panharith ean
PANHARITH EAN
pean@gsd.harvard.edu
EDUCATION 2016 - present
Harvard University Graduate School of Design
Master of Architecture Candidate, 2020
2011 - 2015
Wentworth Institute of Technology
/ Cambridge, Massachusetts
/ Boston, Massachusetts Bachelor of Science in Architecture, Graduated with Honor / Cum laude
PROFESSIONAL EXPERIENCE Studio Z
2014 - Present
/ Cambridge, Massachusetts
Freelance Designer
Exhibition design, Schematic design/development, Competition entry, Graphic Visualization
September 2015 -
Kallmann McKinnell & Wood Architects
February 2016
Architectural Intern Schematic design/development
over,under
August 2015
/ Boston, Massachusetts
/ Boston, Massachusetts
Designer
Exhibition design June 2013 - July 2015
Khôra
/ Boston, Massachusetts
Designer
Exhibition design, Installation design, Research September -
PeakCM
December 2014
3D Model Developer
June 2014
/ Winooski, Vermont
Danish Architecture Centre
/ Copenhagen, Denmark
Research Assistant June - August 2012
Collective Studio
/ Phnom Penh, Cambodia
Architectural Intern
Schematic design/ development, Research
ACADEMIC EXPERIENCE
March 2017 - Present
Harvard University Graduate School of Design
/ Cambridge, Massachusetts
Graphic Designer _Curating and design the DDes Alumni booklet 2013 - 2015
WAr [Wentworth Architecture review]
/ Boston, Massachusetts
Editor / Lead Graphic Designer
_ Curating and editing submissions from student and faculty
_ Designing graphic identity, layout and advertisement for the journal
_ Curating launch party exhibitions
_ Working with Architecture department to coin the theme “Matter” for both Wentworth Graduate Symposium 2013 and WAr volume 5
2014 - 2015 Wentworth
Institute of Technology
/ Boston, Massachusetts
Architectural Tutor _Tutoring architectural courses: Studio 01, Technology 01, History/Theory 01
Exhibition
May 2017
“We Need to Talk” outside / North Adams, MA
April - June 2016
“Something Floating”
1961 Art Space / Siem Reap, Cambodia
Published on: Cambodia Daily, “The Architecture of 1,250 Hanging Letters Tells Classic Story”,
Michelle Vachon
The Phnom Penh Post, “String Theory: Art’s Meaning Left to Float”,
Nicky Sullivan
Lecture/Talk
“Shaking the Foundations - The Art re(Turn) in Architecture.” (with Patrick Brady, Sinead Gallivan, Gregory MacGalashing, Phoebe Novello, Jake Rosenwald, Zenovia Toloudi)
AIAS Forum / Boston, MA
December 2016
November 2015
“Visual (re)presentation: Storytelling” Studio Art Department, Dartmouth College / Hanover, NH
April 2015
“Pixel & Vector” Thesis Book Pre-Press Workshop / Wentworth Architecture Graduate Program / Boston, MA May 2014
“Recording Ephemera” (with Greg Jimmie)
Urban Path / North End Waterfront Residents Association / Boston, MA
January 2013
“Without Human: An Accidental Experience”
Wentworth Architecture Graduate Symposium: What’s the Matter? / Boston, MA
PUBLICATION / AWARDS
LEADERSHIP
_ Ean, P. “The Space of Uncertainty”, The Garage: Project, ed. Patrick Brady, and Thomas McCormack, Vol. 1 (Boston, MA, 2014)
_Student Participation in Education Collaboration (SPEC), Mentor (2014 - 2015)
_ Morpholio Pinup 2014: Honor Award / Tidal Oscillation, Honorable Mention / Axial Light _ Urban Path Competition 2014: 2nd Place Winner Recording Ephemera _ BSA (Boston Society of Architects) Student Design Showcase 2013 Axial Light _ Diversity Writing Award 2012: Honorable Mention Pol Pot: Fear of the Unknown and the Fulfillment of Lack _ iOne Cambodia Digital Artwork Contest 2010: Finalist
_Bridge Mentoring Program,
Mentor (2013 - 2015)
_Wentworth International Ambassador, Mentor (2012 - 2015) _Beloved Community Social Justice Retreat, Teaching Assistant (2013)
SKILL _Adobe Creative Suite (Photoshop, Illustrator, InDesign) _Autodesk AutoCAD, Revit Rhinoceros, Maxwell Render, Google SketchUp, Grasshopper _Photography, hand drafting, model making
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WAr
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metamaquette
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Speak! Listen! Act!
