Architectural Design Portfolio by Alisha Burkman

ARCHITECTURAL DESIGN PORTFOLIO ALISHA BURKMAN

“MY AIM AS A DESIGNER IS TO STEP BACK FROM ARCHITECTURE AND ALLOW THE WORLD OUTSIDE OF MY FIELD TO ENRICH MY WORK. IN DOING SO, I AM ABLE TO DEVELOP CONCEPTS AND DESIGNS THAT UTILIZE ARCHITECTURE AS A LINK BETWEEN PEOPLE AND IDEAS.”

The projects that often capture and intrigue me as an architectural designer are products of collaborative efforts with thinkers and creators outside of the field. The cross-pollination between architectural discourse and the work of biologists, philosophers, artists, and many others have provided the world with rich and profound architectural solutions that speak of more than brick, mortar, and glass. In my five years of school, I have sought to explore knowledge outside of the field with the potential to enrich architectural concepts, stories, and experiences of space. My portfolio exhibits the nature of my design thinking across various projects, each developed on ideas outside of architecture which informed conceptual direction before pre-design and programming phases. Each project utilizes design narrative as a tool for sharing ideas and connecting people with ideas greater than architecture.

CULTURE SET DESIGN

THEATRE

ETHICS ANATOMY LITERATURE

FILM

PHYSIOLOGY

PHILOSOPHY

STRUCTURE

ARCHITECTURE

FASHION

ART & DESIGN

59 27 POP CULTURE

URBAN STUDIES

TEXTILES

PSYCHOLOGY

35 SUSTAINABLE CITIES

EDUCATION

URBAN DEVELOPMENT

SCULPTURE BIOCHEMISTRY

SERVICE

CONTENTS DIALOGUE OF THE LEFT & RIGHT BRAIN / 01 STEAM ACADEMY PHOENIX, ARIZONA CRAFT

DRAMATIC STRUCTURE OF THE FIVE-ACT PLAY / 09 SHAKESPEARE THEATRE OKLAHOMA CITY, OKLAHOMA

TECHNOLOGY, CRAFT & ETHICS IN MODERNITY / 19 ARTISAN FOOD & WINE CENTRE IVREA, ITALY

TECHNOLOGY

LEGACY OF ITALIAN INDUSTRIAL DESIGN / 27 WINERY AT THE ARTISAN FOOD & WINE CENTRE IVREA, ITALY

URBAN ECOLOGICAL & SOCIAL RESPONSIBILITY / 35 REDEVELOPMENT OF THE HISTORIC POST OFFICE SITE CHICAGO, ILLINOIS INDUSTRIAL DESIGN

ENERGIES & IMPACT ON THE HUMAN SPHERE / 53 ENERGY PAVILION COMPETITION LONDON, ENGLAND

BALANCING RIGIDITY & FLEXIBILITY OF FORM / 59 FASHION PAVILION MILAN, ITALY RELIGION

INTERPRETING SPACE & ARCHITECTURE / 67 URBAN SKETCHING EUROPE & NORTH AMERICA

RESUME & APPENDIX / 73 URBAN EXPLORATION

ALISHA.BURKMAN@GMAIL.COM +1 918 232 1266

DIALOGUE OF THE LEFT & RIGHT BRAIN

Utilizing the brain as a metaphor for advocating STEAM programs, the aim of this project is to express the necessity of balance and collaboration across various studies. The design and activity of this academy illustrates the functionality of the brain and the communication between its two hemispheres. While each side stores its own information and typically controls its own unique set of skills, the hemispheres communicate in order to improve task performance and efficiency. Just as the brain thrives on the utilization of diverse knowledge and skills, the STEAM academy prioritizes balanced studies, encourages the sharing of information, and strives for collaborative efficiency in an educational environment. PHOENIX, ARIZONA

STEAM ACADEMY

4 WEEKS / FALL 2015 / revisited SPRING 2017

A well-rounded educational program equips students with a balanced understanding of various essential studies and engages them in diverse challenges. Introducing arts into a STEM program (thus, "STEAM") allows for a more comprehensive education, one which improves creative competency, strengthens overall performance, and celebrates the role of art and language in society.

AERIAL VIEW FROM NORTHWEST

ANATOMY

PHYSIOLOGY

The original mass for the academy is developed with basic geometry running east to west, parallel to the mountain range south of the site and entry road along the north. Its footprint expands across the allowable area on site after calculating setbacks and required parking.

In order to represent the two distinct hemispheres of the brain, the mass is split in half. This leaves a linear void between the two resulting forms. The northern mass absorbs administration, athletics, and STEM programs while the southern mass houses arts, language, music, and history.

Providing a more defined enclosure of the central void, mirrored bends in the north and south building masses break up the linear geometry. The northern building bends southeast towards the adjacent public library and community college campus. The southern mass bends northeast towards the site's primary entry point. This also creates a pinching point for traffic to filter into the central void space.

The void between the two masses becomes a gathering space and means of circulation between the north and south buildings. In essence, it is the site's "corpus callosum", representative of the neural fiber network in the brain which connects the left and right hemispheres. While the building illustrates the distinction of the two sides of the brain and their respective primary skills, the gathering space expresses the necessity of balance and collaboration in improving neural strength and task performance.

Administrative Student Space STEM Athletics Services

Fine Arts, Theatre English History Circulation 5

8 7

2 16

17 15 13

10 11

14 GROUND LEVEL

1. Administrative Offices 2. Resource Center 3. Team Room 4. Teacher Planning 5. North Grand Stair 6. Student Services 7. STEM Exhibit

UNDERGROUND LEVEL 18. Science Lab 19. Science Classroom 20. Technology Lab 21. Math Lab 22. Math Classroom 23. Dance/Performance 24. Group Study/Tutoring 25. Mechanical 26. History Classroom 27. South Grand Stair

28. Choir 29. Orchestra 30. Band 31. English Classroom

21 20 19

18 18

22 31

17 24 26

24 26

8. Gymnasium 9. Auditorium 10. Auditorium Tech 11. Kitchen 12. Cafeteria 13. Art Classroom 14. South Grand Stair 15. Art Exhibit 16. Art Studios 17. Courtyard

30 29

SECTION CUT OF THE GATHERING SPACE, FACING THE NORTH BUILDING FACADE 04

^ N

Primary entries to the STEAM Academy, including gynmasium, auditorium, and administration entrances, are located along the central courtyard space, therefore requiring students and visitors to funnel into this gathering space upon entrance. The plans illustrate the division of the academic program across the two buildings and the student gathering spaces throughout. The central courtyard includes two private group study/tutoring spaces on the underground level. The north and south grand stairs include seating, acting as additional meeting space. Students are encouraged to connect with the local library and community college for additional resources, both located adjacent to the site on the southeast. Below, the section diagram through the the north building illustrates the relationship to ground level, natural ventilation above classroom level drop-ceilings, sources of light, and positioning of courtyards on either side.

