Dustin White - Teaching Portfolio by Dustin White

SELECTED PORTFOLIO

CONTENTS

DUSTIN WHITE DIRECTOR DIGITAL TECHNOLOGIES & FABRICATION ADJUNCT ASSISTANT PROFESSOR SCHOOL OF ARCHITECTURE & DESIGN NEW YORK INSTITUTE OF TECHNOOGY

PORTFOLIO TEACHING

01.

CORAL TABLE

02.

JUMP INTO THE LIGHT

03.

STEREOMA

04.

MELJAC

05.

HIGH LINE NYC

06.

LIGHT BLOOM NYC

07.

INFINTIY HELMET

08.

SPECTROLINE 01

09.

MAGIC LETTERS

10.

CARPETS OF STONE

11.

PERL RESIDENCE

12.

SMOKEY MOUNTAIN SUPER CLUB

13.

SPECTROLINE 02

14.

MIRAGE

15.

MANUFACTURING PROCESSES

VERONA LAB Verona Lab, is an Italian study abroad program that I cotaught from 2011-2015. Over the past four summers my colleagues and I have lead between 14-26 students at a time throughout Italy and Germany including: Venice, Rome, Florence, Mantua, Vicenza, Milan, Sicily, Munich and Stuttgart.

VRAS Justin Bell / Cameron Graupman

DESIGN STUDIO IV ARCH 3502 2012-2014

SITE: DOWNTOWN DALLAS, TX PROGRAM: FILM PLEX 15,000 SQ. FT

FILM PLEX . DALLAS, TX Royce Perez

WATER SPORTS PAVILION . LAKE DALLAS Justin Bell

SA. APTS. . SAN ANTONIO Jenna Meeks

WATER SPORTS PAVILION . LAKE DALLAS Katerina Paletykina

FURNITURE DESIGN NYIT UNDERGRADUATE INTERIOR DESIGN

The Furniture Design course employs the latest trends in design, material and digital design and fabrication processes. An overview of the background in furniture design, production processes, manufacturers, fundamental design theory, and notable designers. The studio is an introduction to advanced techniques in digital modeling and fabrication processes, where technology is applied to learn specific skills related to computation, materials, CAM (computer aided manufacturing), to design and develop various furniture elements. The work focuses on digital tools that enable the development of complex surfaces, procedural and parametric forms, and basic animation. Students gained insight and hands on experience that informs innovative design strategies and can be applied to traditional material and the latest in digital design and material technologies. Specifically, the studio explored the potentials of digitally crafting components and products that are “material and geometrically driven”. The Studio design process will began with material research, the development of detail and prototype, and finally program and siting.

7'-3" 0'-1" 0'-4"

4'-10"

11'-10" 7'-8" 0'-9" 0'-7"

0'-1"

0'-3" 0'-2"

1'-4"

1'-5"

1'-7"

0'-5" 0'-11"

0'-6" 0'-6"

1'-5"

3'-2"

0'-11" 0'-5"

1'-4"

0'-9"

1'-11"

0'-4"

4'-10"

3'-10"

11'-10" 4'-0"

4'-0"

2'-5"

BENCH SCALE 1/4”=1’-0”

PROTOTYPING LAB DESIGN MORPHINE MASTERS PROGRAM Students are introduced to the reaffirmed fabrication technologies used in advanced design and architecture. Design tasks and processes produced a lighting element, using digital fabrication platforms and working with visualization software ShapeDiver and CAD/CAM tools that outline a novel production workflow. Fabrication technology choice revolved around accessibility, sustainability of materials and technologies. Mainly focusing on laser cutting, 3D printing, CNC milling, and Vacuum-forming. Students gained an understanding of the machines and how to prepare the digital model and optimize the fabrication processes.

URBAN

ARCH 5501 . Graduate AVE. J Lubbock, TX

The idea of the work is to rethink a typical downtown street design, in order to revive the city through natural gardens, reduced traffic and with lively entertainment in newly appropriated pedestrian areas. The work envisions an ecologically sustainable downtown, which begins to knit the fractured city back together to create a healthy, economically viable downtown. The studio was co-taught by Prof. Christian Pongratz and me, comprised of 19 graduate students, that successfully designed, fabricated and installed 17 installations in downtown Lubbock, TX in two months time. In the development process for Ave. J, digital design and fabrication techniques are used to generate a new streetscape, and various strategies to implement xeriscaping, interactive installations, add color where color is absent, seating, lighting, and consider a portions of Ave J as a linear park.