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Dartmouth Studio Art
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Bigger than a Breadbox, Smaller than a Building
WAr Wentworth Architecture review, journal
Wentworth Institute of Technology [Boston, MA]
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Role: Editor / Lead Graphic Designer
Wentworth Architecture review is an independent, student-run publication that presents the rich culture of Wentworth’s design students within the Institute and the architectural community. Started in 2010, WAr publishes annually by a team of six to seven students. WAr team works with the architecture department to establish a theme for each issue, as a mean to curate the submission and go in depth with the dialogue regarding the subject in matter. Digital copies of WAr can be found here: issuu.com/wentwortharchreview
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The visual and branding identity of issue begins with the transformation of paper, from crumpled to flat, and vice versa. This physical act of transformation also entails the concept of evolving from one stage to the other, one interoperation to the other. This series of posters, then, translate into graphical devices that organize the content.
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WAr volume 4’s theme is “Translation”. The term is vague and interpretive. Within this issue, WAr questions the translation from idea to physical objects, two-dimensional drawings to tangible materials. The dialogue expands to discuss the discipline of architecture in relation to other disciplines.
WAr
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Translation of technologies and their impact in the future of architecture and design
Wentworth Architecture review
A Narrative of Contents I am bereft of expression and confined to these four corners, where my rigid boundaries compel me to question
what is space?
Here in time I measure 8.5 in x 11 in, but my capabilities are infinite. I can be cut and folded, bled from seam to seam and I invite you to ponder
when will I break?
Wentworth Architecture review would like to acknowledge the contributions of: Boston Society of Architects, Wentworth Admissions Office, Wentworth Architecture Department, Wentworth Alumni Association, Wentworth Campus Life and Wentworth Student Government.
Your marks and smudges will manipulate my identity and with your words, I know my thoughts will change as I become a component of a larger picture I am an object that now inhabits this place. In your hands I have become a vehicle with a destination that only you can see
how will you know?
If I am here for you, or simply, you’re here to come with me. Can you see my light shimmer as these facets reflect a beauty, a knowledge,
why do you react?
You will witness a journey across a distance unknown, to a place where only I can go with a language I speak and you will soon come to learn; it's between you and I but
where is the dialogue?
A conversation between WAr, Andrew Payne and David Pearson.
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The profession of architecture is constantly confronted with new waves of technology that are evolving every year. As designers, we question everything we know and given the imbalance between curiosity and the ever-changing technological environment, this conversation intends to flush out some of those interrogatives from the perspective of a student, a professor, and two thoughtful professionals. Andrew Payne’s work explores embedded computation and parametric design. He is a registered architect who is currently pursuing his Doctoral degree at Harvard’s Graduate School of Design, under the direction of Dr. Martin Bechthold and Panagiotis Michalatos. His main focus is exploring how recent advancements in technology can help architects create smarter spaces and systems that have a capacity to meet changing individual, social, and environmental demands. David Pearson grew up in California where his life was centered on competitive surfing and surfboard design. Stimulated by the craft of building boards, he developed an understanding of dynamic variables. He now furthers this understanding at all scales of design as a post-professional graduate student at Harvard University. He previously practiced and taught in California and at Wentworth Institute of Technology in Boston.
Wentworth Architecture review would not be possible without the help of: Carissa Durfee, John Ellis, Mary Fichtner, Jonathan Foote, Michael MacPhail, Marc Neveu, Robert Trumbour, and DS Graphics. All rights revert back to original artists or writers. The pieces contained herein were created to fulfill either assigned or personal projects and are intended for display purposes only. Elements or portions of featured pieces may contain borrowed materials. It is not the intention of WAr to infringe upon the rights of the original artists or the sources of the material’s origin. This book was set in Din and Helvetica Neue. It was printed and bound on Rolland Paper at DS Graphics in Lowell, MA.
