ROSSITZA KOTELOVA
relative
year: 2014 course: “You Can’t Die in Disney World” A ZOO professor: Mack Scogin
rossitza kotelova
RELATIVE ABSENCE OF THE ABSOLUTE BOUNDARY
The relative absence of the absolute boundary, defined as multiple readings of a resonating boundary, where a condition is simultaneously bounded and expanding. The project began with a recollection of my first spatial memory in the form of a narrative describing a memory of being bounded by the table cloth underneath my gradmother’s kitchen table but where the imagination is expanding beoynd the immediate condition. The juxtaposition of the program “A Garden of Pavillions for the Dalai Lama” with the site -- an abandoned Soviet Nuclear Submarine base in Balaklava, Ukraine, poses the question what do Communism and Buddhism have in common? Both Communism and Budhism were established on the ideological beliefs of collectivism, unity & relativity. While communism takes a materialistic perspective and buddhism takes a spiritual one, both believe in an interdependent network of every human, the unity of all things as one entity, and the absence of clearly defined boundaries in a transformation from one state of matter to another. The same beliefs resulted in very different outcomes, providing for multiple readings of the same ideology. The architectural manifestation of collectivism, unity, and relativity can be expressed as mass ornament: a series of formal operations carried out on meaningless parts to produce abstract patterns using the mechanical movements of lines, rotations and repetitions. The dalai lama is a being that is part of both reality and spirituality the combination of being a reincarnation of buddha and his homeless state in exhile create an aura about him which allows him to simultaneously exhist in both reality and spirituality, rendering him as the physical manifestation of a condition that is simultaneously bounded and expanding.
program: A Garden of Pavillions for the Dalai Lama location: Balaklava, Ukraine
harvard graduate school of design
concept drawing year: 2014 course: “You Can’t Die in Disney World” A ZOO professor: Mack Scogin
rossitza kotelova
plan
program: A Garden of Pavillions for the Dalai Lama location: Balaklava, Ukraine
harvard graduate school of design
relative
year: 2014 course: “You Can’t Die in Disney World” A ZOO professor: Mack Scogin
rossitza kotelova
S i n g i n g R i v e r o f O m - Perfection: The Pavilion They all belonged to each other: the lament of those who yearn, the laughter of the wise, the cry of indignation and groan of dying. They were all interwoven and interlocked, entwined in a thousand ways. And all the voices, all the goals, all the good and evil, all of them together was the world. the great song of a thousand voices consisted of one word: om -- perfection
relative
--- Siddhartha by Hermann Hesse
pavilion model
program: A Garden of Pavillions for the Dalai Lama location: Balaklava, Ukraine
harvard graduate school of design
pavilion models
year: 2014 course: “You Can’t Die in Disney World” A ZOO professor: Mack Scogin
rossitza kotelova
a pavilion for infectious laughter and mischievous manipulation
a homeless pavilion for a simple rockstar of peace and controversy
the dueling pavilions of seeking and finding
the wisdom pavilion for foolish communication
a pavilion of past, future and no present
a pavilion of no past or future without present
1984 pavilion
the BBC pavilion for ultimate truth and conventional fact
relative
pavilion models
program: A Garden of Pavillions for the Dalai Lama location: Balaklava, Ukraine
harvard graduate school of design
section year: 2014 course: “You Can’t Die in Disney World” A ZOO professor: Mack Scogin
rossitza kotelova
section
program: A Garden of Pavillions for the Dalai Lama location: Balaklava, Ukraine
harvard graduate school of design
relative
Bongjai Shin
Sekou Cooke
Peter Sprowls
Rossitza Kotelova
team:
Reshape Digital Craft: 2014 Competition Winner year: 2013 course: Digital Design and Fabrication professors: Nathan King + Rachel Vroman
rossitza kotelova
ROBOTIC RIPPLES ROBOTIC SURFACE MANIPULATION
