sokainaasar portfolio architecture essays fine art
table of contents DESIGN Bionic Ecology
6 - 11
Fragmenting Notations
12 - 15
Circulation Parallax
16 - 21
MEDIUMS Disintegrating Interiority
24 - 27
Bi-Directional Object
28 - 31
Fabrication
32 - 45
HISTORY & THEORY Blue Beyond Ornament
48 - 49
Imagination
50 - 51
FINE ART Drawings
54 - 61
Paintings
62 - 67
design studio pratt institute SCHO L OF ARCHITECTURE G R A D U AT E A R C H I E C T U R E A N D U R B A N D E S I G N
bionic ecology farragut housing PA R T N E R : P R I S I L I A S U W U H I N ST R U C T O R : C A R L O S A R N A I Z F A L 21 0
fragmenting notations house 14 addition I N ST R U C T O R : P E T E R M A C P I A FA L 20
circulation parallax middle school I N ST R U C T O R : J A M E S G A R I S O N S P R I N G 21 0
bionic ecology farragut housing
PA R T N E R : P R I S I L I A S U W U H I N ST R U C T O R : C A R L O S A R N A I Z F A L 21 0
Featured in FX Collobarative “Real Estates” Exhibition in March 2022. Featured in Pratt’s Sustianability Center Website. 6
Our housing project is at the intersection of technology and nature. Located on the NE corner of farragut housing in the Brooklyn navy yard, the project imagines a future where resources are redistributed, that is sensitive to local needs, while also understanding regional climate influences. As it exists today, many urban communities face food deserts. This project does not only aim to create a machine but to also provide collective new living spaces especially for low income housing, access to high quality foods is not easily accessible.
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GROUND FLOOR PLAN 1/16” = 1’0” Here we introduce agriculture programming through; hydroponic gardens, water filtration system, waste, compost and energy system. From this programming, this building functions as a machine, a metabolic system that is self-sufficient. This building holds multi-family housing, one-bedroom, 2 bedroom units, multi-family housing is located on the west side of site as it has more access to yard space The one-bedroom units are mostly located within the tower 2-bedroom units are located on the east side of the site.
FLOOR 7 PLAN 1/16” = 1’0” 8
agri-infrastructure/terracing
h2o + greywater collection
3 bedroom 1 bedroom channel glass + brick 2 bedroom
waste + energy
rainwater harvesting + region
EAST SECTION 1/16” = 1’0”
The materials and their spatial relationships drove the idea of ambiguation in our form. This is a reference to the relationship of neighborhoods and nature, an ambiguous engagement with its environment. Our language is a refraction of light and space. We use both channel glass and brick . Brick is a reflection of the history of the farragut houses, while channel glass reinforces ambiguity and refraction. The IPCC report states that the world’s resources are predicted to deplete in 6 years. These issues call on urgent redesign of spaces to ensure the survival of neighborhoods. By centralizing our resources and creating a metabolic self-reliant machine, the community benefits from their individual living spaces.
WEST SECTION 1/16” = 1’0”
ELEVATION
LONGITUDINAL SECTION
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fragmenting notations house 14 addition
I N ST R U C T O R : P E T E R M A C P I A FA L 20
In this studio, one of the primary goals was to fabricate and understand materials. We were urged to create many sketch models and play with space and material. My early sketch material models gave inspiration for spatial configurations and material use in the later projects. This is depicted in thinking about the line notation fragmented.
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This project integrates previous spatial and material studies. I was intrigued by the fragmented addition that transformed the orignal house and site.
FLOOR 1 PLAN
The primary goal was to introduce and addition to an existing house - House 14 on Governer’s Island. This building now has space on the first floor for public entrance and experiencing art/ life sciences as art on the second floor. The open circulation is juxtaposed by the rigid crystalline wall additions.