Wentworth Architecture review: Rima Abousleiman Dan Cournoyer Panharith Ean Olivia Hegner
Jackie Mignone Vien Nguyen Francesco Stumpo
war@wit.edu Wentworth Architecture review [WAr]
Architecture Department 550 Parker Street, Boston, Massachusetts 02115-5998
WAr: We understand architectural education
^ Ethan Webb | Woodshop Exercise Photography
Architectural education is changing, and as tendencies aim for analysis and research, others still look for more rigorous and scientific methods of exploration. Is the idea of discovery through exploration still prevailing in architectural education, or has there been a shift? AP: I think that with the advent of these new tools, primarily with the digital tools, we are seeing new avenues for exploration. Thirty years ago, the modes for explorations were model making and sketching (typically). Now with the advent of these new digital tools (scripting, processing and intuitive interfaces), architects really have the option and the opportunity to explore many different potentials that they could not have done in previous generations. Exploration is actually being enhanced through the usage of these digital tools. On the other hand, I do see a trend and a rise in analysis, analytics and research; you’re seeing this rise in exploration but you’re also seeing this need to analyze in some sort of scientific method or procedure. A standardized method can reflect how well your design is doing in a number of different ways ranging from sustainability, energy-performance to cost-analysis. There is a whole new set of tools that is starting to be developed, and these tools are trying to be incorporated into design. Typically, in the past, those types of things would have been done at the end of the project, right before it goes into construction.
WAr: Now, this informative process happens simultaneously as we see how one aspect informs the other. AP: Exactly. What we are seeing is more potential to use creative and intuitive modes of design, while still incorporating the analysis part, like solar analysis, wind factor, cost-efficiency and recyclability of materials. There is going to be an increased rigor in both the creative exploration and the analysis. They are starting to join in such a way that you are asked to do both. DP: I think one way to look at this is to think in the short and long-term perception of what we see now. I can sympathize in the short term, with all these new experiments, explorations and tools, and the overwhelming ideas, that there is so much to learn and it doesn’t seem very exploratory. If we see in longer terms, there is a certain adoption of a new set of skills that is taking place in the history of architecture. Perhaps, in ten to fifteen years, we could reach a level of maturity where all these things would be absorbed in the skill sets of young designers and that the sense of exploration would be restored. WAr: It seems as though architects are asked to pick and choose a single path in their careers. Are we headed into a generation that will increase specialization or will the master architect role remain? AP: It is interesting because the tendency follows the idea of the increase need for specialization. The advancement of technology makes mastering different domains increasingly harder, so you see a lot of people focusing on specializing in certain fields.
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WAr SUBMISSIONS What does it mean to you? What does it mean to architecture?
V/4 Wentworth Architecture review wit.edu/WAr I war@wit.edu
Respond to the concept of “TRANSLATION” with your written and graphic work.
Submit your work to Priscilla Saul at the front desk, in the architecture office. Submissions will be accepted: March 18th through the 22nd [the week following spring break]
V4 Promotional Poster
Typically, you go to school to learn how to design, so hopefully you still have the design skills in order to proceed as a designer. But then, in order to see that design come to life, you must either understand the technology being used to produce it or simply hire a consultant; it is an interesting dilemma. I do think that architects, in order to stay relevant, need to think about how buildings are used and how they can be controlled in order to make the interior environment better. Today, architects develop the design and send it out to the mechanical engineers to be built and there is little thought about the control strategies as it is normally added on as final layer. We can make better buildings and truly integrate intelligent systems into our built environment if we consider these design elements in the initial stages of the project. WAr: With this new wave of technology, how do you suggest we keep up with its continuous evolution? AP: You have to stay really focused to make yourself competitive. You have to drill down in a specific field that you like, while at the same time you have to have a larger, overall view. You always have to see what’s going on in other fields, like computer science for example, fields that could offer a lot to architecture in terms of inspiration. It is a big challenge, but it is something I believe is going to become increasingly important over the next few years. If you don’t keep that long term view, you’re going to become obsolete. DP: I think being open to different disciplines is key. Personally, when I started school I didn’t really know that architecture could become so broad and expansive. What is also really interesting is the idea of “the medium is the message” (1) where I could see the same thing happening like the tool or skill sets becoming the message. We have an opportunity to create a message with what is happening now. Perhaps through this new group of tools we are sending a message that we, as architects, want to be more interdisciplinary and collaborative. I think there is an opportunity for architecture and design to redefine the fundamentals of what it wants to be in the long term. AP: Correct. Most people are curious and that curiosity is what drives most of the world’s research. We have to be able to keep in mind that we might go down some specific roads, but always remember to look back through that rear window and see the larger view. DP: Yes, and as a working method, we are asked to keep a gradient of question types for each project, from the simplest approach to the most complicated ones.
