series rhino + maxwell 2010
surface sample one
surface sample edge quality
standard surface sample
a collaboration with Han Zhang
fruit-craft “Diagramming and Spatial Constructions�
process solid
micro
datum
Diagramming and Spatial Constructions proved to be an intensive on the techniques of communications for today’s architecture professional. We encountered the 3d mill, 3d printer, advanced modeling techniques in Rhino and combined those capabilities with orthographic drawing techniques and conventional model building. The ďŹ rst portion of the semester provided skills building exercises that prepared students for joining in pairs of two and conceptualizing a space to be represented using these new techniques. Group exercises proved to be intense, because of a desire to successfully complete the work load and to achieve a desirable result when making compromises to ensure a productive partnership. Designing and building the fruit-craft only fully revealed itself as such towards the end of the process. My partnership dealt with the parameters of this project from a perspective of achieving tectonic and technical goals and placing the conceptual framework as a secondary concern. Though, this approach could lead to a large collection of possibilities, the fruit-craft was the result of a desire for a desire for structure relative to the three dimensional possibilities we envisioned for the design through combination skin condition. Because both initial project dealt with issues of inversion of surface, the decision was made to prioritise the structure as a device to not only hold but also to encapsulate a new dynamic skin.
datum
datum
surface construction
datum void
rhino + illustrator 2010
resituated new fruit rhino, maxwell + photoshop 2010
“Diagramming and Spatial Constructions” fruit-craft spring 2010, visual studies seminar drawing and model explorations a collaboration with Han Zhang combining colliding skin conditions
Project Description “Diagramming and Spatial Constructions”
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three dimensional surface studies rhino + illustrator 2010
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new fruit powder print + photohsop 2010
Combinatory Exercises “Diagramming and Spatial Constructions”
bird’s eye perspective three dimensionally milled foam
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human’s eye perspective three dimensionally milled foam
D-D
E-E
1-1 2-2
3-3
4-4
5-5
6-6
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worm’s eye perspective three dimensionally milled foam
surface investigation rhino + illustrator 2010 Cherimoya
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rubber cathedral series 60% interior mass plaster casts 2000
30 degree
45 degree
60 degree
45 degree
dirty privileged matter “SCI-Arc 2012 Grad Thesis�
This thesis proposes the development of an index of resultant effects through a process of reassembling and resampling known architectural artifacts. The proposal identifies normative or lo-fi modes of capturing spatial conditions, which will be referred to here as matter, that will then be captured, coupled, and constrained via a process of photogrammetry and digital modeling techniques. By experimenting with expanding the territory of the anexact, the modes of operation identified here in will serve as the constraints for developing possibilities found in the simulacrum. This pursuit will cull the accumulated matter seeking a new sort of layered drawing that will identify new modes of defining spatial effects. The primary mode of inquiry begins at the found artifact. Freud devises a metaphor to begin his text titled: “Civilization and Its Discontents.”, where in he states that “Where the Colosseum now stands we could at the sane time admire Nero’s vanished Golden house … The same piece of ground would be supporting the church of Santa Maria sopra Minerva and the ancient temple over which it is built.” Subsequently, Stephen Jay Gould quotes Freud to demonstrate the human mind’s mapping capabilities. Gould places Freud’s conceptual notion directly in opposition to basic physics, acknowledging that two objects cannot occupy to same space at the same time. This thesis seeks to mine the territory found in the space that Gould identifies when he states that, “Freud acknowledged the physical reality (found in physics), but he celebrated, in happy contrast, the mind’s power to overlay current impressions directly upon past memories. The mind, he argued, might be compared with a mythical Rome that could raise a modern civic building upon a medieval cathedral built over a classical temple, while preserving all three structures in the same spot.” Based upon a previous series of casts in polyurethane rubber, the potential of retaining and augmenting trace elements of matter, will form a framework for mapping potentials that stray from the normative geometries found in the formwork.. Additional investigation will occur when the resultant casts are imported into a digital environment via a process of photogrammetry. The mapping of multiple casts (from the same mold) will inform an indexed study of the waving contour and the possibility of deriving new notions of the poche from volumetric intersections. Other questions this thesis seeks to investigate include the precision of the scanning process and the possibility of capturing ruptures in the skin.
