Pratt institute /// Undergraduate Architecture
Olivia Tarro
design 101 /// abby coover hume
TO EXPLODE
Exploration of fundamental elemnents of design, starting with point, then line. surface, and lastly volume. From these developments, inhabitable spaces were created.
point / line surface / volume
POINT PROJECT / CRUMBLE DIAGRAMS / SCALE 6”=1’-0”
Just by dropping a pen, I crated ramdom points around the points of a grid. Using these random points, I was able to form a set of rules to make any other random points. These were then applied into my crumble models, which used cutting and folding to represent my rules. These rules lead me to be able to create a pattern, Which I made “rise” from the vellum page. This three demensional form was established using the basswood cones that pointed and created the new surface.
point / line surface / volume
IDEAL LINE DRAWING / SCALE 6" = 1'-0"
PLANAR MODEL
The planar model was translated from the linear model through modifications based on the word to rise. This translationwas achieved by the operations of creasing and folding. DEVELOPMENT AND FINAL MANIPULATION TEMPLATES / SCALE 4"=1'-0"
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This point in the model gives off a shy effect, where the model almost CLOAKS itself in shadows.
PLANAR CATALOG
PLANAR MODEL / PLAN + SECTION / SCALE 6"=1'-0"
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This corner EXPLODES out of the piece using shadows and lines. Almost far gone in the shadows of the dark space below.
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End of page is squeezing the shadows below it, creating an ARCH.
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Lightest cut up lines are formed here by scoring. Affectionate in a way because it is SOFTER and not as harsh as the rest of the black and white photos.
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Translation from black background and whit page is that like the different moon cycles. The SHADOWS make it cold and rough like the moon’s surface.
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This tight space feels like the innards of a catacomb, leading to uncertain darkness and finding SPACE and volume in strange places.
point / line surface / volume
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6 PRIMITIVE SOLID MODEL
Taking the words explosion and shadow out of my planar catalog, I created my primary model using six sided prisoms. I then inserted this and took out the solid to create my primitive void model.
SECTION CATALOG / SCALE 3.6"=1'-0"
PRIMITIVE VOID MODEL
SECTION CATALOG / SCALE 1.05"=1'-0"
extending from volume X4
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Record size of each piece Number from 1 to 17, with 1 being the largest piece. Move out according to rules on lines.
Record size of each piece Number from 1 to 17, with 1 being the largest piece. Move out according to rules on lines.
1-3 /// 120 inches 4-6 /// 180 inches 7-9 /// 240 inches 10-12 /// 300 inches 13-15 /// 360 inches 16-17 /// 420 inches
1-3 /// 60 inches 4-6 /// 120 inches 7-9 /// 180 inches 10-12 /// 240 inches 13-15 /// 300 inches 16-17 /// 360 inches
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Forms /// 1 triangles 2 pieces 3 angles 4 crevices Materials /// 5 light 6 sharp 7 broken 8 empty Actions /// 9 floating 10 crumbling 11 expanding 12 cracking Feelings /// 13 exposed 14 open 15 weathered 16 spacious
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B The many floating pieces allow for exposure to more space, and continue to fall from the crumbling crevices of the inner structure like cold ice off of a glacier.
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SPACIAL CATALOG
A The broken pieces of crumbling triangles expand the weathered and spacious room, exposing the body of the structure and give off a hollow feeling.
C The cracking of the inner walls allows for empty space to emerge, and for light to escape across the freezing, sharp crevices and warm the innards of the cold building.
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I then began to think more about my model in terms of creating space. I did this by making another set of rules for projection of pieces from the middle of explosion points. These projected elements became my new form of structure in my model.
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VOLUME SECTIONS /// SCALE 1/8" = 1'-0"
VOLUME SECTION /// SCALE 1/4" = 1'-0"
extending from volume
design 102 /// george showman
TO LIGHT
Examination and transformation of existing site using site analysis. Using these ideas, they are then brought to a new site where, using the site analysis, we are able to create something new.
GRADUATE STUDIO SURVEY AND ANALYSIS Location: Third floor graduate architecture studio at Pratt Institute Medium: Vellum with pencil Scale: 1/4�= 1’
Observing the site, I looked at three different analytical layers. Light was my first analytical layer, and that is represented by the shaded-in areas. Next was contact, which is represented by the repeated lines, or rhythmic lines.
Lastly is movement, which is represented by the connecting lines found at the two entrances of the room. Movement is also incooperated into contact by creating different rhythms according to speed. Using the zoom-in drawings, I was able to closely look at what was going on in certain areas of the studio and develop our analytical layers further.
ZOOM-IN SITE MODEL
MANIPULATION OF SITE Using the movie “2001: a Space Odyssey”, I looked at the relationship between light and darkness. For my manipulation to my site, I looked at how light could be create spaces in darkness. Using rotations and rules from the movie, I created a private space attached to the public space.
