Selected Works 2019-2023

KAEL FINEOUT

SELECTED WORKS

CONTENTS

(A)Material

Instructor: Steven Mankouche

Spring 2022

De Faux

Proportion | Light | Material 2020 - 2023

III

Supremat

Instructor: Roy Strickland

Fall 2020

I II IV

Tongzhou

Instructor: Roy Strickland

Spring 2021

V

Stone Island

Team: Samir Bantal, Mateusz Kiersz

July - December 2022

I(A)Material

Tacit, Plastic & Virtual

(A)Material represents a renaissance of scagliola, creating an open source document to establish its relevance in today’s artistic and contemporary practices. The project’s primary emphasis is on the traditional approach, aiming to develop an accessible resource (see below) that equips individuals with the essential tools, techniques, and recipes to manipulate this material effectively.

Academic Work | Instructor: Steven Mankouche | Spring 2022 https://sites.google.com/view/howtomakescagliola/home

By categorizing various patterns, we enhance both control and comprehension, enabling a deeper exploration. The thesis examines three principal patterns and their respective methodologies, complemented by four variables that provide additional insight into each process.

As the technique spread throughout Italy, its primary usage involved creating intricate altars. This was the starting scale of the material before it grew to larger surfaces with further innovation.

EMERGANCE

At its peak, scagliola was used as an interior finishing for museums and basilikas. It spread throughout Europe during the height of the Rococo period. Its most exaggerated form can be found in Eastern Europe.

The exquisite art of scagliola, which first emerged in 17th-century Carpi, Italy, captured the imagination by masterfully emulating the beauty of rare stones through intricate designs. From altars to columns, it flourished during the Baroque era but faded as faster, cheaper methods emerged.

True Stone Faux Baroque

Artistic Rococo

Admont Abbey

Kedlston Moss & Lam

Kennedy Vogely

Vierzehnheiligen

MATERIALS

The initial step in crafting scagliola plaster dough involves blending water and hide-glue in a ratio of 10:1 to 20:1, effectively extending the working time from a mere 5 minutes to a remarkable span of over 2 hours. This generous timeframe permits the incorporation of dyes and the application of diverse mixing techniques.

TECHNIQUE

The fundamental method entails blending differently hued plaster doughs to form intricate patterns, akin to crafting Damascus metals or delicate pastries, wherein the true design emerges within the material’s cross-section.

The diverse patterns attainable in scagliola craftsmanship can be elucidated through three primary approaches. Each approach delineates the initial composition and state of the doughs, along with the specific technique employed for their amalgamation.

VARIABLES

The resultant patterns are characterized by its size, shape, direction, and position. Manipulating the amount and viscosity of colored dough determines size and shape. The blending technique determines direction, while the combination position determines the position of each pattern.

Dried Surface

Once the scagliola is dry, the surface attains a pristine smoothness, yet devoid of any discernible patterns. The culminating stage commences with a meticulous sanding process, thereby unveiling its true pattern.

SECTION

Sanded Surface

Sanding the scagliola reveals not only its enchanting pattern but also addresses any undesired air pockets that may have emerged, forming dimples on the surface. These imperfections are then filled and meticulously resurfaced through further sanding.

SECTION

Polished Surface

In the ultimate phase of the process, a meticulous polishing imparts a luster to the scagliola, akin to the resplendence attained by marble. This final step encompasses the use of sanding grits ranging from 5k to 10k.

LAYERED VEINED

DIMENSIONS OF

Scagliola enables the articulation of intricate patterns through diverse of three-dimensional form with its pliable, dough-like consistency, transcending materiality. With the advent of an open-source documentation on this fabrication while preserving its inherent virtuality.

OF SCAGLIOLA

diverse dyeing and blending techniques, while also capturing the essence transcending plaster from a mere plastic medium to a realm of virtual this craft, scagliola becomes open to reinvention, combining digital

IIDe Faux

De Faux is an enduring and immersive pursuit centered around the art of composition, proportion, light, and materials. Similar to a sketch, this practice serves as a gateway for exploration, relaxation, contemplation, and inquiry. Initially conceived three years ago to familiarize myself with digital workflows, De Faux has since evolved into explorations of precedents, the language of form, design

thinking, and beyond, pulling from various experiences within the field, academia and media. The account serves as an archive of design thinking and shows a lineage of refinement. Its diverse representation has gradually shifted towards a processdriven ethos, transcending aesthetics and delving into the realm of post-rationalized functionality.