NORTH BUILDING SECTION

THE GATHERING SPACE

SOUTH GRAND STAIR

Expressing the dialogue and distinction between the north and south building masses, two facade shading systems were developed. Reflecting laws of math and science, the northern mass utilizes a system of identical perforated corten steel panels creating a consistent rhythm across the facade. In contrast, the southern building adopts a more random and colorful sequence of vertical shading panels, suggesting that the program inside allows for more creative variation as found in music rooms and art studios.

SYSTEM 1 NORTH FACADE

SYSTEM 2 SOUTH FACADE

EXTERIOR SECTION CUT VIEW THROUGH THE BELOW-GRADE COURTYARD 08

VIEW FROM NORTHWEST CORNER

LITERATURE

THEATRE

16 WEEKS / SPRING 2016

DRAMATIC STRUCTURE & THE FIVE-ACT PLAY Tasked with designing a modern-day Shakespearean performance space and exhibiting the relevance of historic literature and theatre in contemporary society, I invested in literary analysis of classic creative writing. For thousands of years, dramatic structure in literature has been analyzed and debated by scholars such as Aristotle and Horace. Although many structures have held influence in the literary world, one of the strongest templates for drama is the five-act play, famously utilized by Shakespeare and still shaping the work of modern-day writers. Each act initiates a transition, compounding complications until reaching a climax and falling to resolution.

Connecting this structure to the drama encountered in spatial experience of architectural procession, the Oklahoma Shakespeare Theatre marries the structure of drama in literature with a narrative of architectural drama, utilizing spatial intrigue, materiality, reveals of lightness and darkness, and a series of spatial compression and release.

OKLAHOMA CITY, OKLAHOMA

SHAKESPEARE THEATRE

ACT TWO RISING ACTION

ACT ONE EXPOSITION

ACT THREE CRISIS

ACT FOUR FALLING ACTION

ACT FIVE DENOUEMENT

COMPLICATION

CLIMAX

CONFLICT TIME

Historically, the primary interpretation of drama is the five-act play. Interpreting this diagram with architectural vocabulary, the same structure becomes a story from entry to release and an experience of elusiveness, surprise, and spatial variance.

ACT ONE

ACT TWO

ACT THREE

Low-ceilings and the dark hall of spatial series two entice visitors to circulate towards the light and openness of the lobby in spatial series three. The last space of the procession which allows for entrance of daylight, the visitor slowly loses orientation and connection to the outside context here, winding deeper into the architectural narrative.

The turn from the lobby into the darkened and compressed transition space to the circulation lobby marks a continuation of rising action, drawing visitors towards the vertical circulation space. Reaching the auditorium is the grand, climatic experience of the procession.

ACT FOUR

ACT FIVE

Initiating the experience of "falling action", visitors begin to unwind their experience of the architectural procession which led them to the climatic entrance into the auditorium.

A soft finale to the architectural narrative, the visitors are re-connected with the exterior environment at departure. The moment of denouement or resolve is marked by the act of exiting the theatre. The last remaining influence of the architecture is memory, impression, and the vision of the exterior.

Spatial series one includes the low overhang of the entry and ticket office, leading into the spatial release of the entry vestibule. Compressed spaces encourage movement, ushering visitors to move through the entry space and into the vestibule.

THE LOBBY

VIEW FROM NORTHEAST CORNER

Performance Public Private Service

^ N SITE PLAN

8 9 10 11 1 2

14 15

16 17

LEVEL -1

LEVEL 1

1. Women’s Dressing 2. Green Room 3. Men’s Dressing 4. Stage, trap below 5. Plenum HVAC Supply 6. Set Production 7. Costume Production

8. Ticket Office 9. Coat Room 10. Men’s Toilet 11. Women’s Toilet 12. Lobby 13. Kitchen & Bar 14. North Mechanical 15. Auditorium & Balcony 16. South Mechanical 17. Outdoor Equipment

18 19 19 20

12 11 10

11 22 10 23

24 16

27 28

26 29

30 1 3

LEVEL 2

LEVEL 3

18. Staff Workspace 19. Office 20. Conference Room 21. Rehearsal

22. Technical Booth 23. Bar 24. Open to Below, Flyhouse 25. Gathering Space 26. Outdoor Stage 27. Locked Storage 28. Open Storage 29. Green Room 30. Makeup & Costume

ACT ONE EXPOSITION

ACT TWO RISING ACTION

Channel glass facade conceals interior program, creating an intriguing approach experience. Beyond the low overhang of the main entry doors, the interior vestibule offers a glowing release space with 20' ceilings.

Spatial compression occurs in the entry transition hallway leading to the lobby. Stretching from the east to west side of the building, the lobby opens up to 30' ceiling and absorbs surrounding blue light through the perimeter channel glass. After a moment of pause, the procession continues through a compressed hallway leading to the vertical circulation lobby.

ACT FIVE DENOUEMENT Resolve occurs at the moment of exit and release back into the exterior environment.