WAr: That said, how are architecture schools integrating digital practice and technological advances? With your background and experience, who or what is in charge of defining what’s happening in the future? AP: I think the Media Lab is an interesting example. It relates back to other models like AT&T’s Bell Lab or certain think tanks that foster research without necessarily having a goal in mind. You don’t always have to create a product that would generate immediate profit to the Lab. You are there to explore your own agenda within the framework of the group that you are working within so you can develop projects that are genuinely interesting. The key point is, you take that pressure off, when you don’t have to deliver a set product. Instead, researchers are free to invent and come up with ideas like Google’s 20 Percent Time. That’s when the magic happens. I think it is necessary to look beyond your own set of goals and be innovative.
"Thirty years ago, the modes of exploration were model making and sketching, but now, with the advent of new digital tools, we have the opportunity to explore many different potentials that could not have been done in previous generations." It is a risky model that most architecture practices can’t replicate at a smaller scale. It is important to ask ourselves, how can we make models of research, similar to these ideas, a viable solution to smaller practices? Inventive ideas come when you have the ability to explore your own ideas without the restrictions of developing something required. It is an interesting dynamic and a question I feel is very important to ask. DP: I’m still curious if there is an opportunity to redefine some direction, or give more prominence to a certain view within practices. AP: It is really hard to mobilize a trajectory within a discipline. I do not know if it could be a top-down approach where one person marks the agenda, like Schumacher’s Parametricism (2.) That said, there is a technological aspect that has been brewing for the past decades and that has become prevalent in all fields, specifically in architecture. Like Ray Kurzweil’s book, The Singularity is Near, we should aim to predict how technology will affect the evolution of human technology over the next twenty to thirty years. My immediate reaction would be to stay
away from predictions, but once more, Kurzweil r 21 or talks about an existing linear WA progression trajectory of technology and that we are now following an exponential curve. This curve starts very gradual, and when you get to what’s called the “ne” of the exponential curve, it shoots dramatically. Kurzweil argues that we are very close to this. The question is, how does technology enhance how humans behave? Today, we can see projects that map how the brain works and once we are able to understand this technology, we could hypothetically make computers with better characteristics, as they would evolve to be much smarter than us. DP: In terms of seeing this at some point in the future, where there is such dialogue existing between our external environment and us, how much of it would be observation by the systems? Could it be a truer dialogue between the person and the system? AP: Mark Weiser’s, Ubiquitous Computing , in the early nineties, predicted that technology is going to move away from the computer (form factor) and become so small and embedded in our everyday devices that it would become invisible. All of our devices would have a computer in them, but we would not see the technology. I think Hiroshi Ishii’s, Tangible Interfaces, is also interesting because it is not necessarily about making it invisible, it is more about embedding technology into physical devices that we are able to interact with. One question for architects of the future would be, how do we begin to work with this technology and make it a user-friendly interface? I don’t have an answer for the question, but I think it is going to be a hybrid approach with machine learning, like sensor data observing how you are using a space. It will observe not just you, but the climate’s behavior as well. It would then report back and make predictions that will change it’s interface. Then the user would have control. Nate Silver’s take on how we might predict the future is something we should keep in mind, because it shows how bad us humans are at predictions. Our prediction levels are still inaccurate, and I think we could potentially make spaces that are significantly worse than what they are now. Just saying that you are going to create spaces that are intelligent is much more different than actually doing so. For the future, I still see a big reliance on user control and input. It is really a multi-objective problem to solve.