Published: Architects Newspaper - “Plains Urbanism” MUSHROOM Xavier Encerrado / Sven Nevlida

NO SOUND in case of no sensored motion, no light gets emitted

MIC ARRAY 2

Microphone

MIC ARRAY 1 sound level correlates with the intensity of light

MIC ARRAY 3

NO MOTION in case of no sensored motion, no light gets emitted

29.5

PIR GREEN

PIR RED any captured movement increases the brightness of red diodes

120º PIR sensor

PIR BLUE

LUMBER LIGHTS Ty Mason

URBAN STAGE PLAN

REFRACTION SEATING Andrew Triplett / Johan Venter 243.58∞

54.1

7∞

3∞

213.2

52.4

153.4

57.12

44 ∞

.58

.18 170

412.22

58.19 .66

DYNAMIC SCREENS ARCH 5503 . GRADUATE TOPICAL STUDIO BLANKA EXHIBITION Christopher Verette, Miguel Dobbs, Ruben Apodaca, Ana Rodriquez, Eduardo Moreno

The project is also 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 installation in 3 weeks. The project entitled “Dynamic Screens” is an interactive and space engaging installation proposal that is site-specific response provided by the Blanka organizers. The project is composed of 5 diamater modules and features a strut system that is able to increase or decreas in length and amount. The systems advantages is in its assembly method which allows for the moduls to be configured in countless aggregations and spaces. This particular arrangement was organized to specific projectors 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. Pending Publication | Texas Architect (March/April issue)

MANUFACTURING PROCESSES ARCH 5503 . GRADUATE TOPICAL STUDIO

Wesley Thomas, Karla Murillo, Fabiola Vazquez, Chris Verette, Shakil Shimul, Bryan Johnson, Sergio Elizondo, Maribel Calzada, Jacob Prado. The studio was an introduction to advanced techniques in digital modeling and processes of fabrication. The work examined digital tools that enable the development of complex surfaces, procedural and parametric forms, and basic animation. Projects include work and production of digital models and material output using computer numerical control (CNC) devices as integral tools for the development of architectural conceptions. One month of the semester was dedicated to the production of an Atlas of Fabrication that would layout a series of process and potential strategies when working with the technology available in the Digital Design and Fabrication Lab. Students worked hands on with: CNC machines, 3D printers, Laser cutters, vacuum former, 2D printers, and projectors. The following is a small sampling of work produced.

MANUFACTURING PROCESSES ARCH 5503 . GRADUATE TOPICAL STUDIO

Wesley Thomas, Karla Murillo, Fabiola Vazquez, Chris Verette, Shakil Shimul, Bryan Johnson, Sergio Elizondo, Maribel Calzada, Jacob Prado. The second part of this studio was a collaboration with The PASEO Organization in Taos, NM. The PASEO is a festival dedicated to bringing the art of installation, performance and projection, to the streets of Taos, New Mexico. The organizers seek work that is: experimental, time-based, ephemeral, participatory, and context responsive. Student groups produced 6 installation proposals, developed event maps, and provided ideas for event promotion and event graphics.

Aluminum

Dichroic Film

Clear Acrylic

Rotate 45˚

Top 9’

9’

Panel Divisions

5.5’

4’

Rotate 45˚ Elevation

ROBOTIC ASSEMBLY Undergraduate Seminar NYIT

The Atom Material Underlay Hybrid Diagram

The objective of the course explored the potential of robotic technology to assemble lightweight structures with minimal scaffolding, through a collaborative work-flow between robots and builder with an integration of material properties and construction sequences. We aimed to construct a series of small prototypes using a Kuka robotic arm and to join material elements that will form panels which will be assembled manually into a larger prototype.

Panel

Material properties and sizing were studied and taken into account to design the tectonic system. Most important of all, the system was designed by and through the technologPanels A B & C Panels A & C ical and material constraints and limitations, seen as drivers for more efficient construction, and facilitating into new Back Panels ways of thinking about design. Students learned about ro3D Printed allow the back panels to be placed at an angle and povide botic manufacturing, fabrication and assembly while being Back Panels more variety to the structure as involved in building a large scale structure. well as structural support

Panel B

Panel

Parts and Connection Following Conditions Apply to Panels A1 and A4

Panel

With panels A2 and A3 having different depths the plug-in variables level out the panels A1 and A4.

