ellen garrett design portfolio
PROJECT CATALOG
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THE POLAR MICROCOSM ongoing_independent research Antarctica is without question uninhabitable. And yet every season, despite life-threatening conditions, various species surge to and thrive at the pole. This extreme environment, home to various types of birds, mammals, and microbes, yields undoubtedly unique conditions that certain species find ideal. Free of most predators, and largely untouched by humans, Antarctica remains as the last bastion of vestal earth; still the perceivably vacant landscape seems an unlikely setting for the discussion of flora and fauna.
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The field of landscape architecture has yet to explore the vast continent, which boasts no permanent human residents. Ironically enough, it has proven to be the most optimal case study of climate change. The altered weather patterns and global temperatures affects the polar regions six times faster than the rest of planet earth. Given the fragility and specificity of the conditions, a modest change in temperature or sea level could lead to a domino effect of disastrous and irreversible outcomes. To understand humanity’s global influence on nature, we glean the most substantive information from areas that thrive in our absence.
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MINIMUM ICE MASS The Pole is a Heat Sink If temperatures in Antarctica rise, temperatures everywhere will rise. An intervention, let alone the reversal of climate change, is a daunting task that the fields of geological, biological, and meteorological sciences cannot face alone. Climate change is an increasingly politicized issue and requires the attention of designers as advocates for responding to human-influenced climate patterns. Research conducted in Antarctica continues year-round, with a vast range of disciplines engaged simultaneously to connect the dots of a transforming landscape. The role of the designer within the context of scientific research is to become the liaison between the science conducted in the field and the public, enabling multitudes to better understand the complexities of polar environments. The awareness that a rapidly changing condition ten thousand miles away directly affects global health is not a concept accepted by the general public. The continent has limited exposure from any major design study, despite polar climates being a critical part of the global ecosystem in the sense that it is a heat sink for the rest of the planet. The research and design potential in Antarctica has the ability to affect and cascade into other global regions. Designers, once given the tools, can begin to speculate on the trajectory of the Antarctic Landscape and ultimately on global change. 6
MAXIMUM ICE MASS
Although differing from the rest of the planet in temperature, biodiversity, and climatic patterns, the Antarctic continent exists as a microcosm. Many of the species here are an example of flora and fauna’s inability to adapt as quickly as its current environs. The ethics of intervention on natural systems has been a major discussion point in the field of Landscape Architecture, and while we learn more about our immediate and not- so-immediate surroundings, we can propose new ways of interacting with our ever-changing environment. This is not to suggest that designers interfere with otherwise pristine territory, but instead consider how the built landscape at large can be reconsidered within the context of more precarious surroundings. The heavy-handedness of industrial landscapes directly alters patterns in both immediate and isolated. Antarctica not only establishes a precedent for potential change to come, but also currently exists as a confluence of affected global systems. The condition of the Antarctic continent has the ability to disrupt the ocean’s salinity and the aridity of deserts (15). Daily changes and record highs make tabloid headlines, while longer timelines show startling and irrefutable evidence that the Earth’s oceanic and atmospheric temperatures are rising consistently. Designers must overstep boundaries of speculative, comprehensive projects and focus simultaneously on the execution of change and policy. The distribution of digestible information, graphics, and ideas outside of the field of design is more critical than ever and will help the world to escape the narrow-mindedness of climate-altering, urban landscapes.