Along with an increase in demand for customization, the ceramic industry is turning to innovative fabrication strategies in order to produce highly customizable products. Methods such as linear extrusion, dry press, and wet press are currently used to achieve some degree of customization, however, these methods have limitations when applied to high-volume production processes. By combining traditional clay rolling techniques and industrial scale robotic fabrication, we can achieve highly customizable ceramic surfaces that are easily mass produced without the use of molds or dies. In order to explore what opportunities the combination of these two very different methods allows, a custom roller tool attachment for an ABB IRB 4400 robotic arm was designed and fabricated. For proof of concept, a 6-foot by 6-foot full-scale prototype of a ceramic façade system is produced. This Robotic Roller method is directly applicable to the current tile production industry. As a process, the variable roller can be incorporated into existing tile production lines to develop infinitely customizable tile surfaces without the need to produce molds or other support materials that become waste. The Robotic Roller tool creates an entirely new set of possibilities for an existing production process that is fairly standardized. The Robotic Roller tool resulted from combining a conventional ceramic roller with an industrial ABB robot. The tool is custom made by attaching the axle of a typical low friction large diameter conveyor roller to a frame made of steel angles and extruded aluminum. The tool has sliding arms that lock in position allowing the length and diameter of the roller to change for different designs. This adjustable feature of the roller attachment allows for an increase in surface design variation as the size, shape and pattern of the roller may be easily changed. The tool can tilt longitudinally to a maximum angle of 45˚ in either direction before causing a collision between the roller axle and the clay.
project type: Robotic Fabrication material: Ceramic Tile
harvard graduate school of design
ceramic tile year: 2013 course: Digital Design and Fabrication professors: Nathan King + Rachel Vroman
rossitza kotelova
prototype detail
project type: Robotic Fabrication material: Ceramic Tile
harvard graduate school of design
robotic ripples
robotic roller tool year: 2013 course: Digital Design and Fabrication professors: Nathan King + Rachel Vroman
rossitza kotelova
project type: Robotic Fabrication material: Ceramic Tile
harvard graduate school of design
Connection Robot connection totorobot Lock mechanism lock mechanism
aluminumAluminum slider components slider components
Steel ange extension steel flange extension
Aluminum roller aluminum roller Steel/Roller Axlejoint Joint steel/roller axle
roller diameter
roller length
Surface design
Manipulation Parameters Roller size defines surface manipulation variables
Material systeMs
claMbake
Peter Sprowls, Rosie Kotelova, Sekou Cooke, Bongjai Shin
tool-based design parameters
Nathan King | Rachel Vroman
robotic ripples
robotic ripples
interior year: 2013 course: Digital Design and Fabrication professors: Nathan King + Rachel Vroman
rossitza kotelova
ceramic tile wall
project type: Robotic Fabrication material: Ceramic Tile
harvard graduate school of design
facade elevation year: 2013 course: Digital Design and Fabrication professors: Nathan King + Rachel Vroman
rossitza kotelova
variable ceramic tile
project type: Robotic Fabrication material: Ceramic Tile
harvard graduate school of design
robotic ripples
year: 2012 course: Architecture Core III professor: Eric Howeler
rossitza kotelova
SPLIT BERKLEE COLLEGE OF MUSIC
A mixed-use high rise building designed for speculative clients, the Berklee School of Music and the ICA Museum. The program includes retail, a gallery, an auditorium, a black box, classrooms and dormitories. Given the mix of public and private program, the project takes on the idea of splitting the two to an extreme. The building is lifted from the ground, divided into two chunks horizontally public below and private on top and creates an additional public space in the middle, the west end of the building is split entirely creating a dramatic atrium for lighting. Internally, the public half of the building is organized around a giant split level elevator which forces the public floors into a pin-wheel procession.
