architectureanddesign

pignataro.

Educ

atio

n Wentworth Institute of Technology 2009 - 2014 Masters of Architecture (M.Arch) Published in Wentworth Architecture Review v4 Architecture Teaching Assistant GPA 3.70/4.00Bachelors of Science in Architecture (B.S.Arch) Published in Wentworth Architecture Review v2 Deans List 2010 - 2013 GPA 3.58/4.00 Cum Laude

Skill

s Adobe: Photoshop - Illustrator - InDesign - AcrobatMicrosoft: Word - PowerPoint - Excel - OutlookDigital: AutoCAD - Sketch-up - Revit - Artlantis - RhinocerosPhysical: Drafting - Model Making - SketchingOther: Collaboration - Graphic Design - Organization

Pauli & Uribe Architects Boston, MA Feb. 2014 - PresentJunior Designer CreatedandmodifiedrenderedelevationsinPhotoshop ProducedAutoCADfloorplans,sections,andelevationsforresidentialbuildings Developed details for residential components

Elkus Manfredi Architects Boston, MA Sept. 2012 - Jan. 2013Architectural Intern Designed 3D digital models using Google SketchUp ProducedandmodifiedrenderingsanddiagramsinAdobePhotoshop Createdlayouts,booklets,andpresentationboardsusingadobeInDesign Contributedtothefeasibility,schematic,anddesigndevelopmentprocesses Developed detailed building forms within Revit Architecture

Thompson Engineering Charlestown, MA Sept. 2011 - Jan. 2012AutoCAD Operator Created and revised electrical drawings using AutoCAD and Revit MEP Created interior and exterior lighting analyses to show LEED compliance Recorded existing conditions during on site visits ParticipatedinmultipledesignstagesincludingSD,DD,CD,andCA

Lenox, Newell-Rubbermaid East Longmeadow, MA April 2010 - Aug. 2010Plant Engineer Intern Developed detailed AutoCAD drawings for various projects Worked with estimators in order to obtain quotations for work Facilitated meetings with contractors to evaluate needed repairs Managed and coordinated construction projects

Wo

rk E

xpe

rienc

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tra Wentworth Varsity Volleyball 2011

Portfolio Review Committee 2013Tau Alpha Pi Member 2013MIT Co-Design Studio 2014

designerRichard J. Pignataro Jr.

[email] richardjpignataro@gmail.com [web] pignataror.wix.com/arch [cell] 413 262 3119

SOUTH END CULINARY SCHOOLBOSTON,MASPRING 2013

p. 9

DECORDOVA ARTISTINSTITUTELINCOLN,MASUMMER 2012

p. 3

JAMAICA PLAIN MASTER PLANROXBURY,MASUMMER 2013

p. 25

THE SPRINGSCOMPLEXUNITED STATESFALL 2012

p. 31

NUVU CAMBRIDGE DESIGN STUDIOCAMBRIDGE,MAFALL 2013

p. 19

NUVU STUDIO BENCH DESIGNCAMBRIDGE,MAFALL 2013

p. 35

NYT BUILDING PRECEDENT STUDYBOSTON,MASPRING 2011

p. 15

MATERIAL STUDIESEXPLORATIONBOSTON,MASPRING 2013

p. 39

IMPLEMENTATION

Throughout our project, the goal of implementing our studies into an architectural application has always been in mind, however the end product has not always been clear. Our iterations led to implementing our studies into a structural column of oblique members that are created through the study of light. Through completing daylighting studies on the object form, we achieved a method for creating areas of density that will counteract the natural light, enabling an even diffusion throughout the columns. The artful column is meant to be interacted with in different ways depending on the location. It can act as a gathering space, an independent reading space, etc. and the created space is unique on each floor. Inhabiting the column will give the full affect of light diffusion. The final product has become something that is much more than simply form, but also has the ability to perform a multiple functions. It acts as a structural column, a light mitigation system, and a work of art.