Robotic Assembly Sequence (Sample) The Panels Utilize Two Forms of Customization Through Laser Cutting Panels and Vaccuforming Creating a Light Structure

STAGE 05 Parts and Fabrication Following Conditions Apply to the Panels A

15.00”

10.00”

17.00”

10.00”

4.00’

3.85’

The Form, Cut Out as two Seperate Parts For Its Size, Should Allow for an Edge to Create Connections Between Panels

The Panels Are Ziptied Together Along A Printed 3D Connection

Vacuum Form Mateiral Studies

DIGITAL MEDIA II & VISUALIZATION Undergraduate 2nd Year TTU & NYIT

The course intent is to develop the ability to model spatial and tectonic conditions digitally. Our investigations are nurtured by issues and tasks related to the latest Building Information Technologies (BIT) and Building Information Modeling (BIM) techniques. This is a course that introduces geometry as driving part of form development. It is independent of software and fabrication specifics, even though the different geometry engines of each software package may deliberately ease the generation of geometry that is explored in the course. The following are primary fundamental topics explored in the course. Points , Curves, Surfaces, Transformation, Visualization & Analysis, and Fabrication The images are a sampling of various projects both digital and physical

01 base mass surface

2d panelling of new surface structure

05 06

Surface Digital Media II: Dustin White Assignment IV: Surface Tristan Snyder Arch 3341

Process Model Photos

1 Step

My first step was selecting a refrence photo to work from, so I chose this repetitive “V” fold to start.

2 Step

I recreated the pattern on a 12”X12”, 2-ply, chipboard surface.

3 Step

I decided to incorporate a second reference to vary the way my surface tiled.

4 Step

I wanted to mimic a repetition of folds, but I also wanted a more varried module to repeat. This was an attempt at a repetitive diamond, but instead of reaching my goal I regressed and made the surface pattern less intrigueing.

5 Step

My last study model became far more detailed, and I began to accomplish my goal. This surface became so complex that scaling it to the size required would surpass the materials’ capabilities.

2 Research My first surface iteration stemmed from a repetition of shapes similar to the first Image, but once I realized the lack of variation, I began to assimilate the diamond patterns from image 2 .

Final Study Model In the final 12”X16” study model I combined the repeating patterns from my references and the complexity of my final model. The result created a tapering surface that varried in density and was still able to be folded.

Plan 1/8” Scale

Using my initial design I began to elongate the diamond valleys down the center. This made the surface denser on one side andgradually tapered to a much flatter surface.

36”

Process Mod

Final Model

Study Models

Process

After assembling th together and moun the surfaces to the the model was finis

del Photos

Iterations

Isometric

Plan

1 Iteration

he peices nting frame, shed.

My first iteration was made by first cutting the 12”X36” surface in half then scaling it up.

2 Iteration

My second iteration was created by cutting the object in half and exagerating some line lengths.

3 Iteration

This iteration was created by simply scaling the initial object down then repeating the pattern.

4 Iteration

This is my fourth and final surface that I chose to build. This surface was created by rescaling the initial object up and cutting it in half.

Assembly Diagram The surface was exported to Pepakura to create an unfolded planar object. This unfolded plan was then laser cut and assembled.

EQ 01 diﬀerence

intersection

EQ 02 diﬀerence

primitive distribution of agents and establishment of stable catalyst [C]

[A]

diﬀerence

primitive distribution of agents and establishm

[B]

[A]

volatile agent combusts and takes away from primitive distibution, leaving [B] exposed to an altered [C]

[A]

volatile agent combusts and takes away from p leaving [A] exposed to an altered [C]

// resultant with inherent characteristics of [B]

constitution of sectional ribbon, primitive stage

constitution of sectional ribbon, alteration stage

constitution of sectional ribbon, alteration stag

integration of sectional ribbon in ﬁnal module

// radial pivoting molecule [B]

POLYMER MANIPULATION TABLE

substraction, modulation and scale generation of geometries.