program: Mixed-use High Rise location: Boston, MA
harvard graduate school of design
diagrams year: 2012 course: Architecture Core III professor: Eric Howeler
rossitza kotelova
exterior perspective
program: Mixed-use High Rise location: Boston, MA
harvard graduate school of design
split
ground plan year: 2012 course: Architecture Core III professor: Eric Howeler
rossitza kotelova
dormitory plan
program: Mixed-use High Rise location: Boston, MA
harvard graduate school of design
split
urban strategy team: Rossitza Kotelova Franzi Fischer Sandro Lussmann Miriam Maurer Petra Pfaff Stefanie Stammer Gian-Carlo Tibolla
year: 2013 course: Emerging and Sustainable Cities professor: Hubert Klumpner + Alfredo Brillumberg
rossitza kotelova
GROWING BRIDGES [PRO]SUMER CULTURE
The Emerging and Sustainable Cities studio was a second semester continuation of a critical analysis and strategy framework set up for Port of Spain, Trinidad and Tobago in the previous semester. Studio 2 uses the strategic framework to develop comprehensive architectural prototypes. The East Dry River runs which north-south through the city creates a physical, demographic, and economic divide between the citizens of Port of Spain and East Port of Spain. Hybrid typologies were developed in order to address these mixed urban phenomena and expand consideration of urban development possibilities beyond conventional strategies. The East Dry River became the backbone for studio intervantions. The aggregation of hybrid hubs creates a network of design solutions that reinforce each other as an overall strategy. Given the island condition of Trinidad and Tobago, Port of Spain is highly dependent on imported food for consumption. The project aims to introduce a network of urban agricultural education which would enable the citizens of Port of Spain to grow their own food. Thus transforming the current import consumer culture into a production conscious culture. The East Dry River creates a major divide between East Port of Spain and Port of Spain creating a visible differentiation in the urban development of the two districts. In addition, connections are lacking in the north - south direction of the East Dry River due to insuficient allocation of pedestrian paths. The Growing Bridges create connections between East Port of Spain and Port of Spain and increase pedestrian accessibility over and along the Dry River.
program: Urban Agriculture location: Port of Spain, Trinidad & Tobago
eidgenĂśssische technische hochschule zĂźrich
2
1. roof plan, 2. ground plan
1
2
year: 2013 course: Emerging and Sustainable Cities professor: Hubert Klumpner + Alfredo Brillumberg
rossitza kotelova
growing bridges
urban strategy
1
program: Urban Agriculture location: Port of Spain, Trinidad & Tobago
eidgenĂśssische technische hochschule zĂźrich
label year: 2013 course: Emerging and Sustainable Cities professor: Hubert Klumpner + Alfredo Brillumberg
rossitza kotelova
label
program: Urban Agriculture location: Port of Spain, Trinidad & Tobago
eidgenĂśssische technische hochschule zĂźrich
growing bridges
house with no walls
year: 2013 course: Kyoto II: Seasons and Architecture professor: Toshiko Mori
rossitza kotelova
HOUSE WITH NO WALLS MODERN MACHIYA
The interior organization of a typical machiya is based on three boundary typologies: physical barriers, elevation change and material differentiation. These boundaries differentiate the private spaces of the house but they also differentiate a micro-business, typically located in the front of the house, from the private house, located in the rear of the house. Looking at the machiya as a typology of ultimate flexibility in use of space, the project attempts to take the idea of flexibility and sharing a step further and proposes a House with No Walls. By flipping the spatial organization of business in the front and house in the back to business and house running along the length of the house, we can fully utilize the potential of the “eel bed” shape of the machiya. By placing the business and house side-by-side, space which would typically be dedicated to one or the other can be utilized by both since a house and a business are generally used at different times in the day. Boundaries are then used to differentiate between the spaces instead of walls or screens. By flipping the typical machiya spatial organization of business in the front and house in the back to business and house running along the length of the house, we can fully utilize the potential of the “eel bed” shape of the machiya. By placing the business and house side-by-side, spaces which would usually be dedicated to one or the other, can now be utilized by both since a house and a business are generally used at different times in the day.