1. Ticket office 2. Window box of Conference room

ACT FOUR FALLING ACTION Unwinding of the procession begins with exiting the auditorium, moving through the vertical circulation, and returning to the lobby. Engagement with context slowly returns, both through entering light and through visibility to the exterior environment. 3. Conference room 4. Transition to Lobby 5. Lobby 6. Kitchen & Bar 7. Women's Dressing, Makeup, & Toilet 8. Women's Toilet 9. Women's Toilet 10. North Mechanical 11. Hall to Dressing, Makeup, & Toilet

2 5 1

SECTION CUT

ACT THREE CRISIS Spatial release occurs in the circulation lobby with an open stair climbing to all floors, leading to the outdoor stage on the third level. Up to this point of the procession, the materials have primary included board-form concrete and channel glass, washed in blue light. Vestibule space compresses between the grand stair and auditorium entries with lower light levels creating a dramatic opportunity for the performance space entry. Once inside, the auditorium glows with warm light and wood finishes, offering a climatic material transition and a grand reveal of the largest spatial release in the procession.

Support spaces such as mechanical rooms and production are located south of the auditorium and are excluded from the architectural procession narrative.

12. Gathering Space for Outdoor Stage 13. Outdoor Stage 14. Auditorium & Balconies

15. Backstage Support Space 16. Set Production 17. Costume Production

AUDITORIUM

VERTICAL CIRCULATION LOBBY

Cultural shifts in response to evolvements of modernity have not spared the culinary world. Cooking has long been deemed an art form, balancing aesthetic, craft, innovation, and taste. However, with advancements in food engineering, biochemical engineering, mass production, and the boom of restaurant and fast-food chains, culinary craft has been threatened, and modern generations have inherited a society in which skills and basic knowledge of cooking are a non-necessity.

4 WEEKS / FALL 2015

TECHNOLOGY, CRAFT, & ETHICS IN MODERNITY

The Italian Artisan Food & Wine Centre is a project for advocating the coexistence of modern technology and industry with ethics of craft and aesthetics. Hinged on the Slow-Food Movement, the site highlights culinary artforms, transparency of process, organic and locally grown produce, and food and beverage education, housed in a campus which reciprocates these values through architecture. The site exhibits a balanced modernity, one which utilizes scientific and technological advancement, capitalizes on benefits of engineering and research, illustrates the role of healthy production and consumption in contemporary society, and campaigns on behalf of modern culinary artists and winemakers.

IVREA, ITALY

ARTISAN FOOD & WINE CENTRE

ETHICS

PHILOSOPHY

CRAFT

TECH

VIEW FROM DORA BALTEA 20

Zurich

Lyon

Ivrea

Milan

Verona

Turin Genoa

Bologna Florence

Marseille

Cannes

^ N

GEOGRAPHICAL CONTEXT

NOLLI PLAN

Located in northwestern Italy, Ivrea is a small town not far from the French and Swiss borders. Although the population is small, the town is rich with a diverse history of rule and architectural relics of Baroque and Renaissance styles. With a generally mild climate and moderate rain, Italian agriculture thrives on production of fruit and vegetables, and is well-known for quality crafted wine, offering Ivrea many resources in which to host an artisinal food & wine centre.

The site sits southeast of the medieval town centre where many relics of Ivrean history are located. South of the site runs the Dora Baltea, a river which stretches from Switzerland and through Ivrea for a distance of over one hundred miles. The site is primarily reached by pedestrian traffic, but a small current of vehicular traffic accesses the site from Corso Re Umberto, the road that runs the perimeter of the town center. In the Giardini Giusiana, the park northwest of the site, stands the Romanesque bell tower of Santo Stefano, a local Ivrean landmark of religious history. A courtyard to the east offers the potential of additional public green space local to the site.

^ N SITE MAP

MASSING

Characterizing the site is a brick chimney tower, abandoned from the site's industrial past. Three building masses inhabit the site, collectively forming the Ivrean Aritsan Food & Wine Centre. On the north is the market with multiple floors exhibiting local produce, bakery goods, wines, and more. Just southeast is the site's winery where Italian vintners offers tours of the wine-making process. Additionally, the winery offers a large tasting bar and product exhibition space. The third building mass on the site is an Interpretive Centre, an educational facility dedicated to the sharing of agricultural and culinary knowledge, equipped with a theatre, gallery space, shops, and two prestigious Itlaian restaurants. North of the Interpretative Centre is a large plaza with native landscaping and outdoor seating.

The largest program is that of the Interpretive Centre, with four floors of program weaving through a tall, linear mass. Followed closely in the program size, setbacks in the upper levels of the market reduce the impact of massing on the central plaza. The winery utilizes an underground level for barrel storage and production, exposed only on the eastern facade where the site drops significantly in height to connect to the elevation of the neighboring courtyard. The footprints of each building work to drive circulation and frame the plaza, while also allowing for view corridors where necessary.

MARKET

WINERY

d b

INTERPRETIVE CENTER

f g

^ N The first axis considered in the site planning was between the tower of Santo Stefano (a) and the industrial brick chimney tower (e). Allowing for a visibility corridor in order to link the two landmarks, the site's plaza (d) restricts building mass from interrupting this axis. Open spaces beyond the plaza and Giardini Giusiana are the courtyard east of the site (c), the small plaza west of the Interpretive Centre on Corso Re Umberto road (b), the waterfront (f), and a small outdoor seating and landscaping zone at the base of the chimney tower (e). The market and winery are serviced underground with a service entry east of the market on the northeast corner of the site. Footprints of the market and winery funnel traffic from the site's plaza to the adjacent courtyard space, winding through a series of landscaped retaining structures which aid in connecting varied elevations between the sites. The Interpretive Centre, tilting the facade axis of buildings along Corso Re Umberto road, directs traffic to the plaza and chimney tower. Its southeastern end bends towards the Dora Baltea, cantilievering out as a method of capturing the attention of pedestrians along the river and drawing them into the plaza via access point (g).

APPROACH FROM CORSO RE UMBERTO

PLAZA VIEW OF CHIMNEY TOWER

Architectural form and materiality on the site expresses the concept of modern balance between technology and craft. The Interpretive Centre exhibits feats of engineering, exposed structural members supporting cantilevers in many directions, including an impressive stretch out to the Dora Baltea. Board-form concrete with impressions of native plant life, floral patterns, and Italian lettering expresses the process of the form-making, and gives contrast to the rhythm of tall glass panels along the facade.