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Christopher Battaglia, Michael Cerbone, Richard Pignataro, Michael Remondi

MATERIAL PROCESS EXPLORATIONMaterial Studies - Rob TrumbourWentworth Architecture 2013

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THE DECORDOVA ART INSTITUTESITE LINCOLN,MA

STUDIO LANDSCAPEDATE SUMMER 2012 DURATION 4 WEEKS

4

CONCEPTThe Decordova Art Institute project poses the challenge of integrating unlike styles of art into oneunifieddesign. The schoolencompasses threedistinctconcentrationsofart:natureart,minimalistart,andfilmart,eachwiththeirownspatialneeds.The project highlights the focus and requirements of each concentration through variations in material,natural lighting,andelevation.Theaxisofeach concentration directly relates to the art and landscape of the Decordova Sculpture Park. The light glass enclosed minimalist grid directs participants towards Sol Le Witt’s Tower sculpture. The wood-clad Nature Art lies on a grid parallel to the adjacent lake’s edge. Finally, the Film Art relates directly tothepathtowardsthebuilding,parallel tothemainstreet. Each type of art becomes a unique spatial experience rooted into the creative landscape.

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6

DECORDOVA

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DECORDOVA

[Nature Art: Wood]

[Minimalist Art: Glass]

[Film Art: Slate]

99

SOUTH END CULINARY SCHOOLSITE BOSTON,MASTUDIO COMPREHENSIVEDATE SPRING 2013DURATION 10 WEEKS

10

CONCEPTThe South End Culinary School encourages integration of a modern institution into a contemporary brick residential area in the South End of Boston. The design strives for a uniqueness in form and materiality while respecting the culture and style of the area. The teaching kitchens act as focal points within the structure symbolizing the heart of the culinary process. The form of the building is an extruded box encased in a red composite panel system,inwhichthekitchensbreakthroughandalterthegridutilizingfloortoceilingcurtainwallsystems.The distinct change in materials and opacity allows for the kitchen spaces to glow during the night and spill light into the other communal spaces. Social spaces within the building are gathered around the teaching kitchens, creating a dialog and learningexperience through observation. The kitchens become an object of display both internally and externally.

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[North Elevation]

[South Elevation]

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CULINARY SCHOOL

[HVAC] [Structure]

13

COMPOSITE METAL PANELPANEL BRACKETMULLION SYSTEMDOUBLE-PANE GLASSINSULATIONRIGID INSULATIONMETAL COPINGCONCRETE SLABGALVANIZED STEEL DECKINGCONCRETE FOUNDATION WALLCONCRETE FOOTINGSTEEL REBAREPDM RUBBER ROOFINGWATER DRAINAGE SYSTEMHVAC DUCTWORKCANTILEVERED I-BEAMSTRUCUTRAL COLUMN (BEHIND)GRANULAR FILLEARTHFINISHED FLOORMETAL CEILING TILE

METAL COPINGCOMPOSITE METAL PANELBACKER ROD AND SEALANTUNA-CUP3/4” SUBGIRTFASTENERSISOLATOR SHIMSFLASHING

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A B C D E F G H

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CULINARY SCHOOL

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1515CollaborationwithC.Battaglia,T.Le

NYT BUILDING PRECEDENT STUDYSITE NEWYORK,NYSTUDIO DESIGN & TECH IIDATE SPRING 2011DURATION 1 WEEK

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MODELINGThe New York Times precedent study focuses around the building’s skin and its relationship to the structure. The New York Times building has a unique facade structurethatdoublesasalouveredshadingdevice,strategically spaced out for the sun to penetrate into the building at the right moments and angles. The main work of the project is a 3/8” scale sectional detail model of the building designed to show the intricate detailed connections of the facade. The vast color changes within the scale model emphasize the strong material changes in the New York Times Building. The model sits at approximately four feet tall and becomes a spatial experience to explore the complex structure.