program: Micro-business and Family House location: Kyoto, Japan
harvard graduate school of design
year: 2013 course: Kyoto II: Seasons and Architecture professor: Toshiko Mori
rossitza kotelova
PHYSICAL BARRIER
diagram key
physical barrier
ELEVATION CHANGE
elevation change
MATERIAL DIFFERENTIATION
material differentiation
boundaries analysis
program: Micro-business and Family House location: Kyoto, Japan
harvard graduate school of design
house with no walls
section perspective year: 2013 course: Kyoto II: Seasons and Architecture professor: Toshiko Mori
rossitza kotelova
SCALE: 1/8” = 1’-0”
SECTION PERSPECTIVE
section perspective
program: Micro-business and Family House location: Kyoto, Japan
harvard graduate school of design
house with no walls
plan year: 2013 course: Kyoto II: Seasons and Architecture professor: Toshiko Mori
rossitza kotelova
FOYER LIVING AREA
STOREFRONT SHOWROOM
DIN
program: Micro-business and Family House location: Kyoto, Japan
harvard graduate school of design
KITCHEN
NING
STORAGE
GUEST BEDROOM
plan
ATELIER
house with no walls
model: private + public entries year: 2013 course: Kyoto II: Seasons and Architecture professor: Toshiko Mori
rossitza kotelova
model: interior
program: Micro-business and Family House location: Kyoto, Japan
harvard graduate school of design
house with no walls
reciprocity
year: 2011 course: Architecture Core I professor: Ingeborg Rocker
rossitza kotelova
RECIPROCITY URBAN EFFECTS
The project seeks to investigate the effect of a shifting operation performend on two typical singe family houses on an urban fabric. The shifting operation was controlled by a Grasshopper script with perameters given by the studio coordinator Preston Scott Cohen. The shearing of one of the houses away from the other produces a domino effect on the immediate adjacent buildings. If the shearing happens in multiple directions, the undulating urban blocks produce pockets of space which then become public parks that release the density of the urban fabric. An anomaly is introduced diagonally between two shifted houses. The anomalous houses shift in the vertical direction in addition to the horizontal to produce a dynamic elevation change. The facade design of the anomalous houses is intended to register the displacement of the anomalous houses in relation to the typical houses. Windows, gabled roofs, chimneys and stairs are kept stationary as the rest of the house shifts producing an extrusion effect on these particular elements.
project type: conceptual urban design location: dense city
harvard graduate school of design
urban plan year: 2011 course: Architecture Core I professor: Ingeborg Rocker
rossitza kotelova
URBAN AXON
urban axon
project type: conceptual urban design location: dense city
harvard graduate school of design
LOCAL AXON
reciprocity
reciprocity
displacement diagram year: 2011 course: Architecture Core I professor: Ingeborg Rocker
rossitza kotelova
detail axon of houses
project type: conceptual urban design location: dense city
harvard graduate school of design
LOCAL AXON
credits: Rossitza Kotelova Christopher Esper
year: 2012 course: Digital Media I professor: Andrew Witt
rossitza kotelova
MINIMAL SURFACE COMPUTATIONAL DESIGN STUDY
The project study uses a bat wing minimal surface module that is rotated, reflected and repeated. Using these simple operations we were able to achieve a minimal surface knot that is continuous throughout the entirety of the given shape. The minimal surface knot creates a series of complex layers of enclosures and openings, producing an incredibly beautiful aesthetic form.
project type: 3D Print Fabrication material: Z-Corp Powder
harvard graduate school of design
01. knot minimal surface base mesh 02. frame year: 2012 course: Digital Media I professor: Andrew Witt
rossitza kotelova
03. frame growth (phase I) 04. frame growth (phase II)
project type: 3D Print Fabrication material: Z-Corp Powder
harvard graduate school of design
minimal surface
minimal surface
3d printed model year: 2012 course: Digital Media I professor: Andrew Witt
rossitza kotelova
3d printed model detail
project type: 3D Print Fabrication material: Z-Corp Powder
harvard graduate school of design
credits: Rossitza Kotelova Kevin Murray Charavee Bunyasiri
year: 2013 course: Expanded Mechanisms/Empirial Materialism professor: Andrew Witt
rossitza kotelova
FOAM DECAY DISPENSER ATTACHMENT FOR LASER-CUTTER FRAME
The project experiments with the confluence of blue foam as a building material and a potential medium for design exploration. Using acetone, we carve the volume of the foam through material decay. The chemical process substitutes the typical physical manipulation of blue foam with an added benefit, the foam and acetone fuse to form a material boundary that is both water tight and capable of material finishes like paint or varnish. In order to achieve repeatability of our experiment, we designed and fabricated a computer controlled dispenser which integrates into an existing laser-cutter bed frame. Using a precisely calibrated acetone drop amount, we were able to achieve a highly controlled decay form.