FLOE
FRAZIL [1]
BRECCIA
GREASE [2]
NILAS [6]
SHUGA [3]
YOUNG [7]
SLUSH [4]
OLD [8]
[5]
BRASH [9]
[10]
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PANCAKE
CAKE ICE [11]
ICEBERG
FLOEBERG [12]
ICE SHELF [16]
[13]
TABULAR BERG [17]
FLOEBIT
BERGY BITS [14]
GROWLER ICE [18]
SEA ICE TYPOLOGIES
[15]
FIRST YEAR ICE [19]
[20]
TRANSFORMATIVE TOPOGRAPHIES spring 2013_ advisor : Kelly Doran The transformation of topographical, ecological, geological, and climatic systems through a series of events within a larger fluctuant continuum, structures the occurrence of volcanic activity as a reoccurring pulse, altering processes within the landscape. Due to the ground being in a constant state of transition, it is critical to design within the context of process-based topographical evolution. With understanding the accelerated series of events within the volcanic landscape, the indexing of resultant activity emphasizes the dynamism inherent in the formation of topography, which becomes apparent once contrasted against varying timescales. The “generative disaster� disrupts trajectories of ecological development by rendering the ground periodically unstable, allowing for opportunities of transformation.
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The Analog Conducting tests with a variety of resins, gels, and concrete inform the process of topographical formation. The transformation becomes a registration of levels of viscosity and temperature. Liquefaction and the movement of terrain structure the larger underpinnings of the design of the volcanic landscape. The resetting of sediment establish parameters for manipulating mobile earth. With improved knowledge of materials and their behaviors, the design continues with the modeling of the lahar landscape to show evolution of topography overlapping multiple temporal scales. The formation of topography is dependent on the systems and parameters established within the existing site context.
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The instability of volcanic terrain provides an inherently volatile context within which to design. In The Volcano’s Deadly Work, an account of the destruction of Pompeii in 79 AD, the author Charles Morris states that “the earth can show itself as unstable as the air.”[1] The thought of layers of geologic strata being as mobile and unpredictable as that of wind or other intangible ephemera, poses a design challenge. The primary shift in topography within a volcanic landscape results from lahars, types of mudflow or debris flow which carry a composite slurry of pyroclastic material, rocky debris, and water over distances up to 30 miles at speeds of approximately 60 mph. Designing within a context of transformable terrain means understanding the characteristics of lahars, their movement patterns, reformation and timescales. The geologic strata of volcanic landscapes informs which areas are most prone to liquefaction. The ground, when in the most malleable and transformable state is simultaneously the most threatening. Designing within the context of a volcanic event provides opportunities for addressing conditions within a more immediate timescale that satisfy both requirements of geophysical and ecological transformation. The role of the volcanic activity has on the surrounding landscape is creating new topography. Designing with disasters, as opposed to the sole desire for prevention or mitigation, alters the course of long term ecological development. Large scale static interventions geared towards satisfying human needs eventually lead to more serious mitigation efforts in the future. The research of existing response tactics provide opportunities for adjustment in planning for an eventual eruption. We act as bystanders to the destructive forces of the eruption and can begin to utilize and design with the event, but we are forced to be passive with respect to disaster. [2] Program that addresses issues of economy and ecology structure the potential strategies implemented at varying spatial and temporal scales in relation to the pulse of the landscape.
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1_Morris, Charles. The Volcano’s Deadly Work ... Philadelphia: C. Foster, 1902. Print. 19 2_Blanchot, Maurice. The Writing of the Disaster = (L’ecriture Du Désastre). Lincoln: University of Nebraska, 1986. Print. 3
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THE DIGITAL EVOLUTION OF WARFARE fall 2011_ instructor : Pierre Belanger Digital technologies allow for specific, almost surgical operations within tight urban networks, rendering the standard two dimensional cartesian grid obsolete. The Massachusetts Military Reservation provides a testing ground for advanced military technologies, such as unmanned surface vehicles and drones. The site strategy can be understood as a process of land transformation through military protocol. The landscape physically registers the shift in technology through a faceted groundwork operation. The first protocol calls for existing technology use on site, such as tanks and mortar firing to intensify the existing topography. As digital technologies come online, the terrain becomes more precisely altered, as a surgical procedure- allowing for exact three dimensional targeting within the landscape. The military then shifts to a different site, leaving behind a dynamic surface condition that has the potential for microclimatization and programmed recreational use.
