PORTFOLIO susannah stopford
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Susannah Stopford P.O.Box 809 Rhinebeck, NY 12571 sstopfor@risd.edu (401) . 241 . 2303
EDUCATION Rhode Island School of Design - Providence, Rhode Island September 2010 - June 2013: Graduate receiving First Profession degree in Architecture, M.Arch 2013
University of California Berkeley
Studio, Guardamar del Segura, Summer Studio 2012
Architectural Association, London, UK Spring Semester, 2012
Bartlett School of Architecture, UCL, London, UK Masters - Architectural History 2008 - 2009
Trinity College Dublin, Ireland Bachelors of Arts, History and Politics 2004 - 2008
EXPERIENCE Peter Sweeny Architects
January 2014 - Architectural Designer Position responsibilties include concept and design development as well as planning and construction document output.
RMJM Dubai, United Arab Emirates
June - September 2011: 10 week master planning of Al Raha Beach urban development Schematic design competition for Masdar Madinat beach club/race course complex
Assistantship with Jonathan Knowles RA
September 2010 - July 2011: Construction of off-grid Stirling engine powered heat-exchange pavilion research development for Solar Decathlon 2014.
Writer and editor for Int/AR Journal RISD interior architectural journal focused on interior architecture and adaptive reuse.
Stephen Bardbury Architects, Sevenoaks, UK
June - September 2010: Three month work placement - development of skill and knowledge necessary for planning application process, including drafting of construction documents.
Gensler, London, UK
July 2007: Work experience placement participating in the design of UK government MI6 facility at Cheltenham, Gloucestershire.
SKILLS
Autodesk (Revit Architecture, AutoCad), Rhinoceros 4, VRay, 3DSMax, Grasshopper, SketchUp, Adobe CS6 (InDesign, Photoshop, Illustrator), Microsoft (Excel, Word, Powerpoint), Model & FullScale Fabrication, Laser Cutting, Building Information Modeling, Drawing and Model Documentation, Stone Carving, Clay, Metal and Found Object Sculpture, Intermediate French and Italian.
AWARDS
RISD Fellowship 2010 - 2013 RISD Academic Assistantship 2010 - 2013 Dual national_UK and USA citizenship
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BAG - BILBAO ARTS GENERATOR URBAN REGENERATION STRATEGIES TRACT _LANDSCAPE REMAKING RUINS - URBAN WATERFRONT PROJECT TO RE-ENGAGE ECOLOGICAL URBAN LANDSCAPES LIGHTBOX - SUSTAINABLE SYSTEMS RETROFIT CHAPEL_ARCHIVE - INVERTED DENSITIES: A NEW TYPE OF PUBLIC SPACE FOR BROWN UNIVERSITY HOUSE FOR MY MOTHER CUP BOWL ACTIVE MATTER
Projects
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Bilbao city center
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B.A.G. - Bilbao Arts Generator URBAN REGENERATION STRATEGIES
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A8 motorway pedestrian zone [full]
A8 Skygarden - a multi-use urban design proposal that sought to build on the existing economy of culture and design within Bilbao. The planned pedestrianisation of the A8 motorway lent itself as a potential site for the re-appropriation of public space that would in turn act as an institutional generator of local talent, another node within the existing fabric of tourist destinations as well as a mechanism through which to re-integrate peripheral neighbourhoods along Bilbao’s city edges.
DRAWING HYBRID developing a drawing method This studio sought to find a new way of addressing the nature of a hybrid construction - “how can one develop a way of drawing Hybrid that could inform the constructed as well as conceptual architecture of a space?�
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STRATEGY
CONNECTING THE CITY: ACTIVATING PERMEABILITY Hybrid drawing techniques are used at both the scale of the site and the scale of the city to make connections across the city using the re-appropriated body of the A8 Motorway as the primary activator and connector EXISTING SITES OF CULTURAL ACTIVITY
PARKING EXISTING GREEN SPACE
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B.A.G. - BILBAO ARTS GENERATOR
B. A.
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A8 LINEAR PARK NEW CONNECTIVE GREEN SPACE
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EXISTING TRANSPORTATION SYSTEM PROPOSED EXTENSION TO TRANSPORTATION SYSTEM
DRAWING THE SITE Hybrid drawing techniques allow for the evaluation of site strategy at a series of scale. Lines placed in relation to use and program, as well as other external factors, including traffic (pedestrian and vehicular), sun paths and sun exposure as well as with the pre-existing city fabric, begin to generate areas and nodes of activation and as well as boundaries that begin to define form.