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NEW YORK TIMES

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NUVU DESIGN STUDIOSITE CAMBRIDGE,MA

STUDIO STUDIO VIIDATE FALL 2013DURATION 12 WEEKS

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CLIENTThe NuVu Studio is an alternative school for 12-18 year olds in which the curriculum begins to mimic the architecture studio. Students participate in hands-on design and build projects in robotics, fashion,technology, music and culinary. Privacy, display,and storage were key elements that needed to be addressed within each proposal.

CONCEPTThe focal point of the design is an exterior atrium space that runs through the center of the building and acts as a path between parking and street scape.Withinthisspace,“pods”breakthroughthefacade and act as privacy cubes for the students. The gradient facade between solid and transparent displays variation in public and private as the building descends to the ground. The idea is derived from the design process in which it begins with a singular idea generated within the mind, is transformed into acollaborativehandsonproject,andfinallybecomesas an object of display.

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[The Individuals] [The Small Group] [The Connection]

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NUVU DESIGN STUDIO

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NUVU DESIGN STUDIO

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2525CollaborationwithC.Battaglia,M.Remondi

JACKSON SQUARE MASTER PLANSITE ROXBURY,MASTUDIO COMMUNITY DESIGNDATE SUMMER 2013DURATION 2 WEEKS

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CONCEPTThe existing Jackson Square area has a cultural disconnect created by the barrier-like condition of the Orange Line train tracks. The Master Plan attempts to reconnect the site as a whole through variationsinblocks,program,andopenspace.Thesite is broken down into three sections that each haveanindividualfocus:CulturalCenter,Mixed-UseResidential,RecreationalGreenSpace.Thesectionsare connected through a river walk that runs through the site and creates a tranquil circulation at the pedestrian level. A raised bike path also allows commuting circulation to pass through the site without disturbing the public realm.

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[Existing Recreational Space]

[Existing Cultural Center]

JACKSON SQUARE

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[Proposed Cultural Center]

[Proposed Recreational Space]

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JACKSON SQUARE

3131Collaboration at Elkus Mandredi Architects

THE SPRINGS COMPLEXSITE UNITED STATESFIRM ELKUS MANFREDIDATE FALL 2012DURATION 15 WEEKS

32

CONCEPT The Springs project acts as a Master Plan to redesign an existing outdoor shopping, dining,and entertainment complex, which includes therenovation and new design of over 80 buildings. The concept focuses around a Spring that gave life to the“originalsettlement.”Buildingthemesfollowthegrowth of a town from a simple spring to a thriving economy. My work throughout the project was mainly contained within schematic design in which I utilized SketchUp and AutoCAD to generate early design schemes for a multitude of buildings and landscapes. The majority of building types are a mixture of retail and restaurants.

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THE SPRINGS

3535

NUVU BENCH DESIGNSITE CAMBRIDGE,MASTUDIO FURNITUREDATE FALL 2013DURATION 4 WEEKS

36

DESIGN The NuVu Innovation Bench is designed for the NuVu Studio,analternativeeducationfor12-18yearolds,whichis loosely based around the architecture studio curriculum. The form of the bench directly relates to the current issues within the NuVu Studio. The voids within the interior of the bench become a place for temporary storage during studio, which allows for integrated storage without anyadditional architectural implementation. The bench aims to accommodate different age groups through the use of the contoured seating which holds different bench heights for users of different sizes.

FABRICATION The major fabrication of the furniture relies on CNC’d poplar plywood that creates the four distinct typologies of pieces in order to generate the desired form. The pieces are then assembled sequentially using four steel rods that run through 1/2” drilled voids within each piece. Steel bolts cap the rods and hold the 100 pieces together as one unifiedbench.

