ANNA KÄRTNER /
Portfolio / Harvard GSD / MArch I 2021
CORE I Perimeter Plan / 6 Campus Infill / 12
CORE II Film Studio / 18 Urban Club / 24
CORE III Building As Site / 30
ETH ETH Exchange, Public Building / 40
OPTION STUDIO Post-Shaker / 50
6
Anna Kärtner / Design Portfolio 2020
typical : 1 rotation
4 stories : 4 rotations
4 stories : 1 rotation
PERIMETER PLAN Core I / Harvard GSD Fall 2o17 Critic : Cameron Wu
Dorm rooms are cranked around a spiral stair that skewers all common rooms, the facade indexes
The project is motivated by a spiral stair that rotationally cranks the dorm such that each floor plate is rotated 90 degrees to the other. The physical experience within the dorm is one of continuity, and the discreet rotation is never felt on the interior. Rather, the winding spiral stair lands at the same relative location on each floor as is if the floor plates were perfectly stacked on one another, creating a perfectly coherent interior. The centrality of the common rooms and their continuous connection to all floors, and each other, gives every inhabitant virtually equal access to the common room and each other. The agitation of the faรงade reflects and indexes the rotation. As the floor plates rotate, there are moments where they align with floors below or above, fusing into a single facade.
7
Ground Floor Plan 0
5
plan rotation by stair
8
Anna Kärtner / Design Portfolio 2020
10
25
50
Section 0
Perimeter Plan
5
10
25
50
9
10
Anna Kärtner / Design Portfolio 2020
Model photographs / agitated exterior + smooth interior
Perimeter Plan
11
12
Anna Kärtner / Design Portfolio 2020
Existing Buildings
Extension
New whole
CAMPUS INFILL Core I / Harvard GSD Fall 2o17 Critic : Cameron Wu
2 existing buildings of opposing grains are completed through the negotiation into a new whole The connection between two existing campus buildings is negotiated through the meeting and transition between the horizontal and vertical grains to allow for greater connectivity between new programs. This negotiation is expressed through the slipping of the horizontal floor plate to align with the vertical walls of the existing office building and the striation of the vertical walls pulled taught against the horizontal floor plates of the studio building. Spatially and programmatically this spreads out vertically and horizontally new programs that are shared between the admin, faculty, and students. The cascading ramps and rooms in this central space create a smooth stitching between the two existing grains. The movement between the grains is experienced spatially on the ramps when moving between either original space. The continuity of the roof and ramps merging with the horizontality of the lab building when moving from the vertical expresses a smoothing and convergence of the vertical elements to a seemingly singular wall that wraps the floor plates. Moving the opposite direction, the movement and shredding of the ramps into the verticality of the office building fragments and expresses a discreet moment of transition. And the transition of the solid vertical wall to the expression of the horizontal floor plate is understood as an expression of solid and void on the front faรงade which figures the entrance and gap between the transitioning slab.
13
Top Floor Plan / merging and splitting of grain 14
Anna Kärtner / Design Portfolio 2020
2. Floor Plan
Ground Floor Plan
Campus Infill
15
0
16
5
10
25
50
Anna Kärtner / Design Portfolio 2020
Section / development of ramps into study carrels and rooms
Campus Infill
17
18
Anna Kärtner / Design Portfolio 2020
FILM STUDIO Core II/ Harvard GSD Spring 2018 Critic : Jeffry Burchard
Small on large and large on small
Located on a site at the edge of Boston and on the water, the film studio is on a lot scarcely populated, and with no real urban neighbors. The project requires bridging the gap between the very large, 25,000 sf film studio, and very small, 250 sf dressing rooms. Here the structural bay is a frame that is aggregated to form larger continuous structural units. The larger the span, the smaller the resulting program that sits in the truss above the span, and the more continuous and unified the global figure. Inversely, the short spans produce a diversity in expression and peaks on the facade and roof scape. Globally this produces a grain that simultaneously maps and mis-maps the grain of the program inside. The concrete frames are clad between the structural members with channel class, sometimes transparent, sometimes translucent. At night this will break down the scale of the facade and reveal the true scale of certain programs.
19
Back Elevation
Front Elevation
Exterior Perspective 20
Anna Kärtner / Design Portfolio 2020
0
5
10
25
50
100
Ground Floor Plan
Film Studio
21
22
Anna Kärtner / Design Portfolio 2020
Film Studio
23
24
Anna Kärtner / Design Portfolio 2020
Oriented to Core
URBAN CLUB Core II/ Harvard GSD Spring 2018 Critic : Jeffry Burchard
Exclusivity wrapped in exclusivity
The site has no clear orientation with no desired front. Instead, the building orients itself based on interior forces that become masked by the facade. The club is a front for a private, and stolen art collection, that is located at the buildings center. Its existence is entirely concealed to the average members of the club. This is achieved through shifting orientations of individual rooms. These shifting orientations are concealed through several devices that give the rooms a certain autonomy to orient themselves and determine their form. These techniques and the sectional pin-wheeling of the secret vault conceal its presence to the members. The central circulation wraps around the core of the vault which gives the illusion that the center is occupied and denies the realization that the center is in fact occupied by the vault.
25
Plan 02 - Entrance Level
Plan 03
Plan 07
26
Plan 08
Anna Kärtner / Design Portfolio 2020
Unrolled Elevation
Section
Urban Club
27
28
Anna Kärtner / Design Portfolio 2020
Urban Club
29
30
Anna Kärtner / Design Portfolio 2020
BUILDING AS SITE Core III/ Harvard GSD Fall 2018 Critic : Jay Siebenmorgen
A tower carved from a garage
The project has as its site the extremely long (400ft) Paul Rudolph parking garage in New Haven. Instead of taking the top plane of the garage as the ground, this project injects itself into the garage and fuses with it. Metaphorically the tower seems to have been carved from the existing garage and flipped vertically. The cut in the existing