SHAPE LANGUAGE

The core of this transformative process unfolds within the interrelationships of shapes, revealing my deep fascination with formalism. Through an unceasing interplay of elemental geometries, intricate languages begin to take shape, all prior to the introduction of material and light.

IMPRESSIONS WHILE WORKING AT OMA

IMPRESSIONS WHILE WORKING AT SANAA

PERSONAL EXPLORATION

EXPLORATIONS

LIGHT, SCALE, & PROPORTION

III

Supremat

Scales & Meanders

Academic Work | Instructor: Roy Strickland | Fall 2020

The Supremat serves as a valuable extension to the Rockaway Avenue station, reconnecting a bifurcated community with a winding path of exploration. Not only does this path facilitate connections between each floor’s distinct programming, but it also establishes a correlation between sectional movement and scalar relationships. Given its location within a food desert surrounded by public housing, schools, and recreational parks, the majority of

the Supremat’s programmed spaces are foodcentric. For instance, a farmers market graces the public plaza adjacent to the structure, and a grocery store occupies the second floor. Meanwhile, the third floor station boasts a collection of convenient stores offering graband-go options, culminating in a spacious greenhouse at the summit.

Intergration

Together the Supremat integrates the three superblocks creating a keystone for Brownsville

URBAN CONTEXT

School District

Four main buildings host K-12 while an addition four buildings provide housing.

Tildan Housing

The Tildan public housing was created in late 1970s hosts over 300 units.

While integrating into the urban fabric, the Supremat calls to three main site conditions including the public housing to the North, the school district to the South and the large park and recreational facilities to the East.

Circulation Car, bus, and train all coalesce on site creating a nodal point within Brooklyn.

Recreation | Park 2600 sqr meters, 2 baseball fields, a swimming pool, and a kids park

BIFURCATION

Between the schooling district and Tildan housing sits a set of train tracks. These tracks stand as a divisory device (a wall of sorts) disconnecting the adjacent super blocks.

RECONNECTION

The Supremat reconnects the two adjacent super blocks with the introduction of a walkway acending up and over the tracks along Livonia Av. The path is a playful meander weaving back and forth connecting the programming of each floor.

SECTIONAL SCALAR

The Supremat forms a sectional scalar relationship to its context. The moves up vertically. The ground floor caters towards adjacent blocks community. The second floor grocery store relates to the 15-minute city. commute to and from Brownsville. Finally two restaurants, and two large

FARMER’S MARKET | STUDY | OPEN OFFICE STORAGE | SUPERMARKET

15 MINUTE WALK ADJACENT BLOCKS

SCALAR RELATIONSHIPS

The program at each floor relates to a larger and larger area as one with a study for students and an open office for the Tildan Housing city. The train station itself is located on the third floor relating to the large greenhouses over Brownsville creating a destination in Brooklyn.

STATION | GRAB’N’GO

GREENHOUSE | RESTUARANT

BROOKLYN BROWNSVILLE

Formally the design pulls from the Acropolis. A weaving, accessible floor. Small apertures provide food along the path with small terraces moving to their highest point.

accessible path moves back and forth connecting the main entrances of each for resting, and relaxing. The path ends in a crescendo with all forms

Textured City

Courtyards & Axes

Academic Work | Instructor: Roy Strickland | Fall 2020

The Textured City is a recontextualization of the European medieval castle at an urban scale. Its focus on courtyard centrics blocks and axial organizations create a similar understanding of movement and hierarchy of spaces. The proportionally scaled courtyards generate engagement among the various compositions of use groups creating a rich urban texture. These compositions are then

arranged along pedestrian axes that cater towards the walkability of the site and the movement between commercial, civil, and residential spaces. The pairing of the medieval castle’s organization with compositions of use groups forms a unique relationship between the pedestrian and the city.