VIEW OF WINERY FROM COURTYARD EAST OF THE SITE

The market includes hand-crafted wood screens from locally sourced material mounted to the exterior facade of the building. Each screen is decorated with graphic impressions from Italian graphic artists, shading the expansive glazing on the west end of the site that offers transparency into the four levels of market activity. Additionally, a parametric skin on the south end of the market expresses the intersection of art and the utilization of technology as a design tool in architecture. Both the winery and market expose a system of steel cross-beam structures along the skin, in contrast to the historic buildings of Ivrea, yet true to the generation of its construction. At the winery, local masons are introduced for the facade brickwork along the base of the building, mirroring templates of Italian Renaissance Palazzo style facades with arch window perforations. Copper and corten-steel accent materials visually express the process of aging, a reference to the aging processes exhibited inside the winery.

VIEW SOUTH BETWEEN THE WINERY & MARKET

VIEW INTO WINE BARREL STORAGE SPACE

ART & DESIGN

INDUSTRIAL DESIGN

LEGACY OF ITALIAN INDUSTRIAL DESIGN Elaborating on the design of the Artisan Food & Wine Centre with a special focus project, my research led me to further explore the architectural composition of the winery. To begin my expansion on the design, I familiarized myself with classics of Italian industrial design, particularly researching works developed at the Olivetti company.

4 WEEKS / FALL 2015

Founded in Ivrea, the company was famous for typewriter design and a series of graphic advertisements. Olivetti and other influential Italian designers, from Boffi to Alessi, have earned a name among design elites around the world. Their designs range from sweeping curves, geometric compositions, to sharp lines and intersections. Considering this history, I aim to incorporate a number of design details that reflect this culture, investigating material compositions, formal lines, and color at the Ivrean winery.

WINERY AT THE ARTISAN FOOD & WINE CENTRE

IVREA, ITALY

Elevations exhibit the Palazzo style arch window pattern of the brick on the facade, adjacent to board-form concrete with imprints of plant life, patterns, and Italian lettering. Perforated corten steel panels provide shading for glazing on the south facade and rise to serve as a handrail for the outdoor patio on the second floor. Glazing along the east provides views of the adjacent courtyard from the work area and winetasting bar, and a thirty-foot expanse of glass on the west allows for visibility of processes and equipment in the plant and pump rooms. Ground elevation variation from the site's plaza to the adjacent courtyard are depicted in the renderings.

mangiate

cibo

CONCRETE IMPRINTS FEATURING GRAPHIC PATTERN, BOTTURA

3 ELEVATIONS ABOVE: NORTH, SOUTH RIGHT: EAST, WEST

13 WINERY SECTION CUT LOOKING NORTH

5 10

LEVEL 2

1. North Fire Stair 2. Elevator 3. Store & Dry Goods 4. Main Stair 5. Wine Tasting Bar 6. Outdoor Patio 7. South Fire Stair

2 1

LEVEL 1

4 8

18 4

1 13

8. Plant & Pump Room 9. Main Entry from plaza 10. Work Area 11. Lab 12. Cool Room

LEVEL -1

13. Mechanical 14. Shipping 15. Wine Barrel Storage 16. Main Hall 17. Service Corridor 18. Elevator Service 19. Production &Storage 20. Fire Exit to Courtyard Level

WINE TASTING BAR

2 4

LEVEL 2 1. North Fire Stair 2. Elevator 3. Store & Dry Goods 4. Main Stair 5. Wine Tasting Bar 6. Outdoor Patio 7. South Fire Stair

6 7 ^ N

Storage and display of wine bottles, as well as spatial division in the bar, is created through a grid pattern of slender copper pipes inspired by slender and sharp linear gestures of many Alessi brand products. The forest of copper lines combines both transparency and functionality. At the grand stair, these pipes serve as safety rails, running the entire vertical height of the winery. At the bar, the copper bars suspend individual wine bottles on three straps each of dark Italian leather. WINE TASTING BAR ELEVATION

WINE BARREL STORAGE DETAILED PLAN

OLIVETTI TYPEWRITER STUDIO 42, 1936

The series of warped arches characterizing the barrel storage room are inspired by Olivetti products and imagery. Curved formal gestures and metal body are defining aspects of classic Olivetti typewriter models. The copper lined arches of the winery give the space identity, in addition to a parametric design for a copper mesh which supports the weight and density of a gabion wall filled with crushed brick. The selection of copper as a primary material is a metaphor for the aging process of the wine, while the brick references the existing chimney tower on the site. Activity in the space is slowed by dim lighting, shadows, as well as a groundscape of gravel and resulting audible footsteps. WINE BARREL STORAGE DETAILED SECTION CUT

WINE BARREL STORAGE

URBAN ECOLOGICAL & SOCIAL RESPONSIBILITY

Our project aims to strategically avoid scenes of lifeless urban development, architecture at a loss for identity, and inefficient and wasteful building systems. Outlining our concept, our team tackled a body of research on urban social theories and ecological responsibility. Introducing a distinct new character to the site, the resulting proposal is one of dynamic form and function.

CHICAGO, ILLINOIS

REDEVELOPMENT OF THE HISTORIC POST OFFICE SITE

16 WEEKS / TEAM OF 4 / FALL 2016

For decades, the city of Chicago has envisioned a new spirit for the historic post office, which has sat vacant along the river for decades. My team was tasked with proposing a solution of redevelopment efforts at the site, addressing a massive structure which once reigned as the largest building in the world, and which has since been pressured by the vibrant urban growth of downtown Chicago and itâ&#x20AC;&#x2122;s riverfront development.