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Parkour Informing Space Nicholas Voell-White Boundaries are the building blocks for planned space, determining the way in which people interact within it. Consistently these boundaries become obstacles in the way of human interaction or collaboration. Additionally, these boundaries are not always physical, some lie in the consciousness of society. Out of the many ways to deal with boundaries, Parkour, has found a way to interact, play, deconstruct and even critique the way that space is planned. This free-flowing movement of the body through space finds a way to do all of these while simultaneously remaining respectful to the past. Boston City Hall, as the centerpiece of this project, acts as the creator of boundary. The Government Center Project involved a major renovation of Boston, which included a large area of planned space. Through the use of Parkour as an analogy to the design process we can reinterpret the planned space of City Hall along with its adjacent plaza. Existing circulation from the Government Center train station presents the same image to anyone who exits the station. Due to the way this project was planned, relying on the image of the large organization of government, this separates people from architecture. The reinterpretation of the train station and plaza circumvent this image and allow people to filter into and out of City Hall. The creation of this underground station and circulation also reinvents the plaza above. By introducing multiple performance stages and seating, and allowing light to filter to lower levels, the plaza becomes more interactive at the human scale.
unknown,
to
a
place
where
only
I
can
go,
with
a
language
I
speak,
and
you
will
soon
come
to
learn;
it's
between
you
and
I,
but
where
is
the
dialogue?
V4 Journal Content
05 V4 Promotional Poster
06 V4 Launch party at Boston Society of Architects space (BSA)
“What’s the Matter?” is the theme of WAr volume 5. The question interrogates a sense of purpose -or it could be just a casual small talk. Matter can be of meaning that resonates within us; it can be a physical matter that constructs our built environment. WAr V5 is interested in various definitions of matter, both physically and conceptually.
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The identity of V5 is captured through a stop-motion clip of ink-drop into a glass of water. A drop of ink, -matter generates many different layers of effect that inspires the graphic representation for the journal.
MAT
City Between Seven Mountains
v5
James Mize
Wentworth Architecture review Wentworth Architecture review would like to acknowledge the contributions of: Cambridge Seven Associates, Wentworth Admissions, Wentworth Architecture Department, and Wentworth Campus Life.
This volume would not be possible without the help of: Carissa Durfee, Elizabeth Ghiseline, Michael McPhail, Mark Pasnik, Rob Trumbour, Ingrid Strong and DS Graphics.
All rights revert back to original artists or writers. The pieces contained herein were created to fulfill either assigned or personal projects and are intended for display purposes only. Elements or portions of featured pieces may contain borrowed materials. It is not the intention of WAr to infringe upon the rights of the original artists or the sources of the material’s origin. This book was set in Din. It was printed and bound on Rolland Paper at DS Graphics in Lowell, MA.
Wentworth Architecture review:
Wentworth Architecture review
Rima Abousleiman Dan Cournoyer Panharith Ean Olivia Hegner
550 Parker Street, Architecture Department Boston, Massachusetts 02115-5998 war@wit.edu
Vien Nguyen Francesco Stumpo
Journey From
Through the Paused
Protected exposure Diminishing beyond Resting ground of Perched humanity lowering dizziness in pulls of history relapsed interaction Disappearing horizon of aggravated reflection
Smoldering stone around Foreign wood sheds Past landings with Forceful exchange Weathered lines of Rhythmic arrival ancient safety in closely knit hollow fibers of frozen stone spaced voids remembrance paused Raising horizons of Perspective points Hiding History in Permanence Point of no return in slippery wandering Breath of Stillness Unwanted lingering of rusting sharpness unknown crossing
WAr SUBMISSION What’s the matter? Respond with your written and/or graphic work. Submit your work to wentwortharchitecturereview.com Submissions will be accepted until May 15th Questions? war@wit.edu
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MATTER
TTER What’s the matter?
Submit your work to wentwortharchitecturereview.com
Respond with your written and/or graphic work.