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[storage]

[older] [younger]

NUVU BENCH

3939CollaborationwithC.Battaglia,M.Cerbone,M.Remondi

MATERIAL EXPLORATIONSITE BOSTON,MASTUDIO MATERIAL STUDIESDATE SPRING 2013DURATION 4 WEEKS

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PROCESS The Material Exploration project facilitated the discovery of new ideas in creation and material properties. Specifically, theproject focusedon thecreation of parametric elements using different materials and methods to generate and support each form. The initial steps of the project involved digital modeling in Grasshopper which we used to develop a physical model using CNC rubber molds to form acrylic modules that are fused together usingcopperwiring. This generatedaunified formbut it lacked the structural stability to support itself. The next step created a similar form but utilized laser cut chipboard modules that were adhered together in order to create a self-supporting modular column piece that creates dynamic diffused lighting.

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PROPERTIES

The casting resin that we used is initially a clear, thick liquid that has to be mixed with a hardening agent before it is cast in the rubber molds. Once it hardens, the material is clear and quite strong in both tension and compression. It is strong enough to drill through and can support a network of different size and shape pieces.

PROCESS

We started this process in a way similar to the Hydrocal iteration. We carved a mold out of rigid insulation using a CNC machine and Rhino. We then covered that mold with a brush on rubber solution to make a negative, which we would then pour the resin into. Once the rubber dried, a paper mache layer was formed over the top to provide a rigid structural element to the mold. In each of the molds, we placed thin copper wire for both structural integrity and aesthetic effect. We mixed the casting resin with a few drops of the hardening agent and poured it into each of the rubber molds resulting in a sold, clear element.

PRODUCT

We were left with a series of hard, clear elements that were linked together to form a network. These pieces are reasonably strong in both tension and compression and can be used to reflect or screen light. The final product came out the way we had envisioned, and succeeded in our material exploration.

CONCLUSION

The resin is a more successful material for a few reasons. First of all, it has much better tensile strength than the Hydrocal. These casts can hold many times their own weight in tension and can be modified in order to link them to other pieces. Secondly, the resin is much more aesthetically pleasing. It is light and elegant and allows light to filter through.

PROPERTIES

The type of wax we used was microcrystalline wax. It consists mainly of a mixture of saturated hydrocarbons. It has a much finer crystalline structure than paraffin wax. It generally has a very low oil content, and high melt point. The wax is in a solid state when cool or at room temperature, but when heat is in excess of 125 it becomes a liquid state. The wax can reach a translucent state if it is formed this enough, otherwise it remains opaque. The density of the wax is .93 g/ml, making it less dense than water.

SUSTAINABILITY

Since the material is derived from decaying plants and animals, it is an ever-available commodity. From a group standpoint, the wax is very recyclable. We are able to simple re-melt the wax into a new form if a mistake is made. Left over wax can be sent to a refinery to be recycled but after refined, it is very inconsistent with size, shape, color, and texture. Certain types of wax can be organic such as bees wax, but the microcrystalline wax that we are using is not organic. Being inert and water repellent, wax is unaffected by the decomposition and therefore not biodegradable. than water.

COMMON USES

When a person thinks of wax, they generally think of a candle, but wax has a number of different uses. It is used as a water repellent such as in surfboards, a cosmetic item such as removing hair, sculptural material, fuel, etc. It is most commonly seen within the candle making industry.

PROPERTIES

Hydrocal is a white gypsum cement product. It comes in white powder form and is mixed with water. Once the reaction takes place the Hydrocal hardens and has roughly twice the compressive strength of traditional plaster. It is generally used for thin, intricate castings that require high initial strength. Having a product with such strength makes it easier to remove from casting molds without breaking. The Hydrocal also picks up a lot more detail that many other plasters fail to capture.

PROCESS

We started by making a mold out of rigid foam insulation. The foam pattern was created in the software program Rhinoceros and carved out using a CNC machine. Once we had the mold cut out and sanded, we mixed the Hydrocal and poured it into the finished mold. After the Hydrocal hardened, we removed it from the mold. We were left with a series of small islands arranged on an undulating plane.

PRODUCT

The final product wasn’t what we had hoped for. We used an incorrect ratio of Hydrocal to water, which resulted in a weaker cast. The cast was much softer and more brittle than we had intended. The form fell apart and we ultimately ended up with one large network and several smaller, individual islands.