VIEW FROM SOUTHWEST CORNER

URBAN DEVELOPMENT

URBAN STUDIES

SUSTAINABLE CITIES

GATHERING SPACE & DEVELOPMENT ALONG THE RIVERFRONT

RESEARCH

.site conditions .sustainable design .historic significance

TEAMS & ROLES

.firm identity .roles project manager project architect team architects

PHASE I PROPOSAL

.physical model .presentation to jury

SEMINAR

PROPOSAL

.urban theory .urban design debates ."the death and life of great american cities"

.request for proposals .response & submittal .presentation to the city of chicago

PROJECT VALUES

DESIGN DEVELOPMENT

.social value .sustainability .formal condition

.community .city of chicago .environmentalism

DESIGN DEVELOPMENT

.financial viability .sustainable initiatives .detailed materiality .developed site plan .floor plans

.master plan .schematics .architectural identity .historic preservation

PHASE II PROPOSAL

.proposal booklet .proposal poster .site model .detailed section model .presentation to the city of chicago & jury

PROJECT STRUCTURE In order to develop a vision for the future for the site, one must consider the future of Chicago, placing a finger on the pulse of the city and experiencing the radiance and energy of lifestyles that it emits. Planners and architects have a great responsibility as engineers of the collective vision of the future. It is not the erecting of static objects of glass and concrete, but in animating social experience, empowering diverse networks of people, and cherishing the enduring essence of the city that planners and architects will cultivate the future of Chicago. The diagram above illustrates the design schedule, deliverables, and phase-specific objectives of the 16-week project. It also outlines the processes by which our team designated and responded to design goals for envisioning the future of Chicago, characterized by urban ecological and social responsibility.

GATHERING SPACE ON THE NORTH END OF THE POST OFFICE

Successfully established and quality social spaces within an urban environment are key to protecting values of community and wellbeing. Cities are the sum of a diverse network of neighborhoods and districts, each maintaining a unique spirit of coexistence and vibrancy at the convergence of various lifestyles. These districts are defined by the nature of their social character, the agent which preserves and celebrates these qualities.

PROJECT PRIORITIES

SOCIAL VALUE

SUSTAINABILITY

FORMAL CONDITION

Prevent the presence of disconnected social and spatial experiences often found in areas of high-rise develoment. The design aims to preserve a sense of locality by incorporating provisions of human-scale public gathering spaces.

Advocate for sustainable and environmental design at a development-wide level, prioritizing fostering education in ecology and creating a precedent for future urban communities.

Implement dynamic mass and various experiences of form both horizontally and vertically, in a way that appropriately links public and private spaces, circulation and views, and defines a new spirit of the original architecture.

The construction and renovation of the site aimed to serve as a catalyst for the local neighborhood, the city of Chicago, and the international realm of mixed use developments. My team and I focused on the ethics of architecture and its responsibility to serve its users as well as the environment. With the continued migration towards sustainable architecture within the field, we aimed to make a lasting impact at every scale of the project.

DESIRED IMPACT

COMMUNITY

CITY OF CHICAGO

ENVIRONMENT

Construct urban spaces conductive to integration of various socio-economic classes, backgrounds, and ethnicities. Creating an interactive place of collaboration and gathering will introduce experiences where neighbors can share and inspire growth development-wide and across western Chicago.

Provide a catalyst for Chicago across multiple platforms, which includes education by means of a science and sustainability museum, economics by means of diverse local retail and business, and city culture through riverfront development and public gathering spaces for tourists and natives alike.

Chicago is striving to address many concerns of improvement in energy efficiency, setting goals focused on clean energy resources, responsible wastewater use, waste and recycling, and strong park and open space through the implementation of innovation in technology and new design responses.

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SITE PLAN

EXISTING SITE

NORTH LOBBY

HISTORIC PRESERVATION

Removal of the post office annex helped clear space for riverfront development. From there, the most challenging aspect of the existing site was the Dwight D. Eisenhower Expressway which runs through the core of the post office building on the first level and functions as a bridge crossing over the Chicago River.

In our research into the building, my team found that the only space within the post office with historic significance was the lobby on the north end of the site, pictured above. The linear space of the lobby features tall glass windows, stone finishes, and special adornments of gold.

In order to retain an idea of the original image of the post office, our team decided to preserve the facade of each of the four towers at the corners of the structure, as well as the base level facade around the street perimeter. The historic lobby was also kept, and utilized as a key feature of the redevelopment.

WEST ELEVATION EXISTING

NORTH ELEVATION EXISTING

RIVERFRONT & HEIGHT

PUBLIC GATHERING SPACE

RADIAL CIRCULATION

Growing up from the riverfront, we designed the massing of the new proposal to build from one to two-story development, rising up incrementally to the original height of the post office mass.

Designating two primary social spaces - one against the south perimeter of the north lobby and one along the riverfront - we began to map out major breaks and pathways within our site. The initial axis connects these two social gathering spaces.

Circulation axes extend out from the two primary social gathering spaces, connecting the points with other areas of the site as well as potential riverfront and street entries. Pathways existing within the perimeter of the original post office building are carved from existing floor plates.

^ N PUBLIC GATHERING SPACE

RADIAL CIRCULATION

The gathering space along the river is elevated just above the riverâ&#x20AC;&#x2122;s rise. To the north, the second gathering space is elevated to the third level of the building, just above the base of the original post office building.

Circulation paths on an incline connect the two gathering spaces and other areas of the site, bridging the elevation difference between spaces, as the site climbs in height from the east. The angle of the paths are determined by view corridors local sights.

COMMERCIAL

MUSEUM

HOTEL

Retail and dining spaces absorb the riverfront masses and provide a commercial band around the perimeter of the building. Local and ecominded tenants surround the gathering spaces and provide service and shopping during events such as a farmers market on the riverfront.

The museum entry is placed at the north lobby, allowing the lobby to remain open to the public. The museum grows vertically to the top of the development, inhabiting the northeast and northwest towers of the structure. The museum breaks at the middle for dining and a gift shop.

A hotel central to the site serves guests for the event space within the museum core, expected to host lectures and research campaigns of hundreds of visitors. The hotel also offers exceptional views of downtown Chicago as well as greenroof access.

INFLUENCES ON FORM

RIVERSIDE ENTRIES

STREET ENTRIES

RESULTING INTERSECTIONS

Entries at multiple points along the river break the massing of the site and provide points for axial circulation to connect throughout the site.

Street entries along the existing base of the post office building are mirrored vertically within the new massing of the proposal.

After determining the points of entry and connecting the two social gathering spaces, two major resulting intersections within the pathway network occur at the core of the site. These provide interesting â&#x20AC;&#x153;street cornerâ&#x20AC;? environments internal to the development.

OFFICE

RESIDENTIAL

Offices are placed on the southwest edge of the site and include access to the parking garage which sits at the base of the development. Each office has acess to the co-working space, aimed to host visitors and guests utilizing the site resources, including the ecology museum.