EQ 03 intersection

ment of stable catalyst

intersection

primitive distribution of agents and establishment of stable catalyst

[B]

primitive distibution,

[B]

volatile agent combusts and takes away from primitive distibution, leaving [B] exposed to an altered [C]

// resultant with inherent characteristics of [C]

// resultant with inherent characteristics of [A]

constitution of sectional ribbon, primitive stage

constitution of sectional ribbon, alteration stage

integration of sectional ribbon in ﬁnal module

// stacking spiral molecule [C]

// folding face molecule [A]

radial rotation

mirroring of radial rotation, producing symetrical function

removal of unnecessary counterpart

EQ 01

diﬀerence

intersection

// referenced from polymer manipulation table this equation narrates the chemical interaction between a volatile agent [A] and a latent agent [B]. Both agents are unable to interact on their own, thus requiring a performative catalyst [C]. Due to its original volatile state, [A] combusts and consumes part of the catalyst. [B] has a inherent letargy in any reaction and reacts to [A]’s combustion by intersecting into the catalyst and and possessing its form. The remainder will have half of the stable properties of [C] and half the properties of [A+B].

inputting the resultant of EQ01 into function prod

establishing secitonal strategy the resultant of EQ01 produces an incomplete circular formation that holds a casing formation, which allows a more restrictive coupuling methods.

// performance between the primitive symetrical function and its derivative, both similar in atomic composure yet completely diﬀerent in substance and interaction.

ARCHIMEDEAN AND PLATONIC POLYMER

substraction, modulation and scale generation of geometries.

ts, lightening the function

duces polymer

constructed polymer // scalar experimentation in plan view Pushing the scalar potential of the polymer, spatial complexities begin to take prominence as the length of the unit’s face increases.

ARCHIMEDEAN AND PLATONIC POLYMER

substraction, modulation and scale generation of geometries.

// primer agent [P] noted face to face strategy

EQ 02 intersection

intersection

// referenced from polymer manipulation table this equation operates around the restraints of the base formulae, a stable pattern of molecular interactions that can be further decomposed and reassembled. With a primer agent [P], the formulae seeks to latch on similar compositions, thus similar surface area. This face on face strategy oﬀers a more complex molecular build.

face to fac

// inputting the resultant of EQ01 into function produc

modular polymer platform // modular experimentation in isometric view Pushing the scalar potential of the polymer, spatial complexities begin to take prominence as the length of the unit’s face increases.

[P]

[spine]

// constructing the primer agent back and applying

[unﬁlled]

microscale strategies into a macroscale enviroment.

// identifying the usable performatice faces of half of a unit

deconstruction , composition, result // exploded diagram testing the interaction of formula and restraints from the prime agent [P], resulting in two diﬀerent functions: one of balance and structure [spine], one of encasing [unﬁlled].

ce strategy

ces polymer

edge to edge resultant // polymer in plan drawing

[the pad]

[the lotus]

[the crown]

[the daisy]

Original Component

Bend

Bend Twist

Twist

Bend

Bend Twist

Twist

A B

A A

A B

A A

1 A A B

A A A

A A A A

A A B

A A A B

Recipe 0 - Base Grid

Recipe 1 - Subtraction

Scale: 1/32”-1’

Recipe 2- Grid Line Scoring

Scale: 1/32”-1’

Recipe 0 - Volume

Scale: 1/32”-1’

Recipe 1 - Volume

Scale: 1/32”-1’

Recipe 2- Volume

Scale: 1/32”-1’

A Final Mass A

A A

A B

A A

A B

A A

PA 2

A A B

A A A

B A A B

A A A

Scale: 1/8”-1’

E S U

Recipe 0 - Base Grid

Recipe 1 - Separation

Recipe 2 - Cut-Scale

Recipe 0 - Volume

Recipe 1 - Volume

Recipe 2 - Volume

Scale: 1/32”-1’

DIGITAL MEDIA II

ASSIGNMENT02

I PAUSE

MARCOS SEIDI NAKASATO ARCH 3341 I FALL 2015

Recipe 3- Thickened Plane Rhythm

Recipe 4- Subtraction “L” Shape

Recipe 3- Volume

Recipe 4- Volume

Scale: 1/32”-1’

E S U

B Final Mass B

Scale: 1/8”-1’

Recipe 3 - Cut+Scale+Rhythm Scale: 1/32”-1’

Recipe 3 - Volume Scale: 1/32”-1’

Recipe 4 - Healing

Recipe 5 - Addition+Rhythm

Recipe 6 - Displacement (sliding)

Recipe 4 - Volume

Recipe 5 - Volume

Recipe 6 - Volume

Scale: 1/32”-1’