MODES OF ACTIVATION: FORM-GENERATING EXPLORATION OF SITE OCCUPATION AND USE DESIGN STRATEGY IS FOUNDED ON THE DIALOGUE BETWEEN TWO ESSENTIAL TYPOLOGIES OF VARYING DEGREES OF TRAFFIC FLOW AND SPEED - A SLOWER MOVING TRAFFIC OF PERMANENT AND SEMI-PERMANENT OCCUPANTS - ARTIST, STUDENTS AND TEACHERS AND A MORE TRANSIENT USER, THE TOURIST OR RAMBLER.
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13 THE “CUT”
SUB-MOTORWAY LEVEL -
Free-moving circulation paths combined with specifically located. Program-sensitive access points creates an environment that is both convenient and safe for permanent occupants of artists’ studios/workshop space, as well as easy to navigate and playful for short-term or occasional users and visitors.
THE “CUT” acts as access path to the linear park and art school held suspended from the existing structure of the A8 Motorway, as well as a constantly changing gallery facade. Public-facing facades of each workshop are treated as each artist occupant desires, potentially functioning as a series of constantly changing surfaces of display.
INDIVIDUAL DIRECT STREET LEVEL WORKSHOP ACCESS
AXONOMETRIC OF CIRCULATION AND SITE STRATEGY
FORMAL INVESTIGATION OF SUB-MOTORWAY WORKSHOPS AS A SERIES OF OFFSET VOLUMES THAT GIVE RISE TO A AN IRREGULAR AND VARIED EXTERIOR FACADE CONDITION RESULTING IN A LARGER SURFACE AREA OF DISPLAY AND GREATER VISUAL VARIETY FOR VISITORS.
Plan Level 1
Plan Level 2 C
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B
B
A
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GALLERY PARK GALLERY PARK - where the folded wings of the building meet the sky at the upper most level of the building, at the southern end and adjacent to the new metro stop the area become a hybrid of art and park. The formal exhibition space of the structure is a series of galleries and sculpture gardens that are in immediate proximity to the length of the linear park. From this higher elevation visitors are able to experience views of the city to the north as well as views of the mountains to the south. This area also acts as one of the thresholds to the B.A.G. If visitors choose to they are able to move through the galleries in order to gain access to the lower levels of the complex, exiting via “The Cut”. Section B - B illustrates the relationship between the blind facade of the workshop (left) at a point of general public access and the shallow volume of the B.A.G (right), at the middle of the complex. The distinction and space between the volumes allows for pedestrian access, “The Cut” to occupy the space between the two areas of program. It also illustrates the consistent relationship between interior and exterior space along the length of the project. B-B
Section A - A illustrates the relationship between the green space of the Linear Park, where the A8 has diverged and allowed for multiple areas of supra-motorway occupation, and the most volumetric portion of the B.A.G. This increased capacity allow for the convergence of the different programs of metro station, art school, linear park and gallery space, as well as their associated circulation requirements. A-A
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AXONOMETRIC OF PARTS
vertical circulation
FLUID CONNECTORS AND SPACE-MAKERS The elements of DESIGN SCHOOL, STUDIO-WORKSHOP and CIRCULATION NODES provide the means of
site occupation as well as point of vertical circulation to allow the visitor, artist or student to move both horizontally and vertically across and through the site.
workshop
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design school
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tract_landscape
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still landscapes. Located in time, collected individually, related but of no particular significance. Forms of the landscape. Reflected, inside-outside train, remade as line - the geometry of a place. Less than a second; blink and it will be missed. These are the things not often located in the memory, too minute to be distinct. But they are there, all together, tangled. And then untangled. Derived from the place, isolated remembrance, drawn together again.
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Fragmentation the experience extracted
Experience, like everything that passes from immediacy to the realm of the past, exists as a series of fragments held together by the sinuous thread of our memory. The journey is not distinct from this; it too is made episodic through its recollection. These fragments are the tools of our construction. They describe and create our individual narratives and, under the right circumstances, they become conjoined and re-amalgamated into a communal history of a place. The fragments of this journey are treated no differently. They are gathered together, extracted, recollected, forced into interaction, augmented and remade; they are the tools and the bones.
