CAB Current Work Selected Works About Resume
Connor Brindza
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01 Medium Qualities
02 Vernor Housing
03 Primitive Swatches
04 RoomMies
Master's Thesis Modular Housing Material Research Scalar Housing
05 Material Works
Fabrication Research
Medium Qualities Medium Qualities proposes the physical instantiation of digital qualities. It embraces a collection of digital qualities as tectonic, and material, superseding their implications as temporary representation. The project addresses an assumed loss of digital abstraction during the development of a project through construction; we are attempting to maintain these digital conditions by making their qualities tectonic. These qualities include finish, pattern, color, and seams. Finish is the final application of surface treatment. Glossy finish has the ability to conflate, merge, and liken disparate surfaces, especially from a distance, making them appear seamless; Pattern is worked on in flat developed surface drawings of unrolled, overlaid surfaces. In the round, the patterns become space, openings, and other architectural things. Color demarcates material shifts–specifically texture–and gestures to interior volumes. And Seams reveal the production of form by intersecting primitive geometries. Our combination of a cone and cylinder allow the form to be unrolled. So there are conditions that will read as though they are still abstract–like a giant study model–but are achieved through construction. Digital qualities are serious intentions for building rather than rhetorical representational propositions. The project aims for new territory to conceive of material and detail which is more aligned with contemporary methods of digital architectural production.
w. Brian Poling.
Thesis Installation @ Liberty Research Annex

At the Far Distance: The building appears abstract, and almost graphic; Material, Texture, and Depth are reduced to surface and color.

This manifests in the window detail, which uses two panes of highly reflective glass, allowing for a slim gap between the edge of the window and the outer surface of the building.

At the Middle Distance: The building now reads as two distinct surfaces separated by a seam. Stucco texture is now clearly visible, but it’s too big.

A thin reveal interrupts the surface continuity of the building, outlining a major subdivision of the façade; here, a casing bead expresses the application of stucco as veneer.

At the Close Distance: The surface pattern highlighted in pink and white demarcates a shift in facade texture: the pink regions contain a consistent stipple-finished surface; while the white regions have an oversized stucco texture created by outlining discrete zones of stipple-finish.

What read as oversized texture from the Middle now reads as alienating texture–out of scale and too big.

So the distances, the details, and the mockups work together to frame the qualities of the project and demonstrate how their effects are produced. This framework proposes how digital production might become a serious part of material and tectonic discourse. For us, technique produces form. Form facilitates digital qualities. And details articulate the physical instantiation of those digital qualities.

Primitive Swatches
Let’s outline the standard understanding of a material for an architect: 1. The material itself: wood is physical wood. It is a piece of a tree with weight, volume, texture, even smell. 2. The digital material: this is more specific to those using rendering software. Digital wood is the application of an image of wood onto an infinitely thin surface. Software maps the material onto the surface to produce a representation of an object or space. 3. The abstract material: the use of a hatch pattern in construction drawings for identifying material which has been cut in section. These patterns are loosely related to some property of the physical material. The general conception has been that this list is a hierarchy of material description; that digital and abstract material are representations of the material itself, sequentially distant from what is defined as the material. This standard understanding is crumbling. Materiality is no longer tied to physical characteristics. What something is made of is not necessarily related to what it looks like. We used to think a brick likes an arch, but now it likes whatever you want it to like—it is just a silly veneer. This sentiment of veneer culture in construction is echoed in the tendencies of designing in software, where material is mapped to individual surfaces only after they have been designed. We are playing a game of expectations by replacing physical characteristics–such as weight and thickness–with digital characteristics–such as infinite thinness–and abstract characteristics–such as flexible surface mapping and representational patterning. Our objects are geometric primitives; they are a constant variable for material instantiation which also correspond with types of surface mapping in rendering software. Each object serves as an instantiation of digital and abstract material. The new objects contradict the implied material through its disassociation of physical qualities such as weight, density, solidity, and basically every other quality natural to the original material. This means that we are flattening the existing hierarchy of Material description, so that digital and abstract materials are just as real as physical materials. So, Primitive Swatches observes and embraces; it sees the progressive potential in a more open relationship between surface treatment and tectonics through contemporary digital production.
w. Brian Poling.
Housing No. 2 (Vernor Housing)
Study for new models of housing in Detroit which champion unobtrusive scalar development, prefabrication, + intergenerational living. As CONFRASCO, w. Scott Chriss + Francis Wu.
Housing Lifestyle
Facade Lifestyle
Bldg. Plans
Bldg. Section
Unit Layouts
RoomMies This is a family of translated, Round, Mies buildings filling in a remaining plot of land at Lafayette Park. Mies has a collection of buildings which function as one, open, room, describable by the developed surface drawing—a historical representation of the unrolled interior surfaces of a room. This drawing type is biased towards rectangular spaces whose corners are easily defined. Mies’ buildings are always defined by the relationship between surface and corner; this relationship is challenged when I make the buildings round. The rounding process requires Relocating the Corners and stretching the length of the facades. This is made clear because of Mies’ uniform façade articulation. It is also Diluting the clear distinction between surfaces by making perpendicular facades coplanar. This happens in varying degrees based on the original corner. The resulting buildings can vary widely in size from their originals, but are consistently configured into housing types. An office becomes a single-loaded apartment building, an apartment building holds one room per floor, and a house becomes wide enough for multiple houses to fit inside it. By placing the buildings in close proximity, even super tightly packed, I make an argument against the lack of density in his masterplans, and of Detroit in general. Advisor: David Eskenazi
Lafayette Tower
Bacardi Headquarters
Lakeshore Drive
Material Works A collection of material research, both analog and digital. w. Brian Poling, Scott Chriss, + James Ferello
A Twist on Flutes + Corners
Stretch Plaid
Triple Bridge Form Studies
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CAB Connor Brindza Projects © Connor Brindza 2017. All Rights Reserved.