Design Works by Eda Begum Birol

DESIGN WORKS EDA BEGUM BIROL

POLYBRICK 2.0

Research Paper Research Paper a+u Media Feature Scholarship Award Competition Award

DESIGN AND RESEARCH

Please click on the project image to travel to the relevant portfolio page. Please click on hyperlinks below project image to review published and media material not included in this portfolio

AGRIVOLTAIC PAVILION

CERA II for POLYBRICK Research Paper 1 Competition Award

ALGAEPONICS

Web Introduction ArchDaily Feature Research Paper (in Review)

LIVING HINGE MASKS

DIGITAL ANALYSIS OF GASBLADDER EVOLUTION Research Paper

PRINTING THE POLYBRICK WALL Research Paper 1 MSc. Thesis

ROBOTIC WOOD ARCHITECTURES

PolyBrick 2.0 BioIntegrative Load Bearing Structures

Greenware

Glaze Fired

iv. Fabrication Process via Formlabs Form 2

Advisor : Jenny Sabin Team : Yao Lu, Colby Jackson

Polybrick 2.0 investigates principals of mechanical load bearing in nature, particularly in the bone, to rethink design approaches to efficient structural design. This project takes place in 3 parts. The first part consists of a interpretive algorithmic development to generate bone inspired brick modules. This is followed by a proposal for architectural application, and development of fabrication technologies for the architectural scale manufacturing of designed modules. For part 1 we develop a workflow for algorithmic interpretation of the load bearing models found in the trabecular bone structure. The algorithm utilizes a stress tensor field based iterative ellipsoid packing algorithm for lattice generation (Figure ii-iii). Initial prototyping is realized through available ceramic additive manufacturing technologies -- at this stage with Formlab’s experimental photo-reactive ceramic resin (Figure iv.) . Contributions: Biointegrative research and interpretive algorithm strategy. Fabrication of PolyBrick lattices including digital geometry generation, printing, and post processing. CT Scan and analysis. Uniaxial compressive testing and result analysis. Final tensor based ellipsoid packing is primarily developed by teammate Yao Lu.

Bisque Fired

Bio-Inspiration:Trabecular Bone

i. Model of Trabecular bone Iteration 7

Iteration 44

Iteration 212

Iteration 735

Iteration 2886

Iteration 212

Stress Tensor Field

Lattice Generation

Lattice Thickening

v. Early Prototypes for Structural Analysis

Section Cut View

ii. Algorithmic Process

iii. Geometry Generation

vi. Surface Close Ups (Top) and CT Scan Slices (Bottom)

viii. Stress Tensor Informed Tessellation Strategy

ix. Cube Tessellation Strategy (Left) and Packed and Printed Bricks

vii. Uniaxial Compressive Testing The PolyBrick project aims to develop computational design processes to generate structural modules with high material efficiency. Upon the generation of a C# based Grasshopper component that implements an iterative stress tensor orientation informed ellipsoid packing process, we develop further workflows to propose larger scale application. A secondary tensor based “wall” tessellation algorithm is developed (Figure viii). This aims to modularize larger architectural geometries to efficient load bearing brick modules (Figure ix). A global “wall” geometry is analyzed under a certain use case and associated load case. Upon the generation of stress tensor date (stress tensor magnitude and orientation) the wall is tessellated into smaller “brick modules” using the tensor informed tessellation plug-in. This plug in allows for a tessellation that maximizes brick interface strength. Upon Tessellation a PolyBrick lattice is generated within each brick.

x. Tessellation Strategy (Left) and Packed and Printed Bricks (Right)

xi. Tessellated and Assembled PolyBrick Wall

xii. Individual Bricks Prior to Assembly

PolyBrick 2.0 via the Clay Extruding Robotic Arm “CERA”

Contributions: Mechanical part design and fabrication for CERA II including the piston, auger case, robot attachment.

