2023 Ivana Bogdan Portfolio

IVANA BOGDAN

Harvard Graduate School of Design Master of Architecture l Candidate 2025

ibogdan@gsd.harvard.edu

+1 (646) 881-9814

EDUCATION

2021-2025

2013-2017

Harvard University, Graduate School of Design Master of Architecture l Candidate

The University of North Carolina, Greensboro

B.A Art History, summa cum laude

B.F.A Painting, magna cum laude

3.91/4.00 GPA, Full Scholarship

EXPERIENCE

2016 2014 2012

2022

2020-2021

2018-2019

2017-2018

INTERNSHIPS

University of Plymouth Plymouth, UK - Semester study abroad

Tecnológico de Monterrey Monterrey, Mexico - Summer study abroad

Maryland Institute College of Art Baltimore, MD, USA - Summer program

Mork-Ulnes Architects San Francisco, CA, USA Summer Intern

Lawrence Fine Arts San Fracisco, California Registrar

Center for Visual Artists Greensboro, NC, USA Gallery Coordinator

Sawtooth School for Visual Art Winston-Salem, NC, USA Instructor

SKILLS

2016 2015 2014

SELECTED HONORS

Southeastern Center for Contemporary Art Winston-Salem, NC, USA

Reynolda House Museum of American Art Winston-Salem, NC, USA

Coraddi Arts and Literature Magazine Greensboro, NC, USA

Rhino, Revit, V-Ray, Adobe Suite, Microsoft Suite, Google Suite, Grasshopper, Rhino Climate Studio, EnScape, Flovent

Lloyd International Honors College, Alpha Lambda Delta Faculty Awarded Fragola Painting Scholarship 2015

Undergraduate Research & Creativity Award 2018

Honorable mention, Carolyn & Norwood Thomas Research Expo 2018

University of North Carolina Featured Student Class of 2017: Article and interview

https://news.uncg.edu/class-of-2017-ivana-bogdan/ Artist interview: Free pizza podcast episode 33

https://www.freepizzapodcast.com/blog-post/033-ivana-bogdan

P01

BRIEF

Ordinary, Except

FALL 2021: 5 weeks

In collaboration with: Connor Kramer (M. Arch l 25’), Amber Zeng (M.Arch l 25’)

This project considers what is already exceptional within the ordinary as a generative approach to imaging specific co-mingling conditions between the domestic and the institutional. This project brief calls for the design of an artist residency situated within and between two existing residences. This combination of domestic and institutional programs will generate a small institution for creative practice, collective engagement, and living.

APPROACH

We began by examining the boundaries and property lines that result in the our site’s current arrangement and functioning. Subdivided blocks over time and a significant increase in development, density, and division, led to a ruptured urban grid and community fabric that persists today. Our site acts as a point of convergence, struggling to mitigate the tensions of the competing formal zones, directional urban grids, and residential and commercial uses. Our design seeks to alleviate the physical tensions of the semi-urban environment by re-stitching arbitrary planning ruptures and re-distributing new open space and built program to the community.

INTERSTITIAL SPACES

While each of the three courtyards act consistently to mediate between varied programs, each maintains a slightly different formal appearance and function.

The artist’s courtyard provides a private transition between working and living spaces and provides an additional outdoor working and exhibition space. The gallery courtyard is defined by its open roof and transitions between making and displaying spaces. The rental courtyard is available only to residents of the unit’s residents as a separate outdoor space adjacent to the public front yard.

Artist’s courtyard

Gallery courtyard

Rental courtyard

Artist Courtyard , facing gallery

MATERIAL CONSIDERATION

This space is deliberately dematerialized. Exposed mechanicals hang from the ceiling while a continuous concrete floor seamlessly transitions between interior and exterior. In contrast, the gallery is carefully finished and resolved. Wall surfaces are clad in gypsum and the catwalk is wrapped in opaque metal panels. An underlying 5’ organizational grid is projected on all sides of the room - visible in the concrete expansion joints, sliding glass mullions, structural beams, and cladding seams. Conventional wood roof framing is consistently exposed to suggest a vernacular domesticity within the institutional space.