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[in collaboration with] kunkook bae connie migliazzo
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model iteration three
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model iteration two
model iteration one
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[ IN ] CREASE spring 2012_instructor : Chris Reed [IN]CREASE, an Urban Strategy of Industrial Bioforestry utilizes the ecology of ethanol production as an economic and formal catalyst for urban development. The introduction of a monoculture forest to the site would result in sequestering carbon, managing storm water, and remediating soils, while providing an additional fuel source for the region. The influx of regional production provides the capital to fund urban growth, catalyzing the evolution of a productive landscape into a vibrant metropolis.
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CITI PLAZA ongoing _ JAMES CORNER FIELD OPERATIONS + SOM In collaboration with SOM, JCFO designed a series of plazas for Citi Bank’s Headquarters in TriBeCa. The project aims to contextualize the contemporary and the historical industury of the neighborhood. The plazas are open to the public and aim to provide public open space for the surrounding residents and the employees of the bank. The custom furnishing, IPE benches and outdoor conference tables encourages a social dynamic.
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VIGNETTE STUDIES
ILLUSTRATIVE CONCEPT PLAN
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POWDERCOATED STEEL
CUSTOM-MILLED IPE
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VIRGINIA MIST STANDARD PAVER
VIRGINIA MIST WATER FEATURE STONE
VIRGINIA MIST COBBLE
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HARVARD PLAZA summer 2012_ STOSS Landscape Urbanism The Harvard Plaza, a constructed project by Stoss, is not only a gathering space, but also a major piece of infrastructure. The subgrade condition contains a major network of utilities, leaving the surface free for public interaction. The sculptural benches, each custom designed and fabricated are the signature pieces of the plaza, encouraging the public to engage with the space.
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INFRASTRUCTURE The plaza contains a major network of utilities for the campus. On the surface, the patterning suggests a complexity subgrade. The custom benches conform to the patterning of the pavement, reading as a continuous geometry.
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HYPER DENSITY + HYPER LANDSCAPE fall 2013_ STOSS Landscape Urbanism_SHoP Architects The Connected Cities competition prompted each design team to revitalize the Dallas waterfront, which Stoss and SHoP proposed to do through a strategy of urban forestry combined with dense commercial development. The landscape takes on social, economic, and environmental issues simultaneously, while also bringing unique qualities to each of the three major neighborhoods. The project on the whole was a major infrastructural challenge, requiring that the entire hydrologic network provide a framework for the structure of the entire project. Through a series of forebays, cleansing wetlands, and conveyance channels, the hydrologic system not only solves the previous flooding issues, but it also engages the residents of downtown Dallas .
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FOREST TYPOLOGIES 40
The waterfront is comprised of forested programs that exist within the boundary between infrastructure, architecture, and ecology. These hybrids string together to create a continuous network of unique public spaces.
nursury and camping
recently cleared
Nursury
LEVEE BEACH
LEVEE FARM SCHOOL
campGround
Nursury
LEVEE NIGHT CLUB Demolition Art Forest
HIGHWAY FOREST PLAYGROUND floating forest
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HYDROLOGIC NETWORK
JAMEEL CONTEMPORARY MUSEUM OF ISLAMIC ART fall 2013_ GROUND inc_OBR The project, a recent competition for a contemporary art museum in Dubai, sought to develop the entire island as a park that provided shade and performance space. The landforms split to allow for vehicular access to extend underneath without disrupting pedestrian circulation. The island is populated with rows of palms that emphasize circulation and the boundaries of public space, such as the sculpture court. The southern point of the site culminates with a reflecting pool and citrus grove that contracts with the geometry of the rest of the site.