Axial Organization

Propotional the focus area mirrors the Schwerin castle along a single axis while comparable castles host 2-3 main axes with varying sizes of focal points.

Void to Volume

The interpeted residential towers form a rectalinear shape both in plan and in elevation.

Rectalinear Synthesis

As the Schwerin castle has its pentagonal core structure and series of offsets forming its plinth, volume, and void, so does the focus area towers. Though its core courtyards is square its offsets also present a tighter associations of void to volume.

Commercial | Retail | Residential

SPATIAL RELATIONSHIPS

Spatial Relationship

Along the main axis of the Castle sits a series of courtyards. Each call to and organization of heirarchy and movement. Its proportions can be traced to the relationships of the human body.

Pentagonal offsets The Schwerin Castle sets it core shape as a pentagon and uses it to drive the form of the voids, volumes, and offset of the design. both in plan and section the pantagonal langauge persists in a variety of permutations.

Schwerin Castle

Location : Schwerin Germany

Construction: 1756

Investigations of European medieval castles reveals an understanding of proportions, and hierarchy as it relates to movement and spatial organization. A series of residential towers served as a microcosm of courtyard and axial driven forms that later went on to organize the entire site.

HERKULES HOHENSCHWANGAU SCHLOSS STOLZENFELS ESTE CASTLE CASTELL DE BELLVER

Use group compositions of commercial, retail, residential, academic, compositions are courtyards allowing for engagement between the various along main axes derived from both current contextual conditions as well

academic, and restaurant form an urban texture in the site. Within these various use groups. These compositions and courtyards are then arranged well as proposed developments surrounding the site.

CONTEXTUAL DERIVATION

The main organizational axes derive from both proposed development such as a commercial core at the heart of Tongzhou and contextual conditions such as the sixth ring road park paralleling the site. Designed density reacts to these conditions with a dramatic slope of towers towards the park.

COURTYARD

The proposal creates compositions of use groups as highlighted by the reflected in the couple sitting in the foreground, illustrating the possible creates datum delineating the city by scale.

pink, yellow, and green buildings. This pink, yellow, and green is then possible connections between different walks of life. Visually the courtyard

Stone Island

Stone Island’s approach to product design and engineering is reflected in the architecture of the new store formats. Unique processes are employed to treat the materials, ennobling ordinary, off-the-shelf products mirroring Stone Island’s fabric processes. As such, materials like recycled paper and natural resin, compressed under high pressure become Stone Island’s take of concrete. As

an integral part of my responsibilities, I orchestrated the grand inauguration of Stone Island’s flagship store in Chicago, curated layouts for forthcoming establishments in Zurich and Stockholm, meticulously reviewed and annotated design details for future locations in Milan and Seoul, and designed free-standing hangers future shop-in-shops.

VOMA | AMO

Professional Work | Team: Samir Bantal & Mateusz Kiercz | 2022

Stone Island’s stores merge the brand’s online journey, attracting devoted customers who appreciate the technology and researchdriven ethos. The store experience amplifies this connection.

Stone Island’s stores embody rituals with objects and altar-like spaces, embracing both loyal and new customers. Collaborative rooms, archival niches, and innovation showcase the brand.

MATERIALS

Unique processes are employed to treat the materials, ennobling ordinary, off-the-shelf products with the intent of mirroring Stone Island’s fabric processes, functionally creating a coherent brand.

CORK

OXIDIZED METAL

SPECIAL NICHE/ LABORATORY

FABRIC PROCESSES

Stone Island harnesses an array of exceptional techniques, ennobling their fabrics. Among these transformative processes are the artful application of sprayed resin, intricate dyeing methods, precise laser etching, and the ingenious integration of metallic threads within the fabric.

MATERIAL PROCESSES

The materials that comprise the interiors include durable and sustainable cork, derived from trees, sandblasted and coated, takes on a whole new texture while remaining sound absorbent and humidity controlling. Standard corrugated steel panels, sand-coated, turn steel into stone.