Through material continuity and visual fluidity, the multitude of spatial intersections activate the slippage and resonance between the domestic and the institutional. By redistributing the abundant open space to the community and stitching the fragmented site, the addition invites a flexible and mediated programming of space. The transparent, contingent, and mixed-use addition awaits for observation, occupation, and engagement.

FLEXIBLE SPACES

The flexibility and transparency of the studio is furthered through the use of operable interior wall segments - able to be shifted and turned by the artists to subtly divide the space into individual work zones; and by operable glass walls opening to the front yard, providing physical connection and porosity for the artists and public visitors. Operable wall segments

Plan - level 01

P02

BRIEF

Distilling Systems

FALL

2022: 3 Months

Professor Emmett Zeifman

In this studio, students design a bourbon distillery in Roslindale, Boston. This project is research driven with a focus on structure, space, envelopes, mechanics, program, code, comfort, safety, and site. This studio investigates strategies to consolidate environmental technologies into building design, focusing attention on the ways roofs might conceptually and materially organize these detached parts - challenging the ways a building’s integral mechanical systems are regularly designed independently of coherent material envelopes, construction systems, and volumes.

SITE CONDITION / STRATEGY

The site belongs to a post-industrial landscape—not fully adherent to industrial standards nor fully transformed to accommodate an economic shift towards service industries. By contrast, the surroundings are picturesque. Across the bordering railroad tracks to the west is the 281 acre Arnold Arboretum, with views of Boston toward the east.

The rectangular mass is designed to occupy a minimum footprint on the site in order to prioritize the capacity for public, outdoor open space. The extensive setback allows for further immersion into the landscape and provides a sound barrier. It’s situated along the northernmost property boundary, with the longitudinal pitched roof oriented north/south to optimize daylighting, solar chimney and PV panel exposure to the south, and immersive views toward the arboretum in the north.

Offices interior, looking east, 01 floor

Atrium interior, looking west, 01 floor

DESIGN LOGIC / PASSIVE SYSTEMS

Passive systems inform the overall design logic.

The variable climate in Massachusetts, U.S.A., requires equal consideration for passive cooling and heating.

Solar chimneys introduce a passive solution to manage the building’s excess heat and air flow. Through a south-facing glazing, the sun’s heat warms the air in the chimney, causing it to rise and create a draft that moves the hot air out of the structure. This heating process causes the cooler air from below to be pulled into the chimney for heating while the hot air is released from the top.

An operable facade is introduced to ensure that sun exposure is managed and the building’s glazing does not result in an excess of heat, and provides opportunities for cross-ventilation.

FLOOR 02

FLOOR 01

FLOOR 00

1.

2.

3.

4.

8.

9.

10.

5.

6.

7.

1. Grain/yeast storage

2. Grain delivery

3. Cooking tanks

4. Fermentation tanks

5. Distillation sill

6. Open-air rick house

7. Export

8. Offices

9. Labs / testing rooms

10. Exhibition / event space

11. Drinking rooms

12. Bar / gathering space

APPROACH

My project explores the threshold of column and wall, and circulation as a determinant of program. Taking on the programmatic themes of Library and Museum and defining them solely in terms of circulation. Furthermore, this project explores the threshold of column as wall and pushes the conceptualization of this architectural form as it relates to circulation.

I used a grid system to develop my space made using each given section’s smallest spatial increments. I aligned the sections and their corresponding grids on a 45 degree angle. Due to the differing hypotenuses on the grids, they overlap at irregular points. At each floor I doubled columns at these seemingly anomolical junctions. The columns began to touch and absorb additional meeting points as they swelled, whereabout I placed additional columns.

Column as room :The columns retained a wall width of 8”. When the thickness of the column became greater than 16” it would remain hollow, creating a shaft for light or utilities. Once the internal dimension of the column became great than 3’, it was inhabitable and considered room, thereby inverting space and the column function.

Column as wall: In this project column becomes wall as the space between columns narrow to less than 3’. When this occurs one begins to have difficulty passing between them, thus creating impenetrable space and the pair of columns effectively become wall.