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UDBS_CAFE 524 2009-2011_instructor : John Folan The Urban Design Build Studio conducted in the Fall of 2009, analyzed the neighborhood of Homewood in relation to the rest of Pittsburgh. The depressed community had been long since cut off from resources, but remained highly connected to the downtown area. We chose to market this as a major asset for the community. In close proximity to the MLK busway, sites were chosen for catalytic development. [in collaboration with]
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fil agren liz duray doug farrell ingrid kong alise kuwahara kaitlin miciunas josh marshman julia martini justin rosenberry jerry wang
YR_5
YR_10
YR_15
FOCAL POINT
PHASING DIAGRAM YR_20
access to n. point breeze adjacent lots former post office major thoroughfare adjacent residences
CAFE 524
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SITE
524 N. HOMEWOOD AVE
THE SOUTH WALL The project aimed to be as passively sustainable as possible in order to lower the operating costs of the building for the future tenants. Much of the passive technology is exhibited through the use of the South Wall. The building channels light, air, and occupants from the south facade through the cafe space. As part of the design-build portion of the project, the eleven students involved constructed the entirety of the South Wall. The wall is compirsed of repurposed glass windows that are framed in modules that can be easily transported and assembled on site.
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VELOcity spring 2011_ instructors : Gerard Damiani, Kai Gutschow, Jason Morris VELOcity investigates the development of existing infrastructure, architecture, and landscape relative to the shift in transportation culture in Berlin. It asks how varying levels of speed can affect architecture and the perception of architecture. At the turn of the 20th century, urban environments adapted to the use of the automobile. The car limits perception by experiencing surroundings while contained in a sterilized environment, reducing the sensual experience to the visual. Bicycles are poised to be the transportation of the 21st century and with the increased versatility of bicycles paired with public transportation, the car is becoming an outmoded means of getting from place to place. How can infrastructure and architecture adapt to the decline of the automobile?
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The deliberately placed voids provide a formalized space for the new generations of Berlin who have inherited their previous generation’s fragmented city. In a space defined by speed, we understand that “speed is about excess, about seeing more than one can process, traveling beyond the capacities of our bodies.�
MYCOSIS fall 2012_instructor : Martha Schwartz The term mycosis refers to the fungal infection and disease of animals. The metaphor of landscape as skin, reinforced through the concept of synthetic mycosis, highlights the existing dynamism of site. The inserted elements respond to changes in the immediate environment with varying levels of precipitation and wind, ultimately evolving and degrading with seasonal shifts. Once installed, the fungal sacks slowly swell, shrink, untangle and break apart during the gradual descent from the canopy. Moisture acts as a catalyst, causing the form of the fungi to alter over time, never to resume their former state. The installation exists over the course of a year, experiencing four severe New England seasons, allowing for the dismantling of the synthetic fungi through existing environmental processes.
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UNHEALTHY FOR SENSITIVE PEOPLE spring 2010_independent Unhealthy for Sensitive People describes the implications of an air quality rating pertaining directly to areas of heavy industry. Reinterpreting the harsh and unforgiving remains of post-industrial decay, this project heightens public awareness of the human condition yielded by a dependence on declining economic support. The installation realizes the experience defined by discomfort through a tangible composition of steel.
[in collaboration with] adam aviles doug farrell kaitlin miciunas
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CANOPY summer 2008_independent Canopy was an independent project conducted by five students within the school of architecture. By prefabricating the assembly process of an entirely recyclable material, the construction produced zero waste. The individual components vary in porosity and when assembled, different areas range in darkness. The shadows continue the installation throughout the gallery by projecting the patterning onto the surrounding surfaces.
[in collaboration with] fil agren max arocena liz duray judy podraza
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CAREER DISCOVERY student work samples summer 2013_ HARVARD GSD The Graduate School of Design at Harvard University provides a summer program to students interested in studying architecture, landscape, and planning at the graduate level. This six week program shares the pedagodgy of a high-level design program, while also introducing a design skillset and vocabulary to better prepare for applications. The landscape architecture course focused heavily on systems-based analysis, model-making as a generative design tool, and mutli-scalar ecological intervention. [in collaboration with] Rosetta Elkin Conor O’Shea Xiaowei Wang Ann Weber
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model by Hannah Gaengler
model series by Aaron Hill
sectional series by Aaron Hill
plan by Aaron Hill
plan + model series by Kristen Kennedy
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