LISBETH M ACEVEDO OGANDO SELECTED WORKS 2016 - 2019
This portfolio showcases selected works, both academic and extracurricular, from Lisbeth’s undergraduate career related to her interests in architecture, fashion, and design. Please visit the website below for more projects, information, and process work.
Lisbeth M Acevedo Ogando
Bachelor of Science in Architecture, June 2019 Massachusetts Institute of Technology (MIT)
Mail: acevedo.lisbeth1@gmail.com Mobile: (+1) 201-275-8517 LinkedIn: linkedin.com/in/lisbethacevedo Website: lisace.portfoliobox.net
TABLE OF FO ELBAT CONTENTS STNETNOC Architecture 02 17 32
Grove Nexus Strength in Numbers
Artistic Representations 44 51
Unraveling Glyphs
Artifacts of fabrication 57 64 75 82
Tête-à-Tête Cumulate Remembrance Threshold Concrete
Fashion
92 Noble 101 Unbound 108 Glamazon
ARCHITECTURE ERUTCETIHCRA
GROVE EVORG
Image 1:3 scale captions. detail model of curvilinear dividers with shelves. These units were central to the proposal and redesign of the Kunstsuper Delft.
GROVE
YEAR: FALL 2019 FABRICATION: 2D/3D MODELING, LASER CUTTING AIM: PROPOSAL & REDESIGN OF ART STORE Grove was the proposal for the redesign of the Kunstsuper Delft, which allowed artists to showcase and sell their creations to the surrounding communities in Delft, Netherlands. The proposed design aimed to create an immersive, enveloping, and engaging environment. Visitors and customers were meant to experience the new design as they would experience art— through spaces where they could lose track of time, spaces that were dynamic, and by embedding opportunities for individual discovery and adventure. The redesign utilized modular curvilinear dividers as a form of space organization, circulation arrangement, and product display. These units were constructed using an array of vertical slabs that were inserted between two frames; their composition depending on the products being displayed and the characteristics of the space that were of interest to highlight. These slabs were notched which allowed curved shelves to be inserted through and made it possible for 3D products to be displayed. 2D products were displayed by employing tensioned wire display systems with panels instead of curved shelves on units. Overall, these units allowed for a homogenous yet unique environment to be produced and a space that could continuously evolve. Furthermore, they played a large role in the circulation design and therefore how the space was experienced and navigated.
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GROVE
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Curvilinear display units with curved shelves.
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Tension wire system with display panels.
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Abstract representation of the design logic. Sight lines from windows and entrances of the existing space were key in designing the placement of dividers and the overall circulation.
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Abstract representation of the design logic. Dividers were constructed and arranged according to the sight lines of the windows and entrances of the existing space.
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Experiencing the redesign.
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NEXUS SUXEN
3D high-density foam model showcasing the thickness manipulation of lines and passage surfaces of labirythn fragment. Photographs courtesy of Andy Rya
an.
NEXUS
YEAR: SPRING 2018 FABRICATION: 2D/3D MODELING, CNC MILLING AIM: PROPOSAL & DESIGN OF MUSEUM An interdisciplinary exploration and site proposal which analyzed the mat-system of labyrinths; a networking of passages separated by lines. The first step of this investigation involved manipulating variables found in the organization of the system and extracting the various properties which would aid in the development of continuity and differentiation in the context of a museum intervention. Topics of interest included the widths of the passages and lines, centerlines, the occurrence of switchbacks (changes in direction/curvature), and the radii of curving segments (unique vs. identical). These explorations were extended into 3D in the form of various CNCmilled models where the width of the lines and the topography of the passages were manipulated. This exploration allowed for the system to be scaled, tailored, and accommodated into the program of a museum and to the site of the Boston Emerald Necklace.