Motor

All PolyBrick toolpathing, material preparation, mesh and toolpathing algorithm developments shown on the next 2 spreads are produced by me. Motor installation and wiring was conducted primarily by Teng Teng and Kevin Guo

Advisor : Jenny Sabin Team : Teng Teng, Mahshid Moghadasi, Alexia Asgari, Karolina Piorko In continuing the PolyBrick 2.0 project, we shift focus from algorithmic processes of load responsive lattice generation for materially efficient and high performance structural module generation to tackle questions of architectural scale and sustainable fabrication thereof. Extrusion based AM is central in fabricating complex digital forms and enabling mass customization. However conventional extrusion based methods such as the Fused Deposition Modeling (FDM) of thermoplastics -- most commonly PLA -- don’t exhibit the necessary range of scale or breadth of material for application in architectural construction. With a central aim to revitalize sustainable architectural materials such as ceramic in construction and in the larger scale manufacturing of PolyBrick modules, we develop a clay extruder (Figure i) and end effector to be attached to our in house 6-axis robotic arm ABB 4600 (Figure ii). Various extrusion tests (Table iii) are conducted to calibrate material and speed parameters. The clay extruding robotic arm “CERA” is utilized for the fabrication of PolyBrick lattices (Figure v).

PolyBrick Module

PolyBrick Section for Prototyping

iv. PolyBrick Prototype Section to be Printed with CERA II

Auger Motor

i. CERA II Extruder

ii.CERA II Full Assembly TCP speed

8 mm/s

12 mm/s

16 mm/s

Motor Speed = 2 Auger Speed = 10 vmotor:vauger = 1:5 Motor Speed = 3 Auger Speed = 15 vmotor:vauger = 1:5 iii. Speed Calibration Test for High Bead Fidelity

v. Print Process Shots

Printing the “PolyBrick Wall” : Mesh Manipulations

Brick Module Mesh

Mesh Printability Analysis

vi. PolyBrick Module: Mesh Printability Analysis Followed by Mesh Adaptation

Advisor : Jenny Sabin, Prof. Christopher Hernandez Secondary Instructor: Pan Michalatos MSc. MDC Thesis While CERA II presents a promising set up for the clay extrusion based additive manufacturing of clay, the porous lattice geometries are prone to print failures without the extrusion of a secondary support structure. In order to overcome this, we establish a third algorithmic process of printability analysis, followed by mesh adaptation to increase printability. This algorithm is specific to the fabrication technology utilized and based on observational data regarding print success. “The printability analysis plug-in works by looping through each mesh face of the geometry and assigns a printability factor and a representative coloration to it. The printability factor is dependent on the angle of the mesh face normal and location of mesh vertices in relation to the print-bed. Thus within the employment of this analysis algorithm, observational data regarding the highest achievable incidence angle from the print bed, and highest achievable bridging distance must be taken into account.” [1] Following the mesh analysis areas of the geometry with high likelihood of print failure are “enhanced”. “In order to increase local bridge support proximity and bridge curvature angle, the vertices that span between the central area (red) of the bridge and its respective node/ branch are moved in a manner that is inversely proportional to the z-axis component of the unit normal vector. The mesh face is then remade according to the new vertices. Thus, vertices of their concentric supporting areas are moved along their normal direction and bridge supports are enhanced and the curvature angle of the bridges are increased. n = mesh.Normals New Vertex = Old Vertex + n * (offset distance * ( 1 - n.Z)” [1]

Mesh Prinatability Analysis i. Illustrative Zoom In: Brick Module Mesh

ii. Illustrative Zoom In: Brick Module Mesh

vii. PolyBrick Module Print Results

iii. Mesh Adaptation for Increased Fabrication Success

v. Illustrative Section of Part to Print

viii. PolyBrick Module Print Results iv. Results: Bridge Success Results with and Without Mesh Adaptation

ix. PolyBrick : Full Brick Module Prints and Assembly

[1] Birol, E. B., C. J. Hernandez, and J. E. Sabin. “PolyBrick 2.0: Design and fabrication of load responsive structural lattices for clay additive manufacturing.” Structures and Architecture A Viable Urban Perspective?. CRC Press, 2022. 83-90.