CONCLUSION

The Hydrocal was a good material with a lot of potential. We failed to utilize it and came to the conclusion that it lacked the tensile strength that we were going to be looking for in the next steps of the project. Although we wanted to keep the same casting process, we switched to a resin as the final cast in order to achieve the material strength we desired.

OUTCOME

As a tool for learning, the wax acted as a great learning experience for material exploration. However, we realized that wax is not a practical building use material due to its low melting point and poor structural integrity.

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ON PARAMETRIC MODEL

Through the process of input and output, parametric modeling allows us to create three dimensional models that respond to certain mathematical operations. An idea of conceptual tracery is realized by first writing a parametric script in Grasshopper. The basis of the script works around the principle of expanding voids to create solids. By using the linear connection between points as a boundary, the ellipses create oblong voids. The solid tracery face is then extruded and modular pieces are cut from the lattice.

CNC MILLING

Once a 3D model is created using the parametric script it is taken to the CNC machine to become a physical model. The #D object first needs to be analyzed through the process of writing a G-Code. The G-Code is a series of x, y and z coordinates that CNC machine reads in order to tool out the model in a physical material. Done in multiple passes the first pass with a larger bit removes the bulk of the material, while a fine ball nose bit then cuts and carves the details. Some sanding creates a smooth surface for the casting process.

COMMON USES

Digital fabrication and rapid prototyping is used on a daily basis in the Architectural and Design Industry. Used to create small scale models, installations, and building components CNC milling can produce final forms, or be used as a tool in the intermediate process.

NEXT STEPS

When creating the modular pieces, the connecting nodes were cut at 90 degrees perpendicular to the objects face. When designing the modular pieces, greater care needs to be taken in designing the connection. By creating hidden joints integrated within the objects, the nodes can be designed to hide where the connection is made. These new joints would make the tracery strong enough to become structural. The process of making this system structurally active while still retaining its formal gesture is the future of this exploration.

Christopher Battaglia, Michael Cerbone, Richard Pignataro, Michael Remondi

MATERIAL PROCESS EXPLORATIONMaterial Studies - Rob TrumbourWentworth Architecture 2013

[Grasshopper Scripting]

PREC

EDEN

TS

Sendai MediathequeToyo ItoSendai, Japan 2001

The Sendai Mediantheque building in Japan uses a similar technique as far as how the final product is implement and the impact it has within the space. The structural steel lattice columns run from the bottom floor to the roof through circular floor openings that allow light to diffuse down through the building. The size of the steel tube columns are determined by the loads which place the largest columns along the corners of the building. The space between the columns have a small variety of uses including elevator shafts and mechanical chases, but for the most part are unoccupiable to the public. Our project is similar in its attempt to act as a enhanced structural idea, although there are some conceptual changes. The use of the space within the columns is meant to be more of a social and interactive space rather than a service use. Also instead of repeating sizes and openings, our openings vary in size in order to diffuse more light in certain areas.

Open Column ProjectOmar KahnBuffalo, NY 2008

This project related to our column system through its visual appearance, functionality, and ability to interact with people. Although this piece is non structural in creates a similar environment that creates a gradation of enclosure through the different members. As you can see from the image, this operable column projects interesting shadows on the wall that change the lighting qualities of the room.

Xurret SystemBarcelonaSendai Japan 2001

The connection between this project and ours is not based on the final product but based upon the process of creating. These benches were designed parametrically in which the points where the separated benches connect were made in specific spots to control a smooth transition from bench to bench, but the lines that span within the center of the bench were determined through the program. The way we designed the perforations within our column follow the same idea. We created density points along the form of the column in order to mimic the sunlight that would enter the building. However, each opening was not placed individually along the form. The program uses the density points we created in order to fill in the form to create the desired effect.