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5.50 She leaves, relinquishing the screen adjacent seats. Her tiredness too. marks the spot where “I got a great scene.� She was not wrong read. If the Pink was made of, and for, the watery landscape it occupied, then Flat Grey was the appropriate companion of pseudo-suburb girders took the reins of construction and their flickering speeds brought a new te orifice, caverns, expanse, pulsating temptation, energised tranquility. Now the screen returned that which the body ma
hem
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regular
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is 5.51.9
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g. There were several more and then the death of the Pink and the awakening of Flat Grey. Nothing pulsated but there was a new language to ban industry. Half-broken, semi-shackled, the screen revealed the mundane [anew?]. Still punctuated by darker shades in its own likeness, steel empo to the stage. No longer was the landscape the herald of the human body; ade; the hungry space of our greed and our industrial tempo of construction. Pixel, pixel, pixel, shard, shard, shard‌
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The Agency of Mapping mapping discovery
Mapping as the means of knowing a place. What is the agency of mapping when approaching both an analytically and intuitively known territory. These explore the nature of place as understood censorial as well as analytically.
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Bone
fragments collected and collided, a found-unfound logic
The bones, located by the experience of the landscape, find an intuitively located logic - subjectively sensical in their manifestation they are found in the fragments and forms of the place from which they came and to which they return. These skeletons hold within them the logic of a constructed narrative. They are the new memory-located., the tools for interventions and the fathoming force of utility.
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Machine characters with intent
001 The Updowner: its a two-speed The Updowner is the node connector. Its arms mediated, extend to connect territories, densities and industries. The machine becomes the collector and distributor - a method of moving through landscape a connection at other similar nodes. The paths that extend beyond the edge (down) lead from places of current in habitation - climb the neck to reach the source or mouth of communication. The structure on the left and the path that extends in that direction is a new mode of inhabitation - planes, modules that inhabit the superterranean of the landscape. They occasionally touch down. SELF-GENERATING SITE PLAN - AS THE MACHINE ARE DISCOVERED AND GIVEN FORM THEY COME TO EMBODY THE CHARACTERISTICS OF A SPECIFIC PLACE, MADE FROM FRAGMENTS OF A LANDSCAPE. THROUGH THE PROCESS OF SITING THEM THEIR FUNCTION AND CONTEXT BEGIN TO BUILD THE FABRIC OF THIS GENERIC PLACE OF NECESSARY FUNCTIONS AND TYPOLOGIES. EACH MACHINE REFERS TO AND GIVES RISE TO THE CONDITIONS OF THIS ‘EVERY-PLACE’ OF FLOODED SHIFTING LANDSCAPES.
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001 004
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MACHINE POD 1 - DEPENDING ON NECESSITY, DENSITY OF INHABITATION AND OCCUPATION PODS CAN ACT AS SINGLE UNITS WITHIN THE EXISTING FABRIC, BE IT RURAL, URBAN OR SUBURBAN. ALL MACH_POD 1s ARE CONSTRUCTED SO THAT MECHANICAL AND SYSTEMS CONTROLS ARE HELD OUTSIDE OF THE POD ENVELOPE ALLOWING FOR FLEXIBILITY OF MOVEMENT AND MAINTENANCE. [SEE OPPOSITE, ABOVE] MACH_POD 1 MACHINE POD 2PLUS - LIKE THE MACH_POD 1, MACH_POD 2PL RESPOND TO THE NECESSITIES OF THEIR ENVIRONMENT. BECAUSE ALL MECHANICAL AND SYSTEMS UTILITIES ARE HELD OUTSIDE OF THE STRUCTURAL SKIN OF THE PODS AGGREGATION, WHETHER REQUIRED BECAUSE OF SPATIAL CONSTRAINTS IN URBAN ENVIRONMENTS OR POPULATION SURPLUS, IN CASES OF MASS RELOCATION, IS EASILY ACHIEVED. [SEE OPPOSITE, BELOW]
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MACH_POD 2PL
002 003 OCCU-Elevator OCCU-Elevator serves as the device of mediation - a raised occupier, it utilises vertical motion to remove the inhabitant or occupant from the hyper-horizontality of the terrain. Through vertical action it seeks to return the inhabitant to their surroundings and provide a mode of inhabitation that is superterranean in manifestation. Its lift action, as couple to its Rampman cohort, reacts to the landscape and engages the territories shifting forces. Retreating and relocating to safer ground under hostile conditions.