Printing the “PolyBrick Wall” : Toolpath Sorting

Sort each curve based on layer and countour number. Layer number indicates the order in the z plane, and contour number indicates the order in the xy plane

Advisor : Jenny Sabin, Prof. Christopher Hernandez Secondary Instructor: Pan Michalatos MSc. MDC Thesis “In the slicing of PolyBrick lattices, as well as various other lattice typologies, one can observe several trends. Firstly, all layer contours can be understood to belong to one of two categories: strut (1) or bridge (2). A strut contour is a contour that is supported by a single contour below. A bridge contour is a contour with 2 or more supporting contours underneath. A PolyBrick lattice contains both types of contours. As opposed to printing all contours within a layer in arbitrary order, printing all contours of a strut across multiple layers is proposed to decrease unnecessary travel distances, decrease print time, and enhance geometry fidelity. For the algorithmic implementation of this, a recursive logic of contour sorting is established. If a contour has more than one curve exactly below it (determined by a layer height-informed proximity analysis), it is considered a bridge contour supported by 2 or more supporting contours. The sorting algorithm is initiated by adding the first contour of layer one to a sorted list. Then each contour above it is consecutively added to the list until a bridge contour is reached. If not all supporting strut contours have been printed, remaining support struts are identified and added to the sorted list, prior to the bridge contour. The recursive sorting is ended when all contour curves of a geometry have been added into a sorted list (Figure i). Digital model simulations are employed to identify potential collisions between the nozzle and printed portions of the geometry, and travel paths between struts are adjusted accordingly.

= 1 curve below

Strut Curve

> 1 curve below

“Bridge” Curve

If not in sorted list

If in sorted list

view direction

Identify quantity of curves directly below every curve. Categorize into strut or bridge curve based on quantity of curves below. Start at layer 0 and add strut curves to sorted list until a bridge curve is reached

view direction

When a bridge curve is reached, check sorted list for all supports below

Add each contour of every supporting strut to the sorted list

Add bridge curve to the sorted list

i. Toolpath Sorting Algorithmic Logic

ii. Geometry Aware Toolpathing Sequence

iii. Print Result Comparison between Conventional Slicing Method and Develop Geometry Aware Toolpathing

Sustainable Architecture and Aesthetics : Agrivoltaic Pavilion

Contributions: Iterative pavilion design process (in team), PV panel layout (in team), PV panel clustering (with Yao Lu), PV panel wiring scheme, algorithmic generation of nodes, construction drawings, architectural drawings

Advisor : Jenny Sabin Team : Alex Kyaw, Jeremy Bilotti, Yao Lu, Omar Dairi

i. Agrivoltaic Pavilion Renders

Sustainable Architecture and Aesthetics is a collaborative project between the DEfECT Lab at Arizona State University and the Sabin Lab, conducted under an NSF grant. SAA innovates the design and engineering of building integrated photovoltaics (BIPV) through parametric design workflows. Learning from the biological adaptations including heliotropic mechanisms in sunflowers and light-scattering structures in Lithops plants, we investigate impact of geometry and PV placement configurations on energy efficiency. We hypothesize that a parametric design process that utilizes environmental solar data would lead to significant increase of energy conversion efficiency for each panel while also maintaining a seamless integration of the solar system into the design product. The final proposal omits 50% additional structural metal and 30% copper cable per module which decreases carbon intensity by 15%. The pavilion thus demonstrates the first adaptable system with extremely low green house gas emissions, showcasing the potential of sustainable design for a resilient land use model to provide an integrated approach to food, energy, and water.