Designed for a wide range of tenants, the residential masses include efficiencies, penthouse apartments, and standard units. Amenities for the residents include access to the extensive landscaped rooftops, co-working offices, as well as the parking garage and electric car-charging.

PROGRAM DESIGNATION

AERIAL VIEW OF 1:50 MODEL

Civic Retail Office Hotel Residential Parking

LEVEL 1

LEVEL 3

LEVEL 5

LEVEL 8 46

GLAZING PHOTOVOLTAIC GLASS LOUVRES STRUCTURAL LATTICE

WEST ELEVATION

NORTH ELEVATION

The facade design development was focused on creating pattern, movement, and scale. In a two and three-layer system, glazing provided the base for the facade. At the riverfront, a rhythm of vertical louvres of photovoltaic glass capture sunlight and shade the internal spaces. This two-layer system is also in place at the top level of each building mass. Where the masses become taller than three levels, a horizontal lattice frame offers structural support between floor plate cantilevers within the perimeter of the original post office building. They connect the floor between the commercial levels and the top floor of each mass. Floor plates extend beyond the glazing at each level in order to divide the verticality of the mass and influence the perception of the scale of each building. A two-story break is created in the facade at the commercial level just above the original base, giving it space from the lattice form. At this break, a single glazing system wraps around each mass, and a metal ribbon adheres to the floor plate at the break, providing an overhang to the lower commercial level and a handrail for the upper level.

GATHERING SPACE ON THE NORTH END OF THE POST OFFICE

SUSTAINABLE DESIGN

With a strong stand against global warming, sustainable methods of renewing energy, recycling waste water, and reducing the development’s carbon footprint were implemented throughout the design process. Taking advantage of Chicago’s many incentives for greenbuilding, the design reaps tax credits and utility savings - the places where high rise developments often fail.

EDUCATION

CITY IN A GARDEN

RESPONSIBLE RESOURCES

In efforts to ensure a livable future, education about the realities of climate change is necessary to activate change. The new design houses an educational civic space, a museum of ecology, which seeks to communicate the importance of sustainable practices to both its residents and the public.

Green roofs reduce urban heat island effect and serve as air filtration systems. They also provide high return on investment with reduced utility costs due to lower temperatures and water collection. Additionally, roofs serve as community gardens for residents to grow their own produce.

The development both harnesses sunlight energy with photovoltaic glass louvres and conserves cooling loads utilizing a lattice shading device for the facade. In additional, parking space availability monitors reduce carbon emission, and the garage provides stations for electric vehicle charging.

REDUCED URBAN HEAT ISLAND EFFECT & COOLING LOADS NATIVE LANDSCAPING & HABITAT HERB & MEDICINAL GARDEN

PHOTOVOLTAIC GLASS LOUVRE FACADE

WALKABLE GROUNDCOVER

SOLAR SHADING SKIN

SOLAR VEHICLE CHARGING RAINWATER COLLECTION, PROCESSING, & CISTERN STORAGE 49

PARKING AVAILABILITY MONITORING

HERB GARDEN

MEDICINAL GARDEN Five distinct greenroof varieties cover the fifth facade of the development and provide various experiences and functions. The medicinal and herb gardens provide product for retailers below, and are used as teaching examples within the museum. Walkable groundcover is accessible residents, museum visitors, and hotel guests within their respective spaces. Hardscape is also provided for events and equipment such as seating and outdoor galleries. Lastly, the native landscaping and habitat showcases local Illinois plant life as well as habitats for insects such as honey bees. WALKABLE GROUNDCOVER

NATIVE LANDSCAPING & HABITAT

HARDSCAPE

LEFT: MUSEUM OF ECOLOGY PROGRAM SPACE WITHIN THE SITE DEVELOPMENT BELOW: INSIDE LEVEL 5 OF THE MUSEUM OF ECOLOGY EXHIBIT SPACE MUSEUM

LOOKING NORTHWEST; 1:20 SECTION MODEL

WEST ELEVATION; 1:20 SECTION MODEL

WESTERN VIEW DOWN EISENHOWER EXPY; 1:50 MODEL

NORTHEAST CORNER; 1:20 SECTION MODEL 52

The "Nexus Pavilion", a submission for the 2016 Annual ArchTriumph Summer Pavilion Competition, responded to a call for design interpretations of "energy". Designed at 1Architecture, this pavilion represents urban energies on the human sphere in northeastern London at the museum gardens of the Victoria & Albert Museum of Childhood.

8 WEEKS / TEAM OF 2 / SUMMER 2015

ENERGIES & IMPACT ON THE HUMAN SPHERE

Marking the radius of personal space and modeling various impacts on that sphere, the Nexus Energy Pavilion diagrams how sound, movement, space and other characteristics of dense urban environments affect inhabitants.

LONDON, ENGLAND

ENERGY PAVILION COMPETITION

SCULPTURE

PSYCHOLOGY

INSIDE THE NEXUS PAVILION 54

V&A MUSEUM OF CHILDHOOD

SITE PLAN

< N

BETHNAL GREEN

The pavilion rests in the museum gardens of the Victoria & Albert Museum of Childhood east of Cambridge Heath Road. The area is surrounded by low-rise commercial and residential structures and served by the Bethnal Green tube station. Both pedestrian and vehicular traffic in the area are consistent, but mild. Architectural barriers to the north and south dampen noise and offer the site some relief from the surrounding energy of the street. Developed on the concept of levels of the human sphere, the invisible barriers that allow us to categorize interactions and surrounding environmental elements, the pavilion expresses how urban energies can impact perception of personal space. Titled "Nexus", the pavilion marks a location in the museum garden in which an array of various urban energies converge on the human sphere. The human sphere has many levels from the intimate radius, as well as the personal, social, and environmental sphere. Focusing on the personal and social spheres, the pavilion utilizes concave and convex form to interpret energies as either positive or negative, distinguishing urban factors as either more likely to tax human health, or replenish and restore.

ABOVE The diameter of the human personal sphere is diagrammed in gray, with an offset sphere representing a social sphere radius. Convex and concave lines depict energies flowing to and from the spheres.