project type: machine design + fabrication material: blue foam + acetone
harvard graduate school of design
machine prototype year: 2013 course: Expanded Mechanisms/Empirial Materialism professor: Andrew Witt
rossitza kotelova
pump
diode solenoid valve
steel rod
spring
solenoid
diode
project type: machine design + fabrication material: blue foam + acetone
harvard graduate school of design
printhead stopper pin
coverage confirmation
printhead casing
machine components
acetone chamber
print path
print path
foam decay
blue foam decay year: 2013 course: Expanded Mechanisms/Empirial Materialism professor: Andrew Witt
rossitza kotelova
architectural application
project type: machine design + fabrication material: blue foam + acetone
harvard graduate school of design
foam decay
credits: Rossitza Kotelova Nancy Nichols Chase Pitner
year: 2014 course: Introduction to Computational Design professor: Panagiotis Michalatos
rossitza kotelova
BRANCH FORMATION BY SURFACE EROSION
When water flows freely over a smooth, homogeneous landform, dendritic patterns emerge. These characteristic patterns of flow, branching at acute angles without any idential repetitions, are predicted by constructal law. “While the second law [of thermodynamics commands that things should flow from high to low, the constructal law commands that they should flow in configurations that flow more and more easily over time.� - Adrian Bejan
project type: Computational Design programming language: C# in Grasshopper
harvard graduate school of design
branching formation in nature year: 2014 course: Introduction to Computational Design professor: Panagiotis Michalatos
rossitza kotelova
mation Erosion
1
2
Define surface
Define gradient vector
3
4
Random points on surface
Streamlines form along steepest descent
project type: Computational Design programming language: C# in Grasshopper
harvard graduate school of design
over a smooth, homoritic patterns emerge. erns of flow, branching ny idential repetitions, al law.
[of thermodynamics] hould flow from high w commands that they ons that flow more and
Pitner
5
6
Droplets erode surface along streamline
Branches emerge as subsequent droplets roll into deeper trenches
branch formation
coding process
all 2014
- Adrian Bejan
surface: plane 0 seconds
surface: plane 20 seconds
surface 40 sec
surface: cone 0 seconds
surface: cone 20 seconds
surface 40 sec
surface: saddle 0 seconds
surface: saddle 20 seconds
surface: 40 sec
surface: topography 0 seconds
surface: topography 20 seconds
surface variation matrix
year: 2014 course: Introduction to Computational Design professor: Panagiotis Michalatos
rossitza kotelova
surface: to 40 sec
surface: plane 100 seconds
surface: plane 250 seconds
e: cone conds
surface: cone 100 seconds
surface: cone 250 seconds
: saddle conds
surface: saddle 100 seconds
surface: saddle 250 seconds
surface: topography 100 seconds
surface: topography 250 seconds
opography conds
erosion simulation
e: plane conds
project type: Computational Design programming language: C# in Grasshopper
harvard graduate school of design
branch formation
team: Rossitza Kotelova Marisa Brunner Christian Grewe Rellmann Enrique Ruiz Durazo
year: 2013 course: Complex Timber Structures 2 professor: Matthias Kohler, Michael Knauss, Luka Piskorec
rossitza kotelova
project type: robotic fabrication material: wood
eidgenĂśssische technische hochschule zĂźrich
AGGREGATIONS COMPLEX TIMBER STRUCTURES
The project began with an analysis of contemporary and traditional timber systems and defined node typologies suitable for the digital fabrication process. The process involved designing, programming and building a funnel-shaped wooden structure with a span of 4.5m consisting out of 93 individually cut wooden beams. The cutting of the beams, drilling the holes for the screws and the precise placement of the components within the structure was carried out in a continuous robot-based process using an ABB robot, making the production process entirely automated. The constraints given by the robot-fabrication process such as angle constraints of the components and the assembly sequence structure were already incorporated in the planning phase of the process and have been an integral part of the architectural
length, of the design design.