ii. Agrivoltaic Pavilion Top View Render Panel Prototype Top

Panel Prototype Side View

Dichroic Layer

3D Printed Middle Node

3D Printed Bottom Node

Functional Single PV Unit

iii. Agrivoltaic Pavilion Material Components

iv. Top Node

v. Middle Node

vi. Bottom Node

vii. PV Cell

viii. HDPE Structural Layer with Dichroic Film PV Cells

Nodes

Structural Scaffold

Dichroic Film

Section : All Components

Algaeponics: Algae Forest

Advisor : Rychiee Espinosa Team : Jae Ho Park, Yuxin Chen, Magdelen Zink, Geena Kribs, Yimeng Zhu, Yueja Yang Algaeponics: Algae Forest explores the coexistence of living systems, particularly algae, and the built environment. We design an installation that centers the cultivation of spirulina within the installation design. The installation showcases how algae can be cultivated within building systems and integrated into the design practice. As such, algae farming can be

imagined as a less space and resource intensive practice and simply a part of the urban life an environment. We design

Concept Sketches

a “bamboo forest” that in its current form functions as an immersive spatial experience while inspiring possible uses such as a shading and curtain system, space separator or wall. Each tube is connected via 3D printed custom joints to a water pump allowing for the circulation of nutrients and fresh water within the system, keeping the algae alive. Contribution: Conceptual design (in team) and all included and exhibited concept sketches, water circulation design (in team), installation (in team), construction drawings (iii, iv).

ii. Water Circulation Assembly i. Installation Zoom In

Algae Tube

3D Printed “I” Joint

3D Printed Nodes to Enable Water and Nutrient Circulation into Each Tube

3D Printed “L” Joint

iii. Construction Drawings v. Installation Exploded Axon

iv. Installation Elevation

vi. Exhibition Photos

Robotic Wood Architectures Advisor : Sasa Zivkovic Design Partner : Magdalena Zink Wood is both an age old craft and a sustainable building material. Unlike other common construction materials, timber is both renewable and recyclable, and unlike other common construction materials such as concrete, emits relatively low levels of Carbon during its processing. However the mass production of standardized wood modules (2x4 beams etc.) leads to large quantities of timber waster. With this project, we propose that innovative construction technologies such extensive utilization of a 6-axis robotic arm in timber module processing can decrease processing waste and expand use cases of timber modules. The evolution of the timber module suitable for construction can play a significant role in the next generation of low waste high efficiency construction. We propose ways of working with minimally processed wood as a construction material. We utilize the 6 axis motion of the KUKA robotic arm and a mill end effector attachment (Figure v) to carve a patterning for a unique log to log joinery system (Figure vi, ix). Rope is utilized as the secondary material system for both structural and space making purposes (Figure x). Contributions to Robotic Set Up: “Print bed” design and manufacturing to stabilize logs during processing, construction drawings of the overall robot and printbed system. Note that the set up was assembled as the whole studio group of 10+ people. Design Contribution: Design of joint system, toolpath design and planning, spatial design proposal.

i. Chain Saw End Effector Design

ii. Chain Saw End Effector Design Exploded Axon

iii. System Set Up

iv. Study Models: Wood/Rope Joinery System

vi. Wood Joinery System 0’

vii. Toolpath Planning and Execution Diagram 5’

viii. Carved Logs for Assembly

v. Process Shot : Robotic Patterning of Unprocessed Logs for Spatial Assembly

ix. Further Joint Details

x. Spatial Design Proposal

xii. Installation: Joint Details

xi. Installation

Living Hinge Masks

Team: Jenny Sabin, Maddy Eggers, Yao Lu, Colby Johnson This project investigates the 2D to 3D transformation of additively manufactured patterned surfaces following the print process (Figure ii). “Living Hinge” patterns that can be rapidly printed via conventional FDM printers are explored. The curation of 2 dimensional patternings allow for a 3 dimensional assembly of an object -- in this case a strap for a fabric mask against COVID-19. This project was developed at a time of scarcity for both masks and mask bands and aimed to think through how distributed manufacturing technologies can contribute to efforts of public health protection and disaster response. Additionally utilizing parametric design and surface patterning for a curated 3 dimensional evolution of a printed surface has promise to significantly cut down printing times associated with additive manufacturing and increase fabrication efficiency. Contribution: Living hinge concept development, mask band design, mask assembly, living hinge pattern design.