WOODEN BEAM PUSHES AGAINST STEEL HYBRID BEAM AT 45 DEGREE.
SCREWS IN BEAMS ARE 4 INCHES APART
EVERY BEAM CONNECTS AT ONE POINT
CLASSON STREET, BROOKLYN SURVEY AND ANALYSIS
MANIPULATION OF SITE
Using my analytical layers, we were asked to make a movie of our own that worked with these ideas. For my movie, I used light, contact, and movement as connections between private and public places. For example, I took the door of my house and made the connection to the Grand Central Terminal windows. I used sight in my film by making these still moments where the camera did not move but everyone else would. I created my own view of these environments and only my sight, forcing observes to see what I wanted them to see. I then created a space that used these instances and overlayed them one on top of another on sheets of mylar as seen above. I built a model as well to also show the connections between the private and public spaces.
FINAL MODEL
ROTATION OF 5 DEGREES ROTATION OF 5 DEGREES
CONNECT TO WALL OFFSET OF .5 INCHES
LIGHT
CONTACT
FLOWER NURSERY
REPEAT ON OTHER SIDE
MOVEMENT CAFE
ROCK CLIMBING REPEAT ON FRONT
TRANSFORMATIONAL DRAWINGS
SECTION PHYSICAL DRAWING
1/4” SCALE
Given a landscape with a ranging topography, we were asked to build an Academy that had a range of different public and private spaces, including studios, galeries, classrooms, and residences.
design 201 /// cathryn dwyre
TO CRYSTALIZE
ANALYSIS OF SKARA BRAE Hide Covering
Turf
Midden Insulator
Stone Lining
development
MOLECULE original structure including a 4 sided pyramid and a 3 sided pyramid connected by 1 side
ACCRETE various scaling of pyramids porportionally according to crystalline habits
EPITAXY crystallization /// attaching different scaled modules (crystals) at each 4 sided corner /// follows the hexoctahedral mineral setup of 4 sided minerals attatching to 4 sided minerals /// each group is made up of 4 crystals
EXPLODED MODULES FROM CENTER
ADDITIONAL VIEWS WITH CONNECTIONS AT CENTER
SHEARING slickenslide /// moving modules up and down on initial module in the center of the cluster
CONGLOMERATE /// ENCRUST where pieces are colliding, encrusting takes place /// keep forms together
DISSOLVE dissolve bits slowly from the beginning of the building
ELACS ’’2/1 /// NOITCES & NALP
1/4 to 3/2 scale
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RE MO CA SY
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AVE IN NDE PEN DEN CE
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SITE PLACEMENT
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CRYSTALLIZATION YSTALLIZATION DIAGRAM MODULE
ACCRETE
OFFICE / ENTRANCE
EPITAXY / ASSEMBLY
EPITAXY / ASSEMBLY
CLASSROOM
RESIDENTIAL / STUDIO
SLICK N SLIDE
LECTURE / GALLERY
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SCALE /// 1’=1/16”
SECTION ZOOM-IN
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OLIVIA TARRO /// 12.3.13
PLANS
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SCALE /// 1’=1/16”
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ENCRUSTING RENDERING
FINAL MODEL
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representation 111 /// james brucz
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TO ASSEMBLE a
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representation 112 /// carrie mcknelly
TO REORGANIZE
representation 211 /// evan tribus
TO MUTATE
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mylar drawing Take three or more different ideas from previous drawings and use them to develop a drawing that manipulates the blocks to make a new form.
MORPHOLOGICAL ANALYSIS Y2K HOUSE
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Biological dissection of site using simple geometric shapes including trapizoids, rectangles, squares, and triangles. These different figures establish areas of limited and large space according to what shape used.
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TRANSFORMATIONAL ANALYSIS Y2K HOUSE
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Taking the pieces I established from my morphological analysis and, by placing them back into the model, created a structure on the inside that holds the pieces of the house together like bones holding onto muscles. This is the opposite of the real intension of the house, which was for the pieces to be held inside by a skin.
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FINAL MANIPULATION Y2K HOUSE Taking the idea of the different shapes used in the model, I extruded them out of the house and created section cuts. These section cuts show the environments inside of the different shapes. The four sided figures, like the rectangle and the trapizoid, represent environments that are more open like the sky or a wooden forest. The three sided figure is more dense, represented by the rocky environment.
ad creation for mouthwash
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pick your poison
Final triptych
Students were asked to create a model that incooperated parts like a prosthetic, some form of animal skin, and use examples from Francis Bacon and Matthew Barney. For my project, I tried to incooperate a story within my tryptych.I wanted to morph the original bottle by peeling the snake skin off of the prosthetic heart, as it crash lands into the basement of higgins. It then wants to become more human, and it does this by growing arms and legs, and it starts to think it is beautiful. But by the end it realizes that it has become a monster. It starts to grow multiple legs and arms and lashes out and it creates these shadow spikes out of its body.