In its most elemental definition, architecture begins with the simple act of bringing material together, through infinite methods of stacking, layering, weaving, forming, applying, casting, adding, or subtracting. It is these basic acts of assembly that provide architecture with the physical, or even immaterial quality that users feel an connection with. The material composition of architecture is imbedded with meaning and qualities that stem from the material used and the methods of assembly, and as technology continues to push these boundaries of expression and efficiency, meanings continuously evolve. In a questioning age where design processes, methods of construction, and material selection have vastly expanded, it is important to explore how both intrinsic and extrinsic properties of material are being reformed. Through this understanding, new methods can be interpreted and more importantly past methods can be reinterpreted.
Through an exploration of intrinsic and extrinsic material properties, the evolving relationship between construction and craft, and the impact of digital processes, this thesis identifies opportunities for application to a music performance facility located in downtown Cincinnati. This recital hall, an extension of the College Conservatory of Music, will carefully consider material to create a spatial experience that responds to issues of site, program, and production.