ii. Living Hinge Patterns and 3 Dimensional Transformation

iii. Final Mask on Models i. Living Hinge Mask Design

Morphological Analysis of the Bowfin Gasbladder

i. 3D printed representation of the Gasbladder Budding in Stage 28 and 19 of Bowfin Development

PI: Amy McCune Research Associate: Emily Funk This project is an interdisciplinary research collaboration between evolutionary biology and architectural/design representation to understand spatial evolution of the the bowfin gasbladder through its developmental stages. We study the morphological development of the bowfin gasbladder across 4 developmental stages to identify its budding patterns using various imaging and representation tools. The angular patterns of growth, identified through micro CT imaging and analysis, serve as a tool to understand the gas bladder and its development through its evolutionary timeline. Contribution: Microscopic images of bowfin specimen, cross sectional drawings of each specimen with emphasis on the gasbladder budding, image production and analysis, 3D printing of gasbladder models for visualization and analysis.

i. Microscope Image And Drawings Of Bowfin In 4 Developmental Stages

iii. Rendered Views of the Gasbladder Budding In Developmental Stage 26-29

WIND EAVES PAVILION

ARCHITECTURAL DESIGN

THERMAE

ACADEMIC HOSPITAL

1 4 6

INSTURMENTAL DWELLINGS

CONTAINED GARDENS

LUSTER

5 6

GLENN CURTIS AVIATION MUSEUM

WE TOYA HOTEL

OTHERWORLD PHILLY BRAIN ROOM

Wind Eaves Pavilion KKAA Instructor : Mark Cruvellier Partner : Ihwa Choi This project constitutes a structurally accurate reconstruction of Kengo Kuma’s Wind Eaves Pavilion. The original design is made up of 17 arches that contain 17-18 unique timber beams. Each beam is fitted to its neighboring beams through an angled notch and a two pin connection. To replicate this notch, we laser cut 3 Jigs for each arch, fit the wooded beams into the jig, and create the notch by pushing the jigs through the table saw (Figure ii, 1st image). We fit each the notched beams to neighboring beams and secure the joint via two pins. We construct each arch first, and fit the vertical beams to connect the arches to each other. The log base is a conceptual design decision to imply continuity of the pavilion design with the Cypress forest surrounding it. We replicate the stepped concrete foundation via rockite casting. We CNC the raw wood base and fit the rockite foundation into the impression. Contribution: All aspects of this project including jig preparation, digital design and assembly were done in partnership with Ihwa Choi. Both partners contributed equally to all aspects of making. i. Final Model Documentation

ii. Process Shots

iii. Final Model Axonometric Photograph

Insturmental Dwellings

Gears (linear)

Instructor : Jim Williamson, Loreina del Rio The project constitutes of translating a motion into interpretative space making practices. Completed as part of first year core studio in Cornell’s B.Arch program, instrumental dwellings aims to analyze “construction” in nature to create a proposal for a representative instrument, site, and installation. I look at the movement of the North American beaver across water in generating an “instrument” that captures this process (Figure i top). The spinning of the handle triggers are rotational motion of the gears, translated to a secondary linear motion of the wires. As such, the instrument captures the duality of the beaver’s movement as it makes its dam: its movement through water, and its mark on the movement of the water. An architectural site of “impact is proposed” as an interpretation of how the imprint of proposed instrument.