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The findings of these explorations were taken and used to design a community garden center and an accompanying agricultural museum located at the tip of the Boston Emerald Necklace. The garden center was to be housed aboveground and the museum underground. For this, the passages of the labyrinth system became the community garden spaces and the lines became the walls which separated these spaces and provided the paths for visitors to circulate on. These community garden spaces were situated on sloping surfaces; some of these surfaces were flush with the walls/paths which allowed visitors to interact with the garden spaces directly. In other cases, these surfaces were not flush and placed further down which offered a limited view while on the walls/paths. These two programs were meant to create an epicenter for the green spaces existing in the Emerald Necklace area, showcase the various harvests local to the community, and educate the community on these harvests as well as gardening/harvesting practices. The aim was for the community to not only visit but take an active role in the process of it all.
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Designing intervention form; from geometry found in the existing landsca
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ape to rationalization to final design of the garden center and museum.
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Visitors could walk on the pathways to access garden spaces and other areas of the intervention. Three pathway widths were used for different access and foot traffic. Graphic scale is 1 in = 48 ft.
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Upper right portion of the form houses the museum, located underground, and its garden spaces, located aboveground. The accessibility of the garden spaces varies throughout the form; some garden spaces are only accessible after entering the museum. Graphic scale is 1 in = 48 ft.
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The garden center and museum intervention sit at the tip of the Emerald Necklace. This site plan showcases the green spaces in the surrounding area in different types of programing. This intervention aims to provide a nexus and central hub for the green areas of the Emerald Necklace.
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Site plan showcasing the intervention location along with the surrounding landscape. The paths of the intervention are connected to the existing sidewalks of the landscape allowing for easy transitions onto the intervention. Red lines indicate the cut lines for the sections that were made.
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Sections showcasing the connection of the natural landscape of the site to the community garden center and museum
the museum, underground. The interactions visitors could have with the spa
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m intervention. Sections also showcase the various types of interaction between the garden center, aboveground, and
ace and with one another are also demonstrated. Section scale is 1 in = 16 ft.
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STRENGTH IN NI HTGNERTS NUMBERS SREBMUN
Strength In Numbers installed in the courtyard between two buildings.
STRENGTH IN NUMBERS YEAR: SPRING 2016 FABRICATION: LASER CUTTING, MACHINE SHOP TOOLS AIM: INSTILATION OF 24-FOOT SPANNING STRUCTURE COLLABORATION WITH: HANNAH LIENHARD, WILLIAM WU
A large-scale instillation which spanned approximately 6m x 1.2m x 1.5m with a weight of 30 kg. The structure consisted of two main components, arms, with dynamic and modular characteristics. These arms were comprised of four groups of three tetrahedral modular units. These units were fabricated using clear plastic tubing, velcro, and snap-in laser cut connectors. The snap-in connectors joined 6 plastic tubes together while velcro connected the units to one another rendering the overall structure reversible. The structure could simply be deconstructed and reassembled in new ways or moved and assembled in a new context and site. Industrial knotted rope was threaded through the pipes to give the structure motion through tension-control. Slacking the rope allowed the arms to unfurl and furl up which added another dimension to its design and composition.
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STRENGTH IN NUMBERS
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STRENGTH IN NUMBERS
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An integral part of the structure were the snap-in connectors used to tie together the tetrahedral modules. Three laser cut connectors were used in all the ve once positioned. The key components of the laser cut connectors weree the shoulders located at the tail and the male-female segments located at the head.
neighboring connectors to be snapped together and be hel
Form, connection, and insertion of snap-in connectors.
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ertices of the modules. These connectors were first inserted into the tubes and aligned at the two drilled openings. They were snapped into their neighbor The shoulders allowed the connectors to be squeezed into the tubes and allowed them to be fastened at the openings. The male-female segments allowed
ld in place to provide the necessary structure and stability.
Snap-in connectors used on tetrahedral modules to connect pipe pieces to one anoth er.
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ARTISTIC CITSITRA REPRESENTATIONS SNOITATNESERPER
UNRAVELING GNILEVARNU
Manufactured 3D representation of system growth constrained by a square boundary.