“SCI-Arc 2012 Grad Thesis” dirty privileged matter summer 2012, architectural thesis semester drawing and model explorations harnessing anexact depictions as a new formal language research into containing the mutted line
double skinned cathedral anexact misregistration silicone rubber cast 2012
Project Description “SCI-Arc 2012 Grad Thesis”
Multipart Casting Device 3/4� plywood + dowels photoshop 2012
Piece Logic Reconfigured Layover “SCI-Arc 2012 Grad Thesis”
anexact iteration Alberti’s Sant’Andrea polyurethane rubber cast series photoshop 2012
anexact iteration revisited Le Corbusier’s Ronchamp digitized laytex rubber cast series maya + mental ray 2012
Stacked “SCI-Arc 2012 Grad Thesis”
Grand Ave. mental ray + photoshop 2012
view SW at Grand Ave. and Temple St.
Los Angeles, CA
photogammetry dance illustrator + photoshop 2012
view NE at Grand Ave. and Temple St.
Captured “SCI-Arc 2012 Grad Thesis�
initial piece logic model
thesis exhibition SCI-Arc Main Space 2012
thesis components installed
whiteread ronchamp + large piece logic model
double skinned cathedral anexact misregistration silicone rubber cast 2012
Exhibited “SCI-Arc 2012 Grad Thesis�
propped cathedrals axonometric series laytex rubber cast 2012
double interior mass
single interior mass
triple interior mass
no interior mass
Resultant Formal Language “SCI-Arc 2012 Grad Thesis�
series of layered masses rhino + illustrator elevations 2012
composite series of interior mass models
propping details laytex rubber cast 2012
no interior mass model
Line Fidelity “SCI-Arc 2012 Grad Thesis�
no interior mass rhino, illustrator + mental ray rendered line elevations 2012
no interior mass model
propped series laytex rubber cast plan 2012
single interior mass model
Quality Rendered “SCI-Arc 2012 Grad Thesis�
corian material studies manipulation techniques 2011
twist test
modulation test
temperature test
embedded pattern test
a collaboration with Gaela Bongo, Sean Lee, Mostafa Ghaffari, + Joseph Ramiro
geometrically configured “Corian Research”
“Corian Research” geometrically configured fall 2011, advanced tectonics seminar drawing and model explorations a collaboration with Gaela Bongo, Sean Lee, Mostafa Ghaffari, + Joseph Ramiro a design + build exploration with 1/4” thick corian
carving, heating and bending corian + milled foam 2011
pattern on form rhino + illustrator 2012
The groups’ objective with our midterm exploration was to identify the inherent prosperities in Corian, that we would then exploit for our final submission. With this intent we found that Corian was able to accept all sorts of spatial manipulation after it had reached a temperature of 350 degrees Fahrenheit. It’s other property that we found was it’s ability to be milled, resulting in Corian’s capability of accepting intricate patterns and possibly fascinating geometric potentials. With these attributes, we decided to approach the material with an intention of deploying it as a surface condition that we could modulate and potentially panelize because of Corian’s additional ability to adhere to itself seamlessly, with no need for additional fasteners. With all this is mind, we set out to create results that reflected the above learned information. After innumerable experiments with a simple geometry that could be aggregated or a three dimensional expression of an intersection where the Corian would simulate the qualities of connective tissue, we found that simply mapping these surface qualities with a bulging surface, where the flat sheet bubbles up to accept an intricate pattern was going to be our approach. Something simple with a variable section that could display the materials qualities was more important than achieve acrobatic connections for this demonstration. The images that are displayed on the accompanying pages document our progress and the projects final iteration for midterm.