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004 005 OCCU-Rampman OCCU-Rampman like OCCU-Elevator serves as the device of mediation - a raised occupier it utilises vertical motion to remove the inhabitant or occupant from the hyper-horizontality of the terrain. Where OCCU-Elevator acts through directly vertical action, OCCU-Rampman’s action mimics the slowness of the landscape’s shifting terrain. OCCU-Rampman’s work is done at an incline, a slower solution to its OCCU-Elevator cousin, more closely connected with the landscape, reaching greater heights.
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Remaking Ruins - Guardemar del Segura URBAN WATERFRONT PROJECT TO RE-ENGAGE ECOLOGICAL URBAN DEVELOPMENT
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6.6.12_5:45:59
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Process: Intuitive Mapping The site - the river Segura - was discovered, transcribed and interpreted through a series of psychoanalytic mappings. Akin to the processes developed by the Situationalists this studio proposed a knowing of place through experience. The content generated over the six week period was developed in tandem, as a series of documents that each informed the other. Large mylar maps, sketch book studies, digital and physical models each informed the other converging in a final proposal composing of map, model, render and finally locating program and place.
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DIAGRAM OF A RIVER TRANSLATED DEVELOPING A SYSTEM OF CONSTRUCTION AND OCCUPA-
Diagrammatic models of the site, the river Segura, were made, responding to and illustrating a series of factors that have affected the ecosystem and productivity of the river delta. The diagrams were then translated into a language for construction and occupation.
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Site and occupation: to the site of the river Segura and its immediate vicinity was applied a collection of programmatic uses that included Eco-Hotel, Hydroponic Farming, Water Purification and Treatment System, Recreational Facility, and Eco-Reserve Visitors Centre. The proposal sought to integrate the systems at work in order to allow the user to experience all elements of the system, making apparent the symbiotic relationship between site and intervention.
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South Facade (design proposal)
South Facade (existing condition)
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Environmental Control Systems PRINCE LAB 2.0_DESIGN PROPOSAL TO IMPROVE ACOUSTIC AND LIGHTING QUALITY
Thick Wall - density of wall absorbs program
Skin southern wall of building envelope thickened to adsorb program sliced perforated to allow for fenestration and increased levels of natural light
vaulted reflective lighting Feather Chips- acoustic dampening and light dispersion Light Cage - auxiliary system space delineation , acoustic control and dampening, direct/specific lighting and modular furniture
Thick Wall
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CONCEPT At Prince Laboratory a two-pronged approach was undertaken to address the issues of poor light and acoustic quality. Perforation of buildings skin allowed for an improved quality of natural lighting which was supplemented by a artificial lighting system that would increase the quality of both the ambient and directional lighting within the lab. A dialogue between three elements - a light box, dark box and light cage became the conceptual grounding through which to approach the acoustic quality within the lab. The physical and visual quality of the boxes’ reflects the acoustical ambiance within them - the ‘dark box’ became the mechanism through which to isolate the noise producing machinery within the lab; the sense of density associated with darkness is reflective of the insulated noise-isolating quality of the box’s skin. The ‘light box’ became the quiet pod within which class and study rooms would be located - a transparent dual-skin helping to further isolate the ambient noise. Finally, the ‘light cage’ the mechanism through which to reconsider the circulation and occupation of the space. The result was the development of an integrated lighting and furniture system that provided a series of flexible work stations for the students at the lab, allowing for greater organisation, ease of circulation as well as flexible directional lighting to assist the undertaking of intricate and detailed work.
SYSTEMS_PRINCE LAB 2.0
AXONOMETRIC OF PARTS
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ACOUSTICS
composition of parts
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SYSTEMS_PRINCE LAB 2.0
THE DARK BOX_LOUD BUT NOT SO LOUD ANYMORE Existing Condition: 80 dB Desired Condition: 60 dB Achieved Condition: 51 dB
Noise Source #1 Machines Lab
80dB
Noise Source #2 HVAC Unit
Existing condition means that machinery noise dissipates across the entire laboratory floor. Through the addition of the dark box we will be able to isolate and dampen the acoustic affect of working machinery within the lab. Furthermore, acoustically aware design considerations have enabled the introduction of furniture and work spaces pieces to act in order to adsorb some of the residual ambient noise.