Submissions will be accepted until May 15th
V5 Promotional Poster
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Passing the Unwanted
Journey of the Forgotten
Scolding protection dragging blankly hesitant floating comforted betraying Embedded quiet of Forceful attention choking distances buried edges of shuffling texture the backwards facing questioned lingering exposing the blankness in footsteps of stillness severed guidance in Void of confidence unwavering necessity of gentle outreach in shaded edges rushing verticality whispers within the unbelonging fragmented lingering gusts from behind pushing the shadows anticipating nothingness realizing the fragments of shadowy reveals fragments rearranged gutting instincts experiences ripped with hesitant panic penitent lingering in creeping pauses engulfing the defined wounding absences focused reluctance unconscious
Familiarity overgrown in attitudes overturning questioning vulnerability clarity behind skewed notions moves as fog in proximity of darkness shrouding grievances wrath of lingering starvation unending journey of the forgotten in stale grasping unwanted has stollen awakening the shadow of unconscious remembering apathy
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Throughout time, philosophers, poets, artists and scientists have been looking up to the heavens, or out to the endless landscapes of the world, and trying to record their experiences. Over time a term came into use, "sublime." Philosophers such as Immanuel Kant and Edmund Burke, paved the way during the 18th century when it came to studying the sublime, each spending time to thoroughly decipher their own understanding of it. For Kant, the sublime is divided into the mathematical and the dynamical, where the former focuses on the greatest of the object in question, and the latter focuses on the understanding of nature and the beauty it holds. In more modern history the sublime has sparked just as much interest as it did in the past. A contemporary philosopher, Iain Boyd White, describes the modern sublime as being similar to both the natural sublime and the mathematical sublime in which Kant first theorized, “that the new structures (new machinery of our times, like the industrial revolution in general) had generated those sensations of awe, terror and exaltation previously associated with nature and natural phenomena.”(1) Consequently, we should understand that as time changes, and the tangible world we live in develops, the sources of sublimity are going to change. After many definitions, some may argue it seems impossible to depict the sublime. This fact is one that Edmund Burke takes into account in his paper, "Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful", in which he states, “the sublime has had almost as many interpretations as it has appearances in philosophical literature.”(2) / Note p. 142
BIG BEND
^ Francesco Stumpo I Measuring the Sublime
^ Corey Hayes I LA from the Plane
. ^ Sara Zettler I Implications of the Sky
V5 Journal Content
09 V5 Launch party at Watson Auditorium, Wentworth Institute of Technology Photos credit: Tim Szczebak
10 V5 Promotional Poster
metamaquette Dartmouth College, Hanover, NH / January - March 2015
Firm: Studio Z [Cambridge, MA] Principals: Zenovia Toloudi Role: Lead Graphic Designer:
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graphic visualization, 3D modeling
Mirco-Ceasefire Under Shadow mimics the spatial quality of casted shadow from a tree. It is aimed to bring this characteristic into an urban street-scape.
Blanket formalizes a geometry that is composed of multiplying a generic triangle. The aggregation can be folded for transportation and rearrange to be site specific to reflect its immediate context.
Photodotes III: Plug-n-Plant explores relationship between architecture, technology, light, and plants. It is a spatial element that brings light into space, and is made out of living structure.
metamaquette exhibits Zenovia Toloudi’s research about installation as an investigation tool in architectural practice. The exhibition communicates through large scale physical models, and visual graphics. The main pieces of the exhibition are the Blanket, Mirco-Ceasefire Under Shadow, and Photodotes III: Plug-n-Plant.
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Speak! Listen! Act! Dartmouth College, Hanover, NH / October - November 2016
Firm: Studio Z [Cambridge, MA] Principals: Zenovia Toloudi Role: Lead Graphic Designer:
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graphic visualization, 3D modeling
Speak! Listen! Act! is a kaleidoscope of architectural elements for public space is an exhibition of 20 projects by Zenovia Toloudi and students. The exhibition investigates how design can act as agency to instigate or reinforce for the public a series of actions, such as communication, interaction, collaboration, playfulness, and empathy. Through responsive designs, ephemeral interventions, participatory events, collective experiences, and happenings, architecture can serve the commons, and therefore can become the catalyst for social space and public action.