UNRAVELING
YEAR: SPRING 2017 FABRICATION: 2D MODELING, VISUALIZATION AIM: EXTRACT, MANIPULATE, & EXPAND SPATIAL PROPERTIES Unraveling explored the natural and spatial organizational properties of the Romanesco broccoli which exhibits spiraling and fractal characteristics. Initial explorations dealt with the nano-scale analysis of the Romanesco broccoli elements, in plan and section, by extracting various geometrical data from the figures. The governing parameters found were then controlled and manipulated to produce a depiction of growth and recursion within a constraint. Here, the organization is manufactured around the boundary condition of a square. The product of this was then used to create a 3D visualization using only 2D elements. Here, depth and dimension were created by producing curves in between two closed curves/segments throughout the growth drawing.
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Elevation and plan drawings showcasing the nano-scale geometric analysis of the Romanesco Broccoli. Cross-hairs represent the points locate
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ed along the golden spirals, depicted in red and blue, of the broccoli. The rectangles represent the golden ratio demonstrated by these spirals.
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Growth and recursion of system affected by the boundary condition of a square. Two fragments are illustrated each showcasing their own spiraling nature. A double curvature spiral connects the two growths. Along the edges of the square, the buds become more condensed and flattened.
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3D representation of system growth. Rendering produced by creating curves in between two closed curves/segments existing in the growth system. This was done to create depth and dimension in the representation.
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GLYPHS SHPYLG
Logo for personal brand produced with characters of the font.
GLYPHS
YEAR: FALL 2016 FABRICATION: 2D MODELING AIM: DESIGN FONT & CREATE GUIDING RULE SET An exploration of symbol design through the production of a font. This exercise dealt with the stylization, sizing, and derivation of multiple characters of a typeface and the composition of rules which allowed these characters and others to be generated. These rules guided the proportion and scale between the characters and the application of the design elements and their characteristics. Important aspects of the font were the intersections of linear and curved segments, the rigidity and structure of lines, and the movement and flow of curved segments. The font was created to be bold and striking and to create a union between linear and curved segments.
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RULES
GLYPHS
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ARTIFACTS OF FO STCAFITRA FABRICATION NOITACIRBAF
TÊTE-À-TÊTE ETÊT-À-ETÊT
Finished design of Tête-à-Tête.
TÊTE-À-TÊTE YEAR: SPRING 2019 FABRICATION: WOODWORKING, CARVING, CNC MILLING AIM: PRODUCE CHAIR CAPABLE OF SEATING TWO
Tête-à-Tête was a steam bent, milled, and carved white oak chair capable of seating two individuals. The chair consisted of a semicircular back rest curving down into two front legs, a seat, and two back legs. A large portion of the construction involved steaming and bending white oak veneers along a form. These bent veneers were glued together and eventually shaped to produce a rounded form for the back rest and front legs. These pieces were constructed separately and joined using a scarf joint as a result of the double curvature in the form. The back legs were created using a wood lathe and through hand carving. They, along with the front leg and back leg support pieces were connected to the back rest and front legs using mortise and tenon joints. The construction of the seat involved edge gluing white oak panels which were cut to shape and CNC milled to produce a sloping surface. Once fully finished and sanded smooth the chair was stained using a natural wood stain.
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TÊTE-À-TÊTE
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CUMULATE ETALUMUC
Cumulate utilized to store books and journals as well as showcase pottery and ceramic pieces.