Gears (rotational)

ii. Final Installation Model

i. Model Of Insturment And Site Proposal

iii. Final Installation Details

Glenn Curtis Aviation Museum Instructor : Ryan Ludwig

Secondary Envelope Structure ETFE Panel

Grid Shell

The Glenn Curtis aviation museum is a space of exhibition of transportation artifacts including planes, motors, motorcycles and bicycles currently hosted In Hammondsport, NY. This project aims to integrate the building structural system with the curation of the contained artifacts and uniquely intertwine structural and spatial functionality. An open exhibition space is created by a primary grid shell structure. An ETFE exterior envelope stabilized by a secondary structure attaching to grid shell. Combined, these two structures for enclosure not only achieve an open interior space for viewing the artifacts, but also pockets in the ceiling plane to contain the artifacts in a way that is integrated into the design and structure of the space. Furthermore, the ETFE panels regulate sunlight, the grid shell system creates a support for the hanged display of the artifacts. The movement of the ground plane -- a concrete shell mimicking the enclosure above-- uniquely involves the gorund plane as a means of space and program making. Even without vertical “walls” users are able to experience different levels of enclosure and privacy as they move throught the museum.

ii. Construction Detail (Section)

iii. Construction Detail (Plan)

iv. Construction Detail (Section)

v. Cross Sectional Drawing

Concrete Shell

i. Final Model Documentation

vi. Sketches and Details

i. Concept Development

Thermae Instructor : George Hascup Thermae thinks through ritual of bathing and more broady the architecture of a “bathhouse” through ancient Rome to now. A space for communal ritual, the Roman Bath House was a central urban site for gathering. This project aims to intertwine various layers contained within the act of bathing: community, heath, solitude, leisure. In doing so the proposal uses the site as an opportunity to create a series of experiences with layers of public and private space and engage with the neighboring historical bath complex in unique ways. Most of the program is allocated as a public park and public pools, while smaller private pockets are created through material opacities within the bathhouse. Multiple water channels and bridges that cut across the design here create a play of waterfalls and movement of people and create a lively frame to the baths, offering an historical imaginary. Outdoor and public areas of swimming offer views not only to the baths of Caracalla but to the program’s public park. With this the project takes a critical stance against the common contemporary image of the bath house as an inaccessible and vastly solitary space.

i. Final Design Render

Contained Gardens Instructor : Jim Williamson, Loreina del Rio

ii. Plan, Sections, Site Plan

The design process of the project started with documenting and analyzing two precedents: the vernacular “Shotgun House” and SANAA”s Moriyama House In Tokyo,Japan. The shotgun house’s circulation and the Moriyama House’s arrangement of public and private spaces with strategic placement of fenestration and vertical displacements informed a hybrid design process. The project site is located in the midst of a cliff leading to a water landscape. Inhabitants can enter the space using a geographically embedded staircase through the cliff. The primary circulation is drawn out from the cliff, extending to and cantilevering from the gradually sloping landscape. A network of walkways weave and create a canopy of secondary circulation. The canopy enables an alternative way of engaging with the space. While inhabiting the primary circulation, the views are focused toward the landscape of water across from the program. However the canopy offers views to the whole site and the scattered courtyards. The design proposal showcases various levels of program hierarchy and contains a juxtaposition of ways of occupying space and interacting with the landscape.

ii. Exploded Axonometric Drawing

iii. Cross Sectional Drawing iii. Final Models

Industry and Installation Work and Contributions Photo obtained from architect's website. (Not produced by me)

Academic Hospital

We Toya Hotel Kengo Kuma and Architects

Design Partners International

Role: Architectural Intern Contribution: Interior room design iterations, light plan drawings, HVAC plan drawings

Role: Architectural Intern Contribution: Parametric iterative facade design (wood cut angles), interior and exterior rendering production, entrance plans Photo obtained from architect's website. (Not produced by me)

Luster

Brain Room

Jenny Sabin

Otherworld Philly

Role: Assembly Assistant Contribution: Physical off site assembly of the woven chairs

Role: Freelance Installation Designer Contribution: Digital design of the brain room

CRAFT AND REPRESENTATION Please click on hyperlinks below project to review published and media material not included in this portfolio

LANDSCAPE AGENCY AND MATERIAL TRANSFORMATION Web Feature

DRAWING AS PARALLEL PRACTICE

Landscape Agency and Spatial Transformation

Imaginary and Transformation fo the Pitch Lake Landscape Post Oil Extraction Instructor : Tao DuFour