Photos credit: Samantha Altieri
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Dartmouth Studio Art Open House Poster
Firm: Studio Z [Cambridge, MA] Principals: Zenovia Toloudi Role: Lead Graphic Designer: graphic visualization, 3D modeling
Skrot Trä where scraps are reborn
Dartmouth College Studio Art SART 65 Architecture I Fall 2015 Dr. Zenovia Toloudi
In the most remote parts of the highest mountains, you will find the city of Octillian. Octillian stands on its own between the highest peaks of the mountains. It is composed of an intricate, disorganized web, surrounded by fragile paths and ladders.
Defined by its elegant curves And its harsh contradictions Ruin takes form
Zoe Dinneen
Rebecca Nowiszewski
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zenovia.toloudi@dartmouth.edu
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Skrot Trä: Scrap Wood
Octillian
A cross-section of Momenta is just that – a cross section. Each slice of time of Momenta is an insight into how the city was in that moment. It says nothing of how Momenta was in the past or what it will become in the future.
Teeming with the narcissism of its thousands of residents, Vectra sits on the edge of an undisturbed lake, its beauty ignored in favor of the reflections people truly want to see. Lined with mirrors, the corridors of the contained city force everyone to constantly be cognizant of their appearance.
Julia Dressel
Eduard D. Cornew Zoe Dinneen Julia Dressel Samuel Gochman Liam Grace-Flood Edward Kim Zakios Meghrouni-Brown Madeline Chisholm Nicolaas Moolenijzer Rebecca Nowiszewski
Momenta
I T E C T Digital Workshops: Timothy Olson Teaching Assistant: Malika Khurana Poster Design: Panharith Ean
INVIS-
Nicolaas Moolenijzer
Vectra
Celeste’s appearance flows in the same pattern each day. As the sun and the planets move through their rotations, the light hitting the translucent structures shifts and reflects in different ways around the city.
Above an infinite abyss hangs Tension, a city of depth unlike any terrestrial town. Each house sags in the void like a fruit on the end of a branch. Dwellings are joined by ropes, ladders, cables, and nets at all angles.
Madeline Chisholm
Samuel R. Gochman
Celeste
Tension
Introduction to Architecture,
UR E I
IBLE
Arriving in Rhizome might be compared to setting foot on an alien planet. The rolling landscape is sheathed here and there in membranes of zinc, and wooden pillars weave over its irregular surface.
Denizens of Godelia restlessly record what happens in and outside. The mirrors’ transcription of reality bestows it importance in their eyes, as do the lenses of the outer walls.
Digital Technology, and Culture
Zakios Meghrouni-Brown
Liam Grace-flood
CITIES Godelia
The posters showcase student works in Zenovia Toloudi’s classes for the Dartmouth Studio Art’s open house.
Rhizome
Invisible Cities This project utilizes fiction as a medium to translate inspiration and abstraction to concrete ideas of form and function. Through a series of readings and screenings of fictional cities, the students will investigate 2d and 3d representation methods. The drawings and models will present relationships between repetition-differentiation, positive-negative, solidvoid, lightdarkness, one-many, volume-surfaces, and other architectural notions. Artstor collection URL: http://library.artstor.org/
Rather than being able to “hear” the ocean by bringing up a seashell to one’s ear, this piece allows the user to “see” the infinite depths of it.
I.T.Y creates a space for the active mind by engaging the user with playful architecture for the hand.
Dartmouth College Studio Art SART 65 Architecture I Fall 2015 Dr. Zenovia Toloudi
Zoe Dinneen
Edward Kim
zenovia.toloudi@dartmouth.edu
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LookUp is a device that prevents one from looking down at his or her phone. The piece is intended to raise the user’s awareness of their phone usage and promote living in the present.
“Fear Switch” and can be described as “A wearable ring that easily provides a sense of comfort for the user by simply turning the switch on, which makes the ring emit a soft white glow to function as a portable night light.