80dB Existing Condition
Sound Absorbent Box: 5,151 Sabins
80dB
Transmission Loss Glass Wall: 48 dB
Design Proposal for Source #1 Outer Glass Box
Inner Machine Box
Surface Area of Glass Box: 1,445 sq ft Surface Area of Glass Walls: 5,440 sq ft Volume of Glass Box: 130,050 ft3 Transmission Loss: Ceiling: 4,335 x (0.75) = 3,251.25 [ºGlass Fiber Roof Fabric Coefficient of Absorption: 0.75] Walls: 5,440 x (0.10) = 544 [ºGlass Panes Coefficient of Absorption: 0.10]
Surface Area of Black Box: 2,890 sq ft Surface Area of Acoustic Walls: 2,210 sq ft Volume of Machine Box: 28,900 ft3 Transmission Loss: Ceiling: 2,890 x (0.75) = 2,167.5 [ºGlass Fiber Roof Fabric Coefficient of Absorption: 0.75] Walls: 2,210 x (1.35) = 2,983.5 [ºWood Panels Coefficient of Absorption: 0.10 ] [ºInsulating Fiber Glass: 0.55] [ºAcoustic Panels: 0.70] TOTAL: 1.35 TOTAL=5,151 Sabins T= 0.05 x (28,900 ft3/5,151)= 0.2805
TOTAL=3,795.25 Sabins T= 0.05 x (130,050 ft3/3,795.25)= 1.71
NR = TL + 10 log a2/S NR= 48 dB + 10 log (5,151 Sabins/2,210 sq.ft) NR= 48 dB + 10 log 2.3 NR= 48 dB + 10 (0.3) = 51 dB NR= 51 dB Li= 51 dB NR= Li - Lii = 80-51 = 29 dB NR%= 36.25%
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Silent Classroom Box:
Outer Glass Box:
Current Condition: 80 dB Desired Condition: 40 dB Achieved Condition for Glass Box: 48 dB Achieved Condition for Classrooms within Glass Box: 34 dB
Surface Area of Glass Box: 1,445 sq ft Surface Area of Glass Walls: 5,440 sq ft Volume of Glass Box: 130,050 ft3 Transmission Loss: Ceiling: 4,335 x (0.75) = 3,251.25 [ºGlass Fiber Roof Fabric Coefficient of Absorption: 0.75] Walls: 5,440 x (0.10) = 544 [ºGlass Panes Coefficient of Absorption: 0.10]
The Classroom Box - quiet box - serves as the means through which to provide a quite work space for the faulty and students in immediate adjacencies to their research and laboratory workspace.
70dB
80dB
Noise Source #2 HVAC Unit
Existing Condition Lii
TOTAL=3,795.25 Sabins T= 0.05 x (130,050 ft3/3,795.25)= 1.71 NR = TL + 10 log a2/S NR= 48 dB + 10 log (3,795.25 Sabins/2,550 sq.ft) NR= 48 dB + 10 log 1.4 (aprox.1) NR= 48 dB + 10 (0) = 48 dB NR= 48 dB Li= 48 dB NR%= 40%
NR= Li - Lii = 80-48 = 32 dB
Li 80dB
Design Proposal for Source #1
Partition Wall Transmission Loss Glass Wall Double Glass: 1 /4-in laminated + 3/16 in monolithic glass with 4 in airspace: 48 dB Surface Area of Petition Wall: 2550 sqft Noise Source #2 HVAC Unit
Dark Box noise isolating devise that uses density to dampen sound affect of working laboratory machinery
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Light Box dual skin used to provide noise isolation form overhead HVAC unit as well as from ambient workshop sound
modular furniture unit absorbent surface texture further dampens ambient noise while providing individual directional lighting
SYSTEMS_PRINCE LAB 2.0
LIGHTING_ENERGY ENERGY GENERATION_PVC SUPPLY LIGHT BOX
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LIGHTING SPECS LIGHTING PROPOSAL UTILISES THE EXISTING VAULTED CEILING LIGHTING SYSTEM IN TANDEM WITH A CUSTOM DESIGNED MODULAR FURNITURE PIECES IN ORDER TO PROVIDE FOR BOTH GENERAL AMBIENT LIGHTING AS WELL AS SPECIFIC DIRECT ILLUMINATION FOR DETAILED WORK. 936 4’ LED T8 TUBE LIGHTS WILL REPLACE THE EXISTING FLUORESCENT LIGHTING IN THE CEILING, PROVIDING A ROUGHLY 33% DECREASE IN ENERGY CONSUMED. SUPPLEMENTARY LIGHTING INTEGRATED INTO THE MACHINE ROOM AND CLASSROOM SKIN AS WELL AS THE WORKSHOP FURNITURE ELEMENTS WILL FURTHER SUPPLEMENT THE AMBIENT LIGHT WITH AN ADDITION 52 8’ LED T8 BULBS. FLEXIBLE WORKTOP LIGHTING WILL PROVIDE THE STUDENTS WITH THE ABILITY TO CUSTOMISE ILLUMINATION AS NEED REQUIRES USING 1157 LED BULB - DUAL INTENSITY 25 LED MOTORCYCLE BULB. 1157 Dual Intensity LED Motorcycle Bulb Base 1157 (BAY15D), Beam Pattern - 100 /40 degrees, Cool White, Color Temp. 8000 K, 3mm/5mm diameter LED, 50000 hr lifetime, 600mcd/8000mcd, Operating Temperature - -30~+85 °C, Operating Voltage 9 watts