LEFT The top left diagram illustrates a human sphere uninterrupted by any external influences. Just below it, red arrows indicate negative energies from the surrounding streets converging at the pavilion site, and the concavities marked on the sphere represent the resulting impact. The third diagram marks positive outflowing energies in blue, releasing towards the sky and green spaces of the garden. !!

VROOM

VROOM!!

woof!

beep! beep!

tter cha chatter

BELOW A section view of the concept provides a diagram of the human sphere within the museum garden and surrounding activity and energy of the urban environment.

N N NE E E U U US S S 1/2" PLYWOOD SPACERS SECURED WITH 1"COLLIDE WOOD WHERE WHERE WHERE ENERGIES ENERGIES ENERGIES COLLIDE COLLIDE SCREWS & GLUE

110 1000

3/8" MARINE 3/8” marine GRADE PLYWOOD, grade plywood: painted white PAINTED WHITE

3/8" MARINE 3/8” marine GRADE PLYWOOD, grade plywood: natural FINISH, NATURAL ORANGE PROFILE

1/2” plywood spacers *All plywood spacers secured with 1” wood screws and wood glue.

*All plywood sheets to be cut with CNC router.

ALL PLYWOOD SHEETS TO BE CUT WITH CNC ROUTER

RATE TE

Pursuing a cost-effective method of construction for the concept, the Nexus pavilion is assembled from CNC-cut plywood boards. White paint marks the diameter of the human sphere, and orange paint along the curve perimeters help to emphasize the profile of each layer. 3in/76mm spaces in the vertically arrayed panels compose the overall form, with a more dense configuration of 1in/25mm spacing within the sphere diameter. At connection points, 0.5in/12mm plywood spacers secured with wood screws and wood glue provideHIGH structure each layer. LOW HIGH between MODERATE MODERATE MODERATE LOWMODERATE VERY VERY HIGH HIGH

A MODERATE MODERATE MODERATE MODERATE MODERATE MODERATE BHIGH HIGH HIGH LOW LOW LOW A A

C C

HIGH HIGH VERY VERY VERY HIGH HIGH HIGHHIGH

HIGH HIGH

D D

A A

C C

D D E E

3/8” marine 3/8” marine grade plywood: grade plywood: paintedpainted white white

C CC C

DDD

3/8” marine 3/8” marine grade plywood: grade plywood: natural natural 1/2” plywood 1/2” plywood spacersspacers

57 *All plywood *All plywood sheets to sheets be cut to with be cut with

*All plywood *All plywood spacersspacers securedsecured with with 1” wood 1”screws wood and screws and wood glue. wood glue.

VIEW OF SOUTH SIDE OF PAVILION

The Expo Milano, which hosted thousands of events in the summer of 2015, was a six-month global showcase of sustainable design, scientific research, and architectural form. While the primary goal of the exposition was advocacy and collaboration in food and agricultural science, my studio was tasked with designing a pavilion to exhibit sustainability in textiles and fashion design.

6 WEEKS / TEAM OF 3 / SPRING 2015

BALANCING RIGIDITY & FLEXIBILITY OF FORM

The final proposal is an expression of the convergence of architectural design and fashion design with parallels of movement, material, rigidity, performance, pattern, and flexibility. The pavilion utilizes durable and sustainable engineered textiles as a skin system for the structure, allowing for controlled light transmission and views, openair design, as well as cost and material efficiency. These large textile panels are fixed onto a structural steel frame, similar to fabric suspended from a shoulder. They interact with users at all instances of the architectural experience, creating movement and pattern within the facade and directing sublte hints at underlying form and framework.

MILAN, ITALY

FASHION PAVILION

SECTION OF PHYSICAL MODEL

TEXTILES

FASHION

STRUCTURE

^ N EXPO MILANO SITE PLAN

1. Services 2. United Kingdom 3. Hungary 4. Spain 5. Romania 6. Mexico 7. Services 8. Slovenia 9. Austria 10. Chile 11. Iran 12. Future Food District 13. Plaza 14. Open-Air Theatre 15. Bridge connection

13 12

15 The pavilion site is located just south of the expoâ&#x20AC;&#x2122;s largest intersection along the north-to-south circulatory axis and welcomes visitors entering through the southern bridge connection point. The plaza to the east of the pavilion, in addition to the open-air theatre space, provides the pavilion with excellent visibility along the west facade in which to exhibit the rhythm and formal expression of the facade design. The textile panel pattern responds this exposure, offering views from the plaza space into the pavilion when oriented to openings in the facade.

track runway

Vistors ascend a spiral stair to the elevated runway, where openings in the fabric panels shape the interior space. Movement through the pavilion provides a rhythm of glimpes into the outside context. Shadow patterns visually strengthen the curvilinear cuts of the textile panels and provide shade to the plaza below. Inside, sunlight illuminates the runway. spiral stair

spiral stair

glass elevator

track runway

support space

LEFT: GROUND LEVEL PLAN AT PLAZA RIGHT: ELEVATED LEVEL PLAN

METAL SUPPORT FOR SHAPING OF FABRIC SKIN METAL GROMMETS HOLD FABRIC PANELS TOGETHER

HOLES FOR BEAMS, FLOOR SLAB, AND CROSSBEAMS

METAL SUPPORT FOR SHAPING, WEIGHT OF FABRIC SKIN

CABLE REINFORCES RIGIDITY OF FABRIC SKIN; ANCHORED INTO GROUND SURFACE TO PREVENT MOVEMENT

DETAILED SECTION

SHORT SECTION

AXONOMETRIC

PLAZA BELOW THE STRUCTURE

RUNWAY SPACE

ELEVATION

LONG SECTION

INTERPRETING SPACE & ARCHITECTURE Capturing the qualities and characteristics of various urban environments in a loose and time-efficient method has been a crucial skill in my work as a designer and a tool in which to understand the key factors of urban and architectural design of a particular spatial scene.

2015 - 2017

My sketches utilize liberated linework and detailing which allow me to quickly document fundamental elements and qualities of a setting or architectural composition. Observing shadows, silhouettes, architectural identity, and environmental activity, the thoughtfulness of a sketch study yields awareness of how urban components interact to characterize a sense of place. Beyond documenting existing architectural environments, this skill also enables me to easily render designs as I navigate through various spatial concepts in my work.