Julia Dressel
Eduard D. Cornew Zoe Dinneen Julia Dressel Samuel Gochman Liam Grace-Flood Edward Kim Zakios Meghrouni-Brown Madeline Chisholm Nicolaas Moolenijzer Rebecca Nowiszewski
LookUp
Digital Workshops: Timothy Olson Teaching Assistant: Malika Khurana Poster Design: Panharith Ean
Fear Switch
By channeling vision through various lenses, this rotatable piece of wearable architecture simulates aspects of visual impairment, deepening the user’s understanding of others’ deficiencies.
Samuel R. Gochman
Madeline Chisholm
Run, Sit, Reflect
Perceptual Empathy
Handy Pouch meets the need for a non-invasive, lightweight device that securely holds personal items but also allows for total freedom of movement and doesn’t interfere with every day motions and activities
The Bloke hanger is a pair of shorts with an integrated harness, overall straps, feet holds and neck support. It allows climbers to rest and even sleep, while hanging their supplies with minimal setup required
WEARIntroduction to Architecture,
UR E I
Nicolaas Moolenijzer
This lightweight chair hangs gracefully and easily from tree branches while remaining portable and non-disruptive while running, walking, or hiking.
I T E C T
Eduard D. Cornew
Rebecca Nowiszewski
Handy Pouch
Bloke-Hanger
ABLE
The Solitent was designed to be a small oasis to which one can escape in order to take some time to reorient oneself, and catch a necessary respite from hectic life.
It was an exploration of personal architecture that is not worn, but rather wears its user.
Digital Technology, and Culture
Zakios Meghrouni-Brown
Liam Grace-flood
A RC H Chair
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Infinite Nautilus
I.T.Y
Solitent
Wearable Architecture Technological gadgets, stylistic fetishes, and multiple concerns for one’s identity request the exploration of architecture more in relation to the body. Can some of the portable devices, wearable computing, or clothing gears become small-scale architectures to enhance us and potentially transform us? This project explores potential forms of wearable architecture through the creation of individual projects, each one addressing a specific need, desire, or contemporary condition to be found in private or public realms. Students will investigate designs through the body’s spatial, visual and social relationships to its surroundings, and create spaces that can accommodate a wide range of uses, not all of which can be predicted.
Bigger than a Breadbox, Smaller than a Building Boston Society of Architects, Boston MA / June - October 2015
Firm: KhĂ´ra [Boston, MA] Principals: Rob Trumbour (supervisor), Aaron Willette
Role: Lead Graphic Designer, Curator: graphic design, brand/identity development, research, curating
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Timeline Infographic illustrates the relationship between art (upper gray strand), architecture (lower gray strand), and installation (middle hue of colors). The infographic layers information chronologically including major movements (bubble regions) alongside significant projects by frontrunners of those movements. The different areas overlapped much greater in the 60s and 70s when installation became a prominent medium. General world events from World Wars, to the opening of Disney, to the launch of an iPhone are coincided to illustrate how these events help shape the changes in art and architecture or vice versa.
Comparative Mapping > of high, medium, and low levels of interest, beginning in the year 2000, in six categorized focuses: Material, Process, Geometry, Participation, System, and Practice. Points furthest from the center of the circle convey peaks of interest.
Bigger than a Breadbox, Smaller than a Building is an exhibition that explores the use of installation as an investigation tool and spatial medium in contemporary architectural practice and pedagogy. The exhibition is hosted by the Boston Society of Architects’ BSA Space gallery, featuring works of designers and architects from an international competition under the same name, alongside invited piece from local distinguished practitioner. 18
The exhibition aims to create dialogue and provoke questions that examine architectural theory, practice, and pedagogy through the medium of installation.
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Expanded Field continues from the historically timeline, beginning in the year 2000 when installation was institutionalized in architecture with the debut of the MoMA PS1 Young Architects Program, the medium expands the boundaries of discourses in cross-disciplinary from art, to architecture, to nanotechnology, to biology, and so on.
The triangular shaped territories (indicated by the dashed line) are anchored at their corners by the primary, secondary and tertiary categories consistent with those used throughout the exhibition. The series of words within project territories outline topic areas that bridge the boundaries of individual categories and project territories.
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NADAAA Catenary Compression: the Tensile Vault, reconsidered
Matter Design Microtherme
IK Studio Step 7: Spatial Dissections
Photos credit: Samantha Altieri