automated robotic fabrication setup year: 2013 course: Complex Timber Structures 2 professor: Matthias Kohler, Michael Knauss, Luka Piskorec
rossitza kotelova
cut
drill
place screw
prototype photo
project type: robotic fabrication material: wood
eidgenĂśssische technische hochschule zĂźrich
aggregations
design constraints year: 2013 course: Complex Timber Structures 2 professor: Matthias Kohler, Michael Knauss, Luka Piskorec
rossitza kotelova
design constraints
project type: robotic fabrication material: wood
eidgenĂśssische technische hochschule zĂźrich
aggregations
knot configurations year: 2013 course: Complex Timber Structures 2 professor: Matthias Kohler, Michael Knauss, Luka Piskorec
rossitza kotelova
node
reference define radius define direction
project type: robotic fabrication material: wood
eidgenĂśssische technische hochschule zĂźrich
knot generation process
member generation process
design process
relaxation process
aggregations
credits: SHoP Architects
year: 2014 client: JDS Development Group office: SHoP Architects
rossitza kotelova
PORTE COCHERE 111 WEST 57TH STREET
A high-rise residential building Street in New York City, aims and proportions of historic NYC latest technology to push the
under construction at 111 West 57th to bring back the quality, materiality towers, while taking advantage of the limits of engineering and fabrication.
Focusing on the Porte Cochere for the residential entrance to the tower, the ceiling design was inspired by an x-ray image of an angel wing sea shell. The Porte Cochere is imbedded in the historic Steinway Building, therefore, the ceiling design takes into consideration the main hallway axis in the placement of the oculus and the textures of the existing limestone on the facade of the Steinway. The dome ceiling in combination with the artificially lit oculus, create a grand experience in the place of entry for the high-end residential program.
program: High-rise Residential location: New York City, NY
harvard graduate school of design
credit: SHoP Architects
aerial view year: 2014 client: JDS Development Group office: SHoP Architects
rossitza kotelova
3D Print Model
program: High-rise Residential location: New York City, NY
harvard graduate school of design
S-11
S-10
S-9.1 S-9
S-11
S-10
S-9.1
S-8
S-7
S-6
S-5
S-4
S-3
S-2
S-1
S-0
S-8
S-7
S-6
S-5
S-4
S-3
S-2
S-1
S-0
S-9
S-12
S-12
oculus axis diagram
S-A
S-A
S-B
S-C
S-C.1 S-C.1
S-D S-D.1
S-D.2 S-D.2
S-E
S-E.1
DN
0116
STAIR
132 SF
103 SF
0115
S-F
VESTIBULE
2516 SF
0112
PORTE-COCHERE
S-F
S-F.1
2126 SF
0121
RETAIL ATRIUM
865 SF
0120
RETAIL LOBBY
Redundant Room
0114
LOADING AREA
1410 SF
0113
COMMERCIAL LOADING
S-G
DN
61 SF
0122
VESTIBULE
182 SF
0119
CORRIDOR
DN
87 SF
0118
VESTIBULE
DN
471 SF
0160
STAIR D
S-H
year: 2014 client: JDS Development Group office: SHoP Architects
rossitza kotelova
PORTE COCHERE // SHELL
GROUND FLOOR PLAN
porte cochere
ground floor plan
PATTERN
PORTE COCHERE // SHELL
program: High-rise Residential location: New York City, NY
harvard graduate school of design
north + south elevations
PLAN AND NORTH + SOUTH ELEVATION DN
0116
STAIR
132 SF
103 SF
0115
VESTIBULE
2516 SF
0112
PORTE-COCHERE
Redundant Room
0114
LOADING AREA
1410 SF
0113
COMMERCIAL LOADING
DN
DN
471 SF
0160
STAIR D
HERE // WALLS
year: 2014 client: JDS Development Group office: SHoP Architects
rossitza kotelova
interior perspective
E // SHELL program: High-rise Residential location: New York City, NY
harvard graduate school of design
VE
porte cochere
credit: SHoP Architects
year: 2014 client: Delancey Street Associates office: SHoP Architects
rossitza kotelova
SCALLOPS SEWARD PARK - ESSEX STREET MARKET
SHoP’s master plan for Essex Crossing will transform a large stretch of undeveloped City-owned into a dynamic mixed-use neighborhood. The ninesite project will include 2 Million sf of commercial, retail, community and residential programming, including 50% permanently affordable housing units. This phase develops the Market Line, a subterranean esplanade lined with smallscale local retail that links the sites at the heart of the project. A large light scoop carves through the buildings to bring natural light to the Market Line and to layered gardens that float above the stores on Broome Street. Focusing on the ceiling of the light scoop, the design is inspired by a scallop shell. Playing on several scales, the design takes into consideration viewing the ceiling from the street level and up close from one of the floating gardens. Undulating ribs are subdivided into elongated triangles and further into scalloped detail features.