FLOOR 2 PLAN
CROSS SECTION
LONGITUDINAL 15
circulation parallax middle school
4th Ave
INST R U C TO R : J A M E S G A R I SON SPR I NG 2021
N-S Section
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43rd St
4th Ave
43rd St
The proposed middle school sits on the corner of 4th Avenue and 43rd Street in Sunset Park, Brooklyn, NY. The design concept emphasizes dynamic circulation of ramps between split level floors. The expression of the facade reflects this movement within the school. The glass walls and atrium take advantage of sunlight for classrooms and circulating space. The idea of a circulatory parallax experience in the external and internal form of the middle school dominates the concept of the project.
E-W Section 17
7: Rooftop - Complete Sequen
5: L4 Library
2: Ramp to L2 Aud/Balcony
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nce
6: Ramp to L5/Class
4: L4 Atrium
3: Ramp to L3 Balcony
1: Enter Lobby - Begin Sequence
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structural framing
middle school: typical floor plan
ST R U C T U R E S I N ST R U C T O R : T O M R E I N E R S P R I N G 21 0 Level 6 2 Classrooms per floor Additional Special Topic Classroom Corridors
split level floors 6 ft below mirrored floor plan
30’
G2 50’
36’
B3 G1
G1
concrete slab both ends contin. 5” thickness
G2 B3
C2
B2
G2
B1
B3
100’
C1 Perimeter 12” x 12” 4 #6 bars, 1.22% Pmax 400 > 350
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Girders
Beams
Columns
C2 Interior 16” x 16” 4 #8 bars, 1.23% Pmax 710 > 695
C3 Corner 10” x 10” 4 #8 bars, 1.24% Pmax 275 > 175
B1 both ends contin. 25 ft length 14” depth 9.5“ width 5” slab thickness
B3 one end contin. 25 ft length 16” depth 10.8“ width 5” slab thickness
G1 simply supported 36 ft length 27” depth 18“ width 5” slab thickness
G2 simply supported 30 ft length 22.5” depth 15“ width 5” slab thickness
LL: Gym Auditorium Recreation Rooms Custodian
Ground: Lobby Entrance Auditorium Upper Balcony Offices
L4: Library Program Ramp 6th Grade Classrooms
L6: 8th Grade Classrooms Art Class Counselor
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mediums pratt institute SCHO L OF ARCHITECTURE G R A D U AT E A R C H I E C T U R E A N D U R B A N D E S I G N
disintegrating interiority fragmentation & materiality I N ST R U C T O R : B E N M A R T I N S O N S P R I N G 21 0
bi-directional object composite modeling I N ST R U C T O R : O L I V I A V I E N FA L 20
fabrication material & form research I N ST R U C T O R : E M I L I J I A L A N D S B E R G I S S P R I N G 20 2
disintegrating interiority fragmentation & materiality
I N ST R U C T O R : B E N M A R T I N S O N S P R I N G 21 0
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The motif of the interiority is focused on the idea of disintegration and fragmentation with attention to material choices. I wanted to depict the feeling of space falling apart but also somehow holding itself all together. The interioir views depict special moments within the structure that show moments of illusory fragmentation.
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bi-directional object composite modeling
INSTRUCTOR: OLIV I A V I EN FALL 2020
The primary project was designing a bi-directional object. We began with a 2D composite of images found in our surroundings. This was eventually translated to a 3-dimensional model. To develop this into an object with a cohesive language, a second perspective view was used. This is a composite of 3D modeling, 3D printing, and CNC mill.
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The exploded axonimetric drawing depicts the separated parts in the complete object. This is the primary perspective view with the signifying parts exploded with connections. The drawing is showing assembly of the model.
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The images on this page depict composite fabrication and renders of the model. The 3D print was treated with hydro-dipping and paint to explore color and texture. The renders show close-up details of the modeled object including 3D scanned 3D print model, textured model, as well as CNC milled part.
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slip casting
object variation 1
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Figure 1: Process of slip casting from 3D print to plaster mold to hollow vessel.