Project Description “Corian Research”
1/ 4"
3'-11 3/4"
5 1/8"
4 9/16"
3 15/16"
3 15/16"
3 15/16"
3 15/16"
3 15/16"
3 15/16"
1'-11 3/4"
11 13/16"
0
1/ 4"
3 15/16" 0
3 15/16" 1/ 4"
1'-11 3/4"
3 15/16"
3 15/16"
0
3'-7 5/16"
7 9/16"
7 1/4"
6 13/16"
6 5/16"
5 5/8"
3 15/16"
4 7/8"
3 15/16"
0
1/ 4"
7 13/16"
3 15/16" 3 15/16"
3 15/16"
11 13/16"
3 15/16"
0
1/ 16 "
1'-3 1/16"
1'-4 1/16"
1'-5 11/16"
0
1/ 4"
2'-2 3/8" 3 15/16"
3 15/1 6"
shop documents rhino + illustrator 2011
3 15/16"
6" 3 15/1
/16" 3 15 6" 5/1 31
developing a technique corian + mdf 2011
Projecting Image
Corian Sheet
Form Ribs Seperated Corian Strips
Form Spines
process development rhino + illustrator 2011
Deliberating a Form “Corian Research�
create molds
clamp together until cool
prepare for heat
thermoform corian
glue seams together
sand clean
Execution “Corian Research”
patterned gradient elevation + details 2011
finalizing a mass rhino, illustrator + maxwell 2011
Permeability and Patern “Corian Research�
etched corian rhino + illustrator 2011
2”x10” steel box beam rotation
310 hayes hall 06.22.2001, 7:45 pm
310 hayes hall 06.22.2001, 8:00 pm
310 hayes hall 06.22.2001, 9:30 pm
310 hayes hall 06.25.2001, 9:30 am
a collaboration with Mehrdad Hadighi, Tim Burke, Jose Chang, + Noboru Inoue
hard, soft, + translucent “McHale Archive�
low horizontal aluminium case
top
drill press routine 101 crosby hall aluminium shop 2001
9:30 am
4:45 pm
4:00 pm
3:15 pm
2:30 pm
12:45 pm
12:00 pm
11:15 am
10:30 am
“McHale Archive” hard, soft, and translucent 9:45 am
spring and summer 2001, architecture independent study 310 hayes hall, 3435 main street, buffalo, ny 14214
9:00 am
0:00:00
0:00:05 0:02:25 0:05:18 0:08:10
side
front
2”x10” steel box beam + 30”x1/2” aluminium table top rotation of beam into steel box wall cavity, cast with concrete into terracotta block wall section drawing of 310 hayes hall 2001
“Hard” is the precisely-milled 1/2” thick aluminum. This is our design, construction, and material study exercise. Two graduate students, two undergraduate students, and a faculty member were selected to develop a program, drawings, and built works. The objective was housing the McHales’ collected efforts and research. Our concept materialized by synthesizing a combination of the McHales’ ideas of transience and mobility with the team’s perceptions of long term storage. Aluminum was chosen for its exacting edge conditions, clean mill finish, and scalar proportions that matched our needs. Revered publications, print and bound research, and literature must receive the respect they are due. This only happens when its new domicile meets unyielding standards.
Again, combining motion, hardness, and translucency, we developed a table with invisible legs. A 2” x 10” x 23’ steel box beam was delivered through Hayes Hall’s second story window, by crane. Led by Professor Hadighi, armed with his car jack, the three of us proceeded to rotate the beam, our gift from the university, into its final resting position. We achieved our intrusion into this 19th-century structure by casting steel boxes into its terracotta walls, with concrete and threaded anchors. Locking the steel support into position required hammering one 2” x 10” x 17” solid steel block into the void beneath the beam. Matching the aesthetic of the book cases, we topped our joist with a cantilevered, 1/2” thick, finely milled aluminum plate.
The translucency is the nearly unperceivable floatation of these massive elements within the University of Buffalo’s 310 Hayes Hall. To contain the McHales’ explorations, we designed uniform bookcases measuring 11’-6” x 2’-6” x 10”. These elements are installed vertically or horizontally on either axis. Incredibly, these proportions are balanced on 1.5” casters, promoting migratory access to the McHales’ collections.
Fitting the table into position was the by-product of weekly meetings and late night probes. This was an experience in project management while simultaneously maintaining construction responsibilities. We were co-conspirators in design, budget oversight, quality control, and leg work, through which I gained a ton of valuable experience.