SPE

CIF

ICA

TIO

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RA

WIN

GS

Christopher Battaglia, Michael Cerbone, Richard Pignataro, Michael Remondi

MATERIAL PROCESS EXPLORATIONMaterial Studies - Rob TrumbourWentworth Architecture 2013

PREC

EDEN

TS

Sendai MediathequeToyo ItoSendai, Japan 2001

The Sendai Mediantheque building in Japan uses a similar technique as far as how the final product is implement and the impact it has within the space. The structural steel lattice columns run from the bottom floor to the roof through circular floor openings that allow light to diffuse down through the building. The size of the steel tube columns are determined by the loads which place the largest columns along the corners of the building. The space between the columns have a small variety of uses including elevator shafts and mechanical chases, but for the most part are unoccupiable to the public. Our project is similar in its attempt to act as a enhanced structural idea, although there are some conceptual changes. The use of the space within the columns is meant to be more of a social and interactive space rather than a service use. Also instead of repeating sizes and openings, our openings vary in size in order to diffuse more light in certain areas.

Open Column ProjectOmar KahnBuffalo, NY 2008

This project related to our column system through its visual appearance, functionality, and ability to interact with people. Although this piece is non structural in creates a similar environment that creates a gradation of enclosure through the different members. As you can see from the image, this operable column projects interesting shadows on the wall that change the lighting qualities of the room.

Xurret SystemBarcelonaSendai Japan 2001

The connection between this project and ours is not based on the final product but based upon the process of creating. These benches were designed parametrically in which the points where the separated benches connect were made in specific spots to control a smooth transition from bench to bench, but the lines that span within the center of the bench were determined through the program. The way we designed the perforations within our column follow the same idea. We created density points along the form of the column in order to mimic the sunlight that would enter the building. However, each opening was not placed individually along the form. The program uses the density points we created in order to fill in the form to create the desired effect.

SPEC

IFIC

ATI

ON

DRA

WIN

GS

Christopher Battaglia, Michael Cerbone, Richard Pignataro, Michael Remondi

MATERIAL PROCESS EXPLORATIONMaterial Studies - Rob TrumbourWentworth Architecture 2013

PREC

EDEN

TS

Sendai MediathequeToyo ItoSendai, Japan 2001

The Sendai Mediantheque building in Japan uses a similar technique as far as how the final product is implement and the impact it has within the space. The structural steel lattice columns run from the bottom floor to the roof through circular floor openings that allow light to diffuse down through the building. The size of the steel tube columns are determined by the loads which place the largest columns along the corners of the building. The space between the columns have a small variety of uses including elevator shafts and mechanical chases, but for the most part are unoccupiable to the public. Our project is similar in its attempt to act as a enhanced structural idea, although there are some conceptual changes. The use of the space within the columns is meant to be more of a social and interactive space rather than a service use. Also instead of repeating sizes and openings, our openings vary in size in order to diffuse more light in certain areas.

Open Column ProjectOmar KahnBuffalo, NY 2008

This project related to our column system through its visual appearance, functionality, and ability to interact with people. Although this piece is non structural in creates a similar environment that creates a gradation of enclosure through the different members. As you can see from the image, this operable column projects interesting shadows on the wall that change the lighting qualities of the room.

Xurret SystemBarcelonaSendai Japan 2001

The connection between this project and ours is not based on the final product but based upon the process of creating. These benches were designed parametrically in which the points where the separated benches connect were made in specific spots to control a smooth transition from bench to bench, but the lines that span within the center of the bench were determined through the program. The way we designed the perforations within our column follow the same idea. We created density points along the form of the column in order to mimic the sunlight that would enter the building. However, each opening was not placed individually along the form. The program uses the density points we created in order to fill in the form to create the desired effect.

SPE

CIF

ICA

TIO

N D

RA

WIN

GS

Christopher Battaglia, Michael Cerbone, Richard Pignataro, Michael Remondi

MATERIAL PROCESS EXPLORATIONMaterial Studies - Rob TrumbourWentworth Architecture 2013

MATERIAL STUDY

designerrichard j. pignataro jr.

[email] richardjpignataro@gmail.com [web] pignataror.wix.com/arch [cell] 413 262 3119