CUMULATE
YEAR: SPRING 2019 FABRICATION: 2D/3D MODELING, LASER CUTTING AIM: CREATE INTERACTIVE STORAGE & DISPLAY UNIT Cumulate was a storage and display shelf made of laser cut plywood pieces. The unit was made to be completely collapsible, mobile, and capable of being arranged and composed in a multitude of ways. It was constructed by arraying zigzag laser cut units and inserting them into a base and frame using mortise and tenon joinery. There were 5 varieties of these zigzag units, each varying in corner length and number of corners. This allowed the height and depth of the shelf to vary and be manipulated in accordance to what was being stored and displayed. The aim of the object was to be an extension of the mind and history of an individual, facilitate the collection of person’s knowledge and experiences, and allow for information exchange with those in their environment/community. Cumulate allowed an individual to store and collect valuables and allowed them to share/exchange these valuables with those close to them or in their community. In such an interaction, there was a reciprocal relationship; in order to take something, you had to leave something behind and vice versa. This allowed for a cycle of knowledge/information exchange to be established.
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CUMULATE
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CUMULATE
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CUMULATE
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CUMULATE
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CUMULATE
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Breakdown of cumulate frame components; mortise slab, base, and angled side frames. Frame houses zigzag unit arrays.
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Zigzag unit varieties used in the design and composition of cumulate. Units vary in corner length and amount.
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REMEMBRANCE ECNARBMEMER
Final design and color composition of Remembrance.
REMEMBRANCE YEAR: SPRING 2019 FABRICATION: SEWING, REVERSE APPLIQUÉ, STITCH AND SLASH AIM: INVESTIGATE AND REIMAGINE THE MOBILE CULTURAL SHELTER
Remembrance was a tapestry composed of secondhand textiles and made by utilizing the techniques of sewing (machine and hand), stitch and slash, and reverse appliqué. Its decorative details were created by tucking and ruching the slashed material. In a physical space, the tapestry can be utilized for insulation, decoration, and even storage purposes. In a grander scheme, remembrance served as one of the modules for a “Portable Palace”; a mobile cultural shelter made to foster community gathering and cross-cultural engagement through storytelling, drinks, food, and music. The intent of the tapestry was to serve as a transcription of the history, memories, and experiences tethered to an individual. Its patterns exhibited the notion of a window and door of opportunity to embody and invoke a vision for a better future. In the middle of the piece, rests a bloomed tulip surrounded by a sunburst pattern. These symbols were used to represent the themes of hope, rebirth, renewal, strength and power. The colors used in the tapestry embodied the symbolism and themes showcased by the patterns utilized. The selection of colors included brown which is used to promote well-being and ease, yellow which is associated with optimism and energy, red which signifies courage, and green which is seen as the color of growth and healing.
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REMEMBRANCE
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THRESHOLD DLOHSERHT CONCRETE ETERCNOC
Composition of “brick” model; product of casting faux volcanic rock with clear glycerin.
THRESHOLD CONCRETE YEAR: FALL 2017 FABRICATION: CASTING, MOLD MAKING AIM: MATERIAL EXPLORATION, ANALYSIS, & APPLICATION
Threshold Concrete was an exercise of material experimentation where clear glycerin was used as a mortar to unify discrete pieces of faux volcanic rock. The exploration led to the development of composite “tiles” and “bricks” which were envisioned as the forms of possible habitable structures or the modules used to construct habitable structures. In this experimentation, the connection between the glycerin and pieces of faux volcanic rock, grill bricks, was tested. This was done by producing coarse and smooth edges on the faux volcanic rock pieces and exploring the different types of connections that could be produced between different pieces. From the findings of these tests, the different voids and spaces of the “tile” and “brick” compositions were analyzed to be further developed and to produce a construction process for an intervention in Villarrica, Chile.
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The topics of interest for these cube “bricks” were the interaction between carved spaces and the interaction of the two differing cube faces along with the spaces created between them. Carving the faux volcanic rock to create different geometries produced various moments of mass and void and casting with soap set these geometries and created a barrier/frame between the interior spaces and the faces of the cubes. In creating these cube “bricks” the ideas of carvings, thresholds, and framing views were used as concepts to drive future explorations and experimentations. The cube “bricks” were useful in exploring the relationships of thresholds of the interior and exterior spaces to the scale of the human body, the habitability of carved spaces, and the resulting interactivity with the surrounding landscapes.