program: Market location: New York City, NY
harvard graduate school of design
credit: SHoP Architects
aerial view year: 2014 client: Delancey Street Associates office: SHoP Architects
rossitza kotelova
market ceiling view
program: Market location: New York City, NY
harvard graduate school of design
scallops
ceiling design year: 2014 client: Delancey Street Associates office: SHoP Architects
rossitza kotelova
ceiling construction
program: Market location: New York City, NY
harvard graduate school of design
scallops
credit: Melissa Weigel year: 2014 client: Delancey Street Associates office: SHoP Architects
rossitza kotelova
3d print model
program: Market location: New York City, NY
harvard graduate school of design
scallops
credits: text
year: 2014 course: Innovators’ Practice professor: Dr. Beth Altringer
rossitza kotelova
CRANBERRY WORK TOGETHER WHEREVER YOU MIGHT LIVE
Cranberry is an online dashboard that creates a virtual office experience for teams to communicate seamlessly and efficiently across timezones. The idea was derived from our fieldresearch, inteviewing 11 entrepreneurs working in 5 different continents. The dashboard focuses on the difficulties teams experience when working from different locations. The dashboard includes a map that allows users to visualize their teammates’ locations around the world and a whiteboard that brings office antics to the digital world. The feature we’re focusing on most is the scheduling tool. We believe that this tool provides a much-needed solution to a pressing problem faced not only by entrepreneurial teams, but also by anyone who’s ever tried to schedule a meeting with someone in a different timezone. As the world becomes increasingly flat, we are confident that there will be a place for a solution like Cranberry.
project type: dashboard, web platform purpose: remote teamwork
harvard school of engineering and applied sciences
interview narratives year: 2014 course: Innovators’ Practice professor: Dr. Beth Altringer
rossitza kotelova
interview narratives
project type: dashboard, web platform purpose: remote teamwork
harvard school of engineering and applied sciences
cranberry
cranberry
outcubator team year: 2014 course: Innovators’ Practice professor: Dr. Beth Altringer
rossitza kotelova
locations across timezones
project type: dashboard, web platform purpose: remote teamwork
harvard school of engineering and applied sciences
cranberry dashboard home + whiteboard year: 2014 course: Innovators’ Practice professor: Dr. Beth Altringer
rossitza kotelova
cranberry schedulign tool + email invite
project type: dashboard, web platform purpose: remote teamwork
harvard school of engineering and applied sciences
cranberry
year: 2011 course: Projective Representation in Architecture professor: Cameron Wu
rossitza kotelova
GEOMETRIC IMAGE CONSTRUCTION project type: geometry exercises method: projection
PROJECTION
trimetric construction
harvard graduate school of design
year: 2011 course: Projective Representation in Architecture professor: Cameron Wu
rossitza kotelova
perspective construction
project type: geometry exercises method: projection
harvard graduate school of design
projection