Isabella Teran | Brown’19
portfolio art & architecture
TABLE OF CONTENTS
RESUME
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ARCHITECTURE PERSPECTIVE CUT
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NEGATIVE SPACE
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FOLDING TRANSLATION
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A PLACE OF MEMORY
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PHOTOGRAPHY TRAVELING DIARY
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BLACK AND WHITE
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DRAWINGS LARGE PENCIL
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Isabella Teran email: teranisabella@gmail.com isabella_teran@brown.edu phone: 347.920.7162 address: 41 Fairview Avenue New York, NY 10040
educational background 2015 - 2019 2011 - 2015
Brown University | Providence, RI Bachelor of Arts in Architecture St. Paul’s School | Concord, NH Graduated Magna Cum Laude
activities & achievements 2015 - 2019 Brown University | Providence, RI Participant in the RISD-Brown 4+2 Architecture track Manager of the Ivy Room, an eatery under Brown University’s Dining Services Graphics designer for The Blognonian (Brown’s satire news blog) Member of La Alanzia and LASO (Latinx identity club) Fall 2017 Cornell University, Foundation in Architecture | Rome, Italy Foundations in Architecture is an intensive program that teaches students on the rich intersections of architectural, artistic, urban and cultural practice of both historical and contemporary Rome. 2011 - 2015 St. Paul’s School | Concord, NH Center Dorm Prefect, yearbook senior editor, JV field hockey and lacrosse captain 2009 - 2015 The TEAK Fellowship | New York, NY Member of the twelfth class in an academic enrichment program that helps high-achieving students from low-income families get into and succeed at top private high schools and colleges Summer 2014 Experiment in International Living | Brattleboro, VT Traveled to Nicaragua and Cuba to focus on how art is used for social change
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work experience Summer 2018 Brown Harris Stevens LLC | New York, NY Freelance rendered upcoming real estate developments being proposed around the Hamptons. Created different photoshopped iterations of proposed developments in site. Summer 2018/16 The Carter Burden Gallery | New York, NY Worked with artists to document their art pieces digitally. Edited gallery images. Assisted in gallery installations. Updated website content Summer 2017 Kevin Dwarka LLC Land Use & Economic Growth | New York, NY Digitally rendered models for proposed typologies. Researched zoning policies Translated posters and surveys from English to Spanish Spring 2016 3SIX0 Architecture and Design | Providence, RI Updated online website and performed general administrative tasks. Made digital renderings for new projects Summer 2015 Apollo Global Management | New York, NY Supported the desktop environment of Apollo while escalating issues to the appropriate channels when needed.
skills Adobe | Photoshop, InDesign, Illustrator, Lightroom Google | SketchUp, Docs, Sheets, Slides Microsoft | Word, Excel, Powerpoint, Outlook Other | Rhinoceros, DIVA, Revit, AutoCAD, Solidworks, Final Cut Pro X
languages English | native language Spanish | fluent speaking, writing, reading Italian | intermediate speaking, writing, reading
interests sustainability | affordable housing | community involvement | graphic design | photography
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PERSPECTIVE CUT A perspective drawing was drawn on a 24 x 36 inch matte board. A plan and section drawings of a previous project were used to initiate the perspective drawing. A total of six different points, a picture plan and stationary point, were selected in the plan and section to vary the horizontal and vertical spaces presented. The use of six different points would either increase or decrease the size of the subject and also alter the angle of the point of view providing a lot of overlap. The matte board then evolved into a low-relief piece as multiple cuts were made to further reinforce the method and elements of perspective. Three sets of collages were formed from photos of the final piece. An additional layer was added to each collage iteration and all are presented in a fan formation to accent the use of layers. 6
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Layers
original photoshop cutting
original photoshop cutting background
original photoshop cutting background drawing
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NEGATIVE SPACE Initially, a plan and elevation drawing was drawn for six selected tools commonly used for drafting. Then, a layer of section drawings of three from the six selected tools were drawn on top of the original drawing. A final layer showed the relationship between the three tools through a series of ten frames of movement. The whole process was recorded at double speed. Twenty frames from the film were used to create lines and points of the tools moving through space. These were used as the framework to create various structural, surface, and solid analyses with negative space. A sixty-four cubic inch space in a hybrid combination of the analyses was identified to explore a sequence of spatial relationships defined by solid and void. A sketch model led to a template design for the construction of the final negative space model. 10
Horizontal View
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FOLDING TRANSLATION Akari 26n by Isamu Noguchi is part of his series of luminaries, handcrafted from traditional shoji paper. Translation 0 was about trying to recreate the luminary as accurately as possible. Rice paper and rice glue were used to recreate the lantern-like structure. Translation 1 centered on the ability to manipulate chipboard to reconstruct a piece of the original. Through many folds and scores, an accordion-like structure was created. Translation 2 called for a total reconstruction of the original piece. Many studies were made with printer paper to analyze the different geometries of small and large folds. Density was manipulated to vary the spatial components of condensed folds versus folds breaking apart. The final translation became a static, idealized representation of the small and large folds. 14
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A PLACE OF MEMORY Rome, Italy’s Campo de Fiori is a popular location for locals and tourists day and night. Through many site analyses, the most important components of the piazza were its markets during the day and its tourist attractions during the night. The project was through the eyes of a photographer who wanted to amplify the memories created in the space while still preserving its historic qualities. In addition, as an artist, the photographer wanted a more central location for potential art studios. The underground of Campo de Fiori has been excavated for either work or exhibition space. Movable components above act as seating and tables but can also serve as a light source to the underground. Other components penetrate the ground, such as sliding walls to act as artist exhibition space and elevators that can double as above ground artist rooms. 16
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TRAVELING DIARY A picture’s worth a thousand words and if less time is spent taking pictures than writing down memories, there’s more time to actually experience new environments. These photographs differ in location from Rome, Italy to Barcelona, Spain to Lacarno, Switzerland. Three sets of color-conscious triptychs have been assembled based on connections. Connections range from geometric ones like intertwining shapes, to personal ones, like couples at a protest, These photographs are very color conscious and play with how certain vibrant or dominate colors can influence the narrative or strengthen the composition of the photograph.
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BLACK AND WHITE All the images were taken as black and white originals with a 30mm camera. A majority of these photographs were uploaded onto a computer and modified on Photoshop with a focus on contrasts, highlights and shadows. Light and shapes were the main target when capturing these images. A couple of the photographs were developed in the dark room. These photographs were more experimental as the chemicals were manipulated to only develop portions of the original photograph. These images focused more on composition which couldn’t be duplicated exactly due to the chemical’s properties.
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LARGE PENCIL These three projects are independent but all drawn on large 36 x 24 drawing paper. Each piece had a different prompt attached to them. However, due to their large scale, they all focused on capturing as much detail as possible when observing the subject. The intertwining hands construct an abstracted form of a bicycle and focuses on the creases and shadows of the hand formations. The fossil analysis focused on the eroded holes and works towards giving them the appearance of holes and not simply black spots. Lastly, the shells drawings focuses on adding depth in the many highlights presented on the shells under harsh lighting.
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thank you isabella_teran@brown.edu