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FASHION NOIHSAF
NOBLE ELBON
Final design of garments used to compose Noble.
NOBLE
YEAR: SPRING 2019 FABRICATION: PATTERN MAKING, SEWING, STITCHING AIM: SHOWCASE TRENDS OF THE 19 TH CENTURY Noble was a garment made of Tyvek, high-density polyethylene fibers, inspired by the court gowns, garments, and accessories of the 19th century. The piece is composed of a bodice, hoopskirt, skirt, and train fitted to a mannequin. For the bodice, skirt, and train, construction began with pattern making to find the proper dimensions for each of the components needed for assembly. These elements were constructed by sewing and stitching the Tyvek pieces and were decorated using ornamental gold circular mats. The hoopskirt was made of steel boning, ribbon, and wood to give the skirt shape, structure, and support. Noble was designed to showcase the style and the fashion trends of the 19th century and to experiment with garment construction of various types.
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UNBOUND DNUOBNU
Unbound modeleted by Tina Wang for the MIT Trashion Show.
UNBOUND
YEAR: FALL 2017 FABRICATION: PAPIER-MÂCHÉ, LASER CUTTING AIM: CREATE GARMENT ENTIRELY OF BOOK PAGES Unbound was a garment made of secondhand book pages composed through papier-mâché and paper folding techniques. The piece was inspired by book art and the techniques of folding, tearing, and layering that it often showcases. The material heavily inspired the design and construction of the garment and was utilized in as many ways as possible. For the bodice, page strips were adhered and shaped around the model to find the appropriate size. Laser cut petals were overlaid to create the final composition and design. For the skirt, pages were folded decoratively and layered to create the final form. Unbound was created for the MIT Trashion show which showcases non-conventional fashion design with a focus on sustain ability and waste reduction. For the show, participants are tasked with using trash and recycled materials to create pieces of fashion to be modeled down a runway.
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UNBOUND
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GLAMAZON NOZAMALG
Glamazon modeled by Samira Okudo for the MIT Infinite Magazine interview.
GLAMAZON
YEAR: FALL 2016 FABRICATION: WEAVING, CRAFTING TOOLS AIM: CREATE PIECE FROM CORRUGATED CARDBOARD Glamazon was a garment made entirely out of recycled single-faced corrugated cardboard held in place by twine. The piece was inspired by a 19th century Chinese Szechwan Lolo piece of armor seen in a museum exhibit. The design and construction of the piece was heavily driven by the material and was made to re-imagine the material in as many forms as possible. The garment consisted of a bodice, skirt, fringed train, and accessories. For the bodice, strips of the cardboard were woven together. The skirt was made of flattened cardboard sheets arranged in different orientations to form a cone like shape. For the fringed train, a sheet of cardboard was cut along its corrugations. Glamazon was created for the MIT Trashion show which showcases non-conventional fashion design with a focus on sustainÂability and waste reduction. For the show, participants are tasked with using trash and recycled materials to create pieces of fashion to be modeled down a runway.
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This portfolio showcased selected works, both academic and extracurricular, from Lisbeth’s undergraduate career related to her interests in architecture, fashion, and design. Please visit the website below for more projects, information, and process work.
Lisbeth M Acevedo Ogando
Bachelor of Science in Architecture, June 2019 Massachusetts Institute of Technology (MIT)
Mail: acevedo.lisbeth1@gmail.com Mobile: (+1) 201-275-8517 LinkedIn: linkedin.com/in/lisbethacevedo Website: lisace.portfoliobox.net
Lisbeth is a recent graduate of Massachusetts Institute of Technology (MIT) where she received a Bachelor of Science in Architecture. During her time there, she explored her vast interests in architecture, design, fashion, and theater both inside and outside of her academic work. She loves working with her hands and anything that allows her to express herself creatively. In her free time, she enjoys cooking, drawing, painting, woodworking, fashion design, and completing DIY projects of all sorts.