Project Description “McHale Archive” (hard)
desk
vertical cases
low horizontal case
mid horizontal cases
5 30”x10”x11’-6” 1/2” thick aluminium bookcases floor plan of 310 hayes hall autocad and photoshop poche 2001
vertical aluminium cases
mid horizontal aluminium cases
Installed “McHale Archive� (hard)
low horizontal aluminium case + 2�x10� steel box beam desk
low horizontal aluminium case
rubber cabinet hinge test basement 108 parker hall rubber casting shop 2002
0% open
10% open
45% open
85% open
a collaboration with Mehrdad Hadighi, Tim Burke, Jose Chang, + Noboru Inoue
hard, soft, + translucent “McHale Archive�
When contrasted with hard, soft is flexible, voluptuous, and colorful. For our installation, “soft” articulated itself as a 1” thick, poured rubber coating surrounding six existing steel case filing cabinets. Maintaining our programmatic elements of archive and the McHales’ interest in mobility, the same team of faculty and students reconvened one year later. The term “soft” was used as a descriptor for something permeable and fluid that was being gelled together. Our new goal of re-shaping the McHales’ filing system shifted our focus to transitioning knowledge. Our schedule of intensive meetings and exploratory research quickly regained its steam. Lessons learned from our initial construction were applied to a completely new material with unforeseen virtues and unanticipated complications. While crafting the aluminum we were machinists, exacting in our production procedures and continually perfecting our techniques. Rubber’s lack of definite form, the quality we sought to showcase, forced us to think differently about our routines. How would we achieve undulations in its surface? What could we expose about the McHales’ knowledge base that was associated with the rubber’s inherent physical properties?
tension bolt
Experimentation solidified our objectives. We activated our stated goal of contrasting this new piece with the existing aluminum insertions. Translucency became our ideological connector. Product research led us to a semi-transparent poured rubber with a glowing amber finish. To exacerbate a contrast between books, “hard” knowledge and files, “flexible” or “soft” knowledge, we chose to augment the material’s color. We sought a candy-colored, lime green, an exclamation point to our office redesign. We came equipped with two goals as we entered our reconstituted shop space. First, how would we reconfigure the current filing cabinet to induce our desired clarity? Then, we had to devise a strategy for applying our surface undulation techniques and casting research, at a much larger scale. The desired sheen required that we cast into a material with a similar surface condition. Plexiglas, at 1/16” thickness, was the only choice we found that was capable of contorting while retaining its rigidity and glassy finish.
caster detail
After undressing the cabinet’s sheet steel exterior, we bestowed upon it new motor skills. We designed a steel tension structure with casters to sister the three original cabinets’ skeletons together. By retaining only necessary structural elements, the cabinet was prepped for its new cloak. Plexi was applied judiciously to the skeleton and spaced an inch away to provide a cavity for our rubber. A
“McHale Archive” hard, soft, and translucent spring and summer 2002, architecture independent study 310 hayes hall, 3435 main street, buffalo, ny 14214
theoretical wave casting device autocad and photoshop poche plexiglass, wood, and steel 2002
temporary wood structure supported this second layer of Plexi and gave us a push/pull plane to interact with to achieve the desired undulations. With our structure in place we commenced with the cast. A three-hour exploration of material thresholds kept us gingerly occupied, ensuring that small drips in our mold did not explode into major cracks. True excitement arrived a day later, when the team reassembled for the cabinet’s unveiling. We had finally done it: we had just completed the McHales’ archive. Then we proceeded to wheel our product to Hayes Hall, to bounce it against our aluminum creatures.
Project Description “McHale Archive” (soft)
deconstructing basement 108 parker hall rubber casting shop 2002
existing steelcase
unfurling action
semi-nude
new carriage
Reconfiguration “McHale Archive” (soft)
before + after basement 108 parker hall rubber casting shop 2002
revealed
prepping
lifting
curing
unwrapping
Pouring “McHale Archive” (soft)
filing cabinets
7’x2’-6”x6’ 1” thick rubber surrounding steel filing cabinets floor plan of 310 hayes hall autocad and photoshop poche 2002
exterior view
interior view
Installed “McHale Archive” (soft)
undulating
translucency