The images depict the process of slip casting a hollow object. This object is panelized variation of chrysalis. The contours of the form depict threading and pathway of construction. The process included 3D printing the object in half, casting it in plaster, and then using ceramic slip. The two halves were dried until leather hard and then sculpted together with slip. The resulting object is a hollow vessel.
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Figure 2: Failed 3D print removal from cast.
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Figure 3: Failed ceramic slip removal from cast.
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slip casting
object variation 2
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Figure 4: Process of slip casting from 3D print to plaster mold to hollow vessel.
The images depict the process of slip casting a hollow object. This object is a curved form of the chrysalis. The contours of the form depict threading and pathway of construction. This variation was thought to be a better form for slip casting especially, since the curved form would be removable in the plaster mold. The process included 3D printing the object in half, casting it in plaster, and then using ceramic slip. The two halves were dried until leather hard and then sculpted together with slip. The resulting object is a hollow vessel.
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Figure 5: Plaster molds.
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Figure 6: Plaster molds with slip after 15 minutes.
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ORGANIC CONSTRUCTION PATH
STRUCTURED CONSTRUCTION PATH
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single layers
assembled
fibrous connections (species specific)
Figure 7: Section of structural assembled layers of a chrysalis.
The structure and assemblage of the chrysalis or cacoon is an interesting study. The organic construction paths represent a biologic construction and navigation of threads. The structured construction path represents a robotic or engineered construction of the logic of the threads of the chrysalis. The sectional study of these layers depict that the layers are primarily side by side. They can be interwoven or have fibrous connections based on the specific species of butterfly. They can be connected through adhesion or fibers.
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robotic foam carving tracing pathways
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Figure 8: Robotic hotwire foam carving. Each cut is shown 1-6.
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Figure 9: Results of the hotwire foam carving exercise. First four images show each side of the cube while the fifth image shows the top.
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history & theory pratt institute SCHO L OF ARCHITECTURE G R A D U AT E A R C H I E C T U R E A N D U R B A N D E S I G N
blue beyond ornament perspectives on blue mosque C O N E C T I V E H I ST O R I E S FA L 20
imagination a catalyst for evolution, adaptation, and design K N OW L E D G E , D E S I G N , A N D C O N T E X TS S P R I N G 21 0
blue beyond ornament perspectives on blue mosque
CONNECTIV E HISTORIES FALL 2020
The Ottoman Empire left behind legacies and monuments that epitomized the triumph of Islamic art and architecture. Most traditional literature depicts historical retelling of the empire and iconic buildings from the era. One of the most standout monuments of the time still open today is the Blue Mosque located in Istanbul, Turkey. Sultanahmet Camii (The Blue Mosque) is named after one of its most prominent features: the color blue. Even with such a strong feature characterizing the design and architecture itself, most literature excludes the discussion about the implications of the use of blue and its grandeur at the surface level that also overshadows the original function of a simple mosque. Color is not limited to just aesthetics: it has geopolitic48
al implications, as well as outsourcing and the economics of blue material such as turquoise or lapis lazuli. The use of blue is not simply ornamental; it can also be an ode to allegorical use of blue in Islamic art. In some ways, the blue aesthetic ends up concealing the primary function of a mosque. The Blue Mosque may be named after its use of blue on the surface level of its architecture and design. However, it is important to consider the historical context of blue, the extraction and trade of blue material across country borders, the economic implications, and spiritual implications. Even beyond this, the Blue Mosque is an incredibly popular tourist attraction because of its aesthetic appeal, architect-