Hard Asphalt

Liquid Pitch & Solid Pitch

Fresh Water

Sulfur Water

Water Plants

Sulfur Plants

This project tackles concepts of landscape agency, depletion, and possible transformation through visual mixed media methods and storytelling. The past rhythms of the pitch lake landscape contain information of its material agency and hint at its future transformation. I analyze the landscape transformation through time, and propose interprative mixed media methods to imagine future ecological patterns, and more importantly intertwined patterns of future inhabitation and relational experience of the landscape. In doing so I tackle questions of natural space making and spatial experiences beyond the sense of vision. I question how various aspects of a landscape, humidity, wind, soil mineral content inform the way in which we experience and interact with it. To begin an interpretive representation of this ecological transformation and material futures of landscape, I survey the current material make up of the landscape. I gather data the soil and water mineral content, the flora and fauna species diversity and transformative element including wind, humidity, and weather patterns. Emerging from this analysis, I picture 2 journeys through the post industry pitch lake landsape. I imagine these journeys as new and unique ways of experiencing and inhabiting the future of this landscape. Journey through Post-Oil Pitch Lake Journey 1 Journey 1 is a scroll through a flourishing fauna surrounding the pitch lake. The future industry-free landscape exhibits elevated floral biodiversity creating zones of complete immersement. This Journey allows for exposure to a mosaic of cultivated and wild floral ecologies. The Journey begins at the southeast and northeast residential zones, and gradually leads the scrollers around the periphery of the lake to the south west ano northwest. Here the natural percipitation of the rainy season creates fresh water pools populated with guppies, sea grass, algae, and lillies. These are surrounded by mangroves, cashew, pineapple, orange, and among other species of trees. In days of increased humidity and wind, the olfactory experience is overwhelmed by the scents of white pond lillies. The scent of fragrant nocturnal violet lillies characterize the olfactory experience of the nighttime. Populations of guppies accompany the swimmers in the fresh water lakes. Flocks of migrating Black Skimmers are transient visitors ol the site. Some of them make a stop for fresh water and skim for some guppies before continuing their journey. Journey 2 This is the journey through the increased mineral and sulfur baths populating the post extraction surface of the Pitch Lake. The zones of mineral bathing have no bounds, an immersement in the olfactory experience of the of sulfur defines this journey. The bounds of the scent arc ever evolving in relation to the wind rhythms and air humidity. The sulfurous pools also mimic this perpetual state of motion -- their transformation triggered by underground fault movements and mineral depositions. A window of inhabitation in time is captured in the representation of this journey. The wind creates the bounds of saturated olfactory experience, establishing and invisible spatial partition and a moment of full sensory and programmatic inhabitation.

i. Image Analysis of Landscape Elements in the Current Pitch Lake Landscape

ii. Overlaid representation of the material make-up of the Pitch Lake landscape over time. The overlaid graphs represents the percent make up of the landscape element (flora, hard asphalt, sulgure water, liquid pitch, hardened pitch, fresh water) within the overall area of the pitch lake. Significant seasonal and yearly differences are observed and plotted.

iii. Juxtaposed representations of the landscape and all its elements in 08/20185 in proportional comparison (top) and fluctuations of each individual element over the course of 2015 (bottom)

iv. Explorative Representational Studies of Landscape Elements

Drawing as Parallel Practice Instructor : Dasha Kapalkova

This project aims to understand the body through analytical drawing. Drawing is not only a media of representation, but also a media of investigation. As such, I utilize the act of drawing to understand the spatial layers, composition, textures and angles contained in the body.

i. Early Studies : Body as a Landscape

ii. Final Drawings: Deciphering The Body As A Landscape Through Exploratory Drawing

ii. Final Representations: Deciphering The Body As A Landscape Through Exploratory Drawing And Model Making

ii. Final Models: Deciphering The Body As A Landscape Through Exploratory Model Making

thank you for your consideration e-mail: ebb75@cornell.edu phone: 6073798559 LinkedIn Google Scholar