EUROPE & NORTH AMERICA

URBAN SKETCHING

URBAN EXPLORATION

THE BLUE DOME TULSA, OKLAHOMA

PLAÇA DE LA REVOLUCIÓ DE SETEMBRE BARCELONA, SPAIN

BOSTON AVENUE CHURCH TULSA, OKLAHOMA

PENNSYLVANIA AVENUE WASHINGTON D.C.

THE HIGH LINE NEW YORK, NEW YORK Intrigued by the design of cities and qualities of activated space, sketching provides me a tool in which to study and breakdown components of an urban environment. In the scene sketched above, I am able to simplify the character of the High Line into five major components: Linear movement between structures, moments of pause along the perimeter, landscaping buffers between active space and static structures, profiles of the height and mass of surrounding architecture, and facade patterns which communicate scale.

CARRER GRAN DE GRÃ&#x20AC;CIA BARCELONA, SPAIN

CORNER OF WASHINGTON & GANSEVOORT STREET NEW YORK, NEW YORK

COLUMBIA UNIVERSITY NEW YORK, NEW YORK 72

EXPERIENCE ARCHITECTURAL INTERN for

cyntergy aec in tulsa, ok [5/2013-12/2014, 9/2017 - ] schematics, urban development, prototype design & remodeling

ALISHA BURKMAN ARCHITECTURAL DESIGNER ALISHA.BURKMAN@GMAIL.COM +1 918 232 1266

EDUCATION BACHELOR OF ARCHITECTURE +

architectural history & theory minor at oklahoma state university [5/2017] 3.7 professional school GPA

INVOLVEMENT SOCIAL CHAIR for aias oklahoma

state university chapter [5/2014-5/2016] organized schoolwide events to connect students and faculty

EXECUTIVE REPRESENTATIVE at

AIAS national forum [12/2014] networking & learning conference

VOLUNTEER TEACHER for ASTEK (architecture students teaching elementary kids) [8/15-4/16] basic foundations of architecture SUCCESS COACH for first-year

architecture students [8/2015-10/2015] volunteer mentor & group leader

ARCHITECTURAL INTERN for 1architecture in tulsa, ok [5/2015-1/2017] schematics, design development, graphics, media, presentations ARCHTRIUMPH COMPETITION for an outdoor energy pavilion in london with 1architecture [7/2015] design team leader, graphics, digital modeling

URBAN USA STUDIES with osu school of architecture in new york city and washington dc [7/2016] sketching, watercoloring, urban design analysis STUDY ABROAD semester at the

design school of loughborough university in england [2/2017-6/2017] industrial & product design, analysis of interaction, ergonomics

INTERESTS collaborative research industrial & product design environmentally cyclical design graphic design & illustration psychology of architecture

SKILLS conceptualization sketch illustration design investigation verbal presentation communication team collaboration conflict resolution personal initiative leadership model building sketchup autocad revit photoshop indesign illustrator rhino grasshopper

+++++++++ +++++++++ +++++++++ ++++++++ ++++++++ ++++++++ +++++++ +++++++ +++++++ ++++++ ++++++++ ++++++++ ++++++ +++++++ +++++++ ++++++ ++++++ ++++

REFERENCES JOSH CHESNEY

principal, design director. cyntergy jchesney@cyntergy.com 1.918.877.6000

SHELBY NAVARRO, aia, leed ap principal. 1architecture shelby@1architecture.com 1.918.764.9996

MOHAMMED BILBEISI

professor. oklahoma state university mohd.bilbeisi@okstate.edu 1.405.744.6043

NATHAN RICHARDSON

professor. oklahoma state university nathan.richardson@okstate.edu 1.405.744.6043

DIALOGUE OF THE LEFT & RIGHT BRAIN / 01 Project: Steam Academy / Phoenix, Arizona Designer: Alisha Burkman / 4 weeks, Fall 2015 Instructor/Critique: Randy Seitsinger Oklahoma State University DRAMATIC STRUCTURE OF THE FIVE-ACT PLAY / 09 Project: Shakespeare Theatre / Oklahoma City, Oklahoma Designer: Alisha Burkman / 16 weeks, Spring 2016 Instructor/Critique: Tom Spector Oklahoma State University TECHNOLOGY, CRAFT, & ETHICS IN MODERNITY / 19 Project: Artisan Food & Wine Centre / Ivrea, Italy Designer: Alisha Burkman / 4 weeks, Fall 2015 Instructors/Critique: Awilda Rodriguez, Randy Seitsinger Oklahoma State University LEGACY OF ITALIAN INDUSTRIAL DESIGN / 27 Project: Winery at the Artisan Food & Wine Centre / Ivrea, Italy Designer: Alisha Burkman / 4 weeks, Fall 2015 Instructors/Critique: Awilda Rodriguez, Randy Seitsinger Oklahoma State University URBAN ECOLOGICAL & SOCIAL RESPONSIBILITY / 35 Project: Redevelopment of the Historic Post Office Site / Chicago, Illinois Designers: Alisha Burkman, Courtney Wolfe, Steven Lassman, John Dunn / 16 weeks, Fall 2016 Role: Project Architect; graphics, renderings Instructors/Critique: Nathan Richardson, Jeff Williams Oklahoma State University ENERGIES & IMPACT ON THE HUMAN SPHERE / 53 Project: Energy Pavilion Competition (ArchTriumph Summer 2016) / London, England Designers: Alisha Burkman, Molly VanLandingham / 8 weeks, Summer 2015 Role: Co-Lead; conceptualization, design, modeling Design Mentors: Shelby Navarro, Melissa Lynn 1Architecture, LLC BALANCING RIGIDITY & FLEXIBILITY OF FORM / 59 Project: Fashion Pavilion (Expo Milano 2015) / Milan, Italy Designers: Alisha Burkman, Cameron Patterson, Stephen Smith / 6 weeks, Spring 2015 Role: pre-design, research, graphics Instructor/Critique: Paolo Sanza, Stan Carroll Oklahoma State University

ALISHA.BURKMAN@GMAIL.COM +1 918 232 1266 74

ALISHA.BURKMAN@GMAIL.COM +1 918 232 1266