ure, and specific use of blue. It is what culminates to the mosque’s grandeur. However, this function is not very practical. A mosque’s signifying purpose is to be a place of worship, prayer, peace in connection to the Islamic religion. So, when the building is simply viewed as an architectural tourist attraction, many overlook the original purpose of the mosque. Here, there comes a contradiction in the function of the space. In this essay, I will focus on this juxtaposition of space functioning as appealing to tourist voyeurism versus the actual function of what a mosque “should” be from the practicing muslim’s perspective. -excerpt from academic research paper
imagination
a catalyst for evolution, adaptation, and design
K N OW L E D G E , D E S I G N , A N D C O N T E X TS S P R I N G 21 0
S t ill life painting in I n termediate aP inting while tak i ng S e nsation & eP rception -- a connecting mome
In an era where developments are being made constantly, in terms of technology, environment, education, media, and architecture, there comes a necessity for human beings to connect with the natural world. Understanding our origins and the ways in which our cognition, tools, and human anatomy have developed, is central to thinking about how we can continue to adapt in an ever-changing world. How do we design our world in a way that simultaneously pushes us forward without forgetting our past or perhaps, destroying our future? One has to consider the beginning of it all, the creation of the world and all living things. Ecology, evolution, and epistemology are relevant to this discussion, as we question how to make progress in a time where the
environmental state of the world is in irrefutable detriment. Survival of the fittest and natural selection would determine the survival of life, as time passes and the environment evolves. A lot is at play here; genetics, epigenetics, extinctions, environmental catastrophes or continual changes, etc. In Africa: A Biography of the Continent, John Reader discusses these impactful concepts in support of his main thesis of Homo sapiens originating from the continent of Africa and the several debts we owe to the continent. He provides scientific evidence of our human origins as well as several misconceptions about “the dark continent.” Given a plethora of examples such as the rise of the bipedal gait, thermoregulation, environmental influences for evolution, fossil
evidence, and brain development, there is one idea that is prominent and has significant potential for application today, especially in the world of design and creation. The idea I will further explore deals with visualization and the “mind’s eye,” in that, imagination is a driving force for evolution and adaptation. Ultimately, adaptation becomes synonymous with design. In terms of the evolution of the modern human being, a feature that distinguishes humans from other species is cognition, language, and a developed neocortex that allows for specialized thought functions. Brains in the Homo sapien were fairly larger and more cognitively developed.... - excerpt from academic research paper
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fine arts independent C U R AT E D I M A G E S O F W O R K S A M P L E S F R O M H I G H S C H O L T H R O U G H P R E S E N T D YA
drawings charcoal, pencil, colored pencil 4 -12 0 210
paintings oil, acrylic, pastel 4 -12 0 210
studio art drawing
2014-2021
12”x16” charcoal drawing. Gold Key portfolio. 2015.
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20”x30” Mixed media collage. Collage of gestures, figure drawings, paper material.
The portraits and collage were done in Figure Drawing II for the Fine Arts minor. They were done with charcoal, based off live models in studio. The collage depicts rebirth and decay. Moments from the progress of figure drawing were cut up and collaged to piece a composition for the final project.
30”x20” Charcoal on brown paper. Figure drawing of live model. 2018. 55
12”x24” graphite and colored pencil drawing. Silver Key award in Illustration. Center of town. 2013.
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25”x20” charcoal drawing. Portrait of a live model. 2018.
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8”x10” charcoal drawing portrait. 2020.
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12”x16” charcoal drawing. Gold Key portfolio. 2015.
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8” x 10” charcoal portrait drawing. 2021.
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studio art painting
4 -12 0 210
12”x16 Pastel on black charcoal paper. Yosemite National Park. 2017.
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12”x24” Acrylic painting on canvas board. 2014.
12”x24” Pastel on black charcoal paper. Landscape of lake Saif ul Mulk in Pakistan. 2017.
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9”x12” Pastel on black charcoal paper. Sunrise in Wyoming. 2021.
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36”x48” Oil paint on paper. Four still life oil paintings cut up into a collage to be installed with other collages into a collaborative collage installation. 65
48”x36” Oil paint on canvas. 2019.
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10”x10” Oil Paint on Wood. Process painting grids. 2019. 67
contact phone: 860-819-5273 email: sasar@pratt.edu