LED T8’s 4’ 1500 Lumens per bulb (6000 Kelvin White Light) , 18 Watts per Bulb, 1” Diameter, Standard Beam Angle 120 degrees Volts= 85-277 v Ac
LED T8s at 8’ Frosted, Natural White Light, 2147 Lumens, 36 Watts, 1” Diameter, 90Vac-290 Vac, Standard Beam Angle 110 degrees, Volts= 85-277 v Ac
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PHOTO-VOLTAIC CELL ANALYSIS PVC roof panels
NEW LIGHTING DEMANDS ARE OFFSET BY THE IMPLEMENTATION OF A PV CELL SYSTEM ON THE SURFACE OF THE NEW “LIGHT BOX’ EXTRUSIONS. THE TOTAL OUTPUT OF ENERGY GAINED FROM THE PVC SYSTEM EASILY ACCOMMODATES THE ENERGY DRAW OF THE NEW LEDBASED LIGHTING SYSTEM.
System
Payback
Output
(kWh)
Value ($)
January
10118
708.28
February
10989
76923
March
14397
1007.79
April
14387
1007.79
May
10325
722.75
June
13092
916.44
July
12824
883.68
August
12446
671.22
September
13127
918.89
Size (KW)
114.51
De-rating
0.77
Initial Cost ($)
Tilt Angel (degrees)
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October
7605
632.35
Tax Credits ($)
Azimuth Angle (degrees)
180
November
9020
631.40
Electric Rate ($/kWh)
0.07
Initial Cost ($Wdc)
5.71
After Incentives ($) Payback (years)
December 48.16
Annual
8841
618.87
136981
9588.67
SYSTEMS_PRINCE LAB 2.0
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Chapel_Archive INVERTED DENSITIES - A NEW TYPE OF PUBLIC SPACE FOR BROWN UNIVERSITY
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STRATEGY
GREEN SPACE CONNECTOR
re-establishing the typology of the “quad”
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SITE ACTIVATION AND CIRCULATION
building as objects used to propose new paths of circulation, activating the breadth of the site
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EXPLORATION form, connection, occupation diagrammatic studies of how two forms might come to interact when placed on the site - the first as a penetrative element of vertical density, the second belonging to the earth, while still inhabiting the air lightly. The drawings sought to address how converging or penetrating forms might be placed in order to influence and augment the natural circulation across the site; activating the breadth of the territory while encouraging a new type of public program and public space.
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135 ANGELL STREET
proposed site of chapel_archive
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LL STREE
135 ANGE
THE WALK
existing public space
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House for my mother STUDIO HOUSE FOR A SCULPTOR_RHINEBECK, NY
SECOND FLOOR PLAN
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FIRST FLOOR PLAN
ELEVATION_NORTH
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SECTION_NORTH-SOUTH
ELEVATION_SOUTH
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AXONOMETRIC_ STUDIO STUDY
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Cup_Bowl CERAMICS STUDIO
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Active Matter MAKING OF MATERIALS AND VESSELS USING AN ACTIVE MAGNETIC FIELD
Active Matter- sought to examine and develop material studies in order to create a new substance and/or method of construction. Through the process of testing material strength, transparency and curing time it was possible to create a material that would then act to self-generate products of utility - cups, bowls and other primitive vessels. The process used the material strength of self-hardening liquid plastic-glass in conjunction with heat, metallic substances and a magnetic field in order to form a series of different forms. The forms were influenced both by material conditions of heat, density and mass but ultimately were formed in reaction to proximity and strength of the present magnetic field.
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