Jump Cut P03

FALL 2021 : 4 weeks

BRIEF

The term “Jump Cut” references a technique in film editing where an abrupt transition makes a subject jump from one spot to another. Architecture, too, requires coherence among disparate elements. This project takes the two given sections, or “jump cuts” of a building, from which (a dialectic) about program and circulation, seemingly disjointed arch. elements. is formed.

Floor 01

Floor 01

Floor 03

P04

BRIEF

Living Separate, living Together

FALL 2021 : 4 weeks

As a foray into architectural design for the first project, the home is utilized as a prompt to think socially, spatially, and formally. Students were assigned one plan of seven. This was the starting point for the design of a duplex, a residential typology that incorporates two residential units within one envelope.

APPROACH

In this project, we will foreground the plan drawing as an architectural convention that situates architecture’s organizational and social relationships within a concise representation. My project is designed to foster the harmonious living of an intergenerational family, with elements that promote and sustain healthy relationships implicit in the architecture. To respond to a growing diversity of familial and communal relationships, we speculated on how we might live more collectively and densely while maintaining degrees of privacy and solitude. I have placed an emphasis on the balance of public and private, of coming together and being apart, and of accessibility and boundaries. The design considers passive heating and cooling possibilities. The open, south-facing facade and windows on either side of the duplex enable airflow to pass through the building. The hillside location and ground contact allow for retention of cooler temperatures in warmer months and heat retention during colder months.

FINE ART

Selected themes and projects

2013-2019

“Mother”, 2013, oil on canvas

PLACE

In these pieces I’m grappling with concepts of space as they relate to history, identity, perception, experience and memory. I wanted to more closely represent this breadth of places using pictorial language.

“Daffodils”, 2016, oil on canvas, 3’ x 4’

“Prague”, 2016, oil on canvas, 3’ x 3’ 6”

DEAD WOMEN’S KITCHENS

In this series I was continuously exploring the spirit of built environments. I pulled from the solitude that comes from a dichotomy of an environment that is jubilant by design but desolate by circumstance. I chose to work with kitchens and homes of grieving families in order to illustrate the space that loss creates.

“Dead Women’s Kitchen: Laurinda”, 2017, oil on board, 30” x 36”

“Dead Women’s Kitchens: Marie”, 2017, painted paper collage, each 30” x 36”

PAINTING WOMEN

In this project I made a series of paintings combating the traditional discriminatory canon of female representation in fine art. There has been a discernible contrast in male versus female portraiture. As art tends to reflect and perpetuate the culture of the society that bore it, the predominance of this conventional misrepresentation in female portraiture has had a resounding, detrimental effect on the way society views women and the way women view themselves.

In opposition to the tradition of hypersexualzation, objectification and voyeurism that apparently dominates the history of female portraiture I have aimed to emphasize my subjects’ identity and individuality, while refusing to generalize their physical appearance or deny them their femininity and sexuality that would otherwise be appropriated.

These works were created as part of the 2017-2018 University of North Carolina’s Artist Residency for the 2017-2018 academic year. The project was presented at the Annual Carolyn & Norwood Thomas Undergraduate Research and Creativity Expo in April 2018, and the Artist In Residence Showcase in April 2018.

“Quiana” 2018, oil on canvas, 3’ x 4’

“Mallory” 2018, oil on canvas, 3’ x 4’

ARTIFACT

In these projects I began to explore the relationship between calculated time and our actual experience of it, using familial artifacts as time markers as a counterpoint to a numerical system.

“March”, 2017, oil on canvas, 3’ x 2’

“Flowers Surviving My Mother”, 2017, oil on canvas, 2’ x 1’ 6”

RENDERING SPACE AND IDENTITY

In this project I wanted to challenge traditional illusionistic space and I began to place more value in abstract components of visual communication. I started to investigate ways in which I could render not only space in a different way but an image itself. I wanted to explore the spectrum between abstraction and realistic drawing and stretch the singular, traditionally rendered image. My aim was to show the complexity of identity through multiple, superimposed impressions of a singular entity.

My process consisted of drawing a singular impression, erasing it, altering its position, and then drawing it again, repeating many times. The result is multi-faceted image that is communicative of, and more adjacent to, an object’s essence as it occurs in space and time.