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SCI-Arc
critic: elena MANFERDINI

suckerPUNCH: Describe your project.

dave BANTZ: Singularity of mood or message can be dangerous for society. Allowing architecture to exude only one reading can erode a culture’s ability to grow, create, and tolerate change. This thesis attempts to shift from an architecture of meaning, to an architecture of interpretation, through the blurring, dissolution, and misrepresentation of the perception of an architectural figure.

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los angeles CALIFORNIA

suckerPUNCH: describe your project.

dave BANTZ + cat PHAM: Designed as a direct counter proposal to Renzo Piano’s New Whitney Museum “Box” this studio, run by Lise Anne Couture or Asymptote while visiting at SCIARC, encouraged students to explore the varied and diverse work of the America artists who may have their work displayed in the museum itself. Highlighting the struggle to reconcile to big box museum with more intricate, detailed, and formal architectural design approaches, the studio began with simple formal exercises meant to explore possible techniques for the dissolution and opening up of the traditional box museum with aperture, structural expression, and integration of color.

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suckerPUNCH: describe your project.

dave BANTZ + michael GROSS: Rather than taking the “true” or literal approach to materials, this
project attempts to adopt techniques mastered by artists and apply them at an architectural scale. Material in art is used as a representational device for effects and a gateway to sensation. The”Artificial Matters” studio, run by SCIARC professor Elena Manferdini, aims to provoke new sensations through texture, geometry, coloration, and finish. The studio began by 3D scanning literal materials (in this case a sliced peach) and modifying the raw data to produce a synthetic material with the potential to create new sensations.

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los angeles CALIFORNIA

SCIARC 2GBX Studio 2010 - Instructor: Elena Manferdini - “Intense Interiority and Ornate Enclosure”

suckerPUNCH: describe your project.

dave BANTZ: Guided by studio instructors Elena Manferdini, Marcelo Spina, and Tom Wiscombe, our studio was thrown into an intensive month long scripting workshop. After our workshop, we were encouraged to extrapolate and build from our respectable bank of scripting experiments adding consideration for program, context, and performance. A crisp, patterned, and prism-like exterior shell encases a sinuous structural and circulation network, which in turn, supports more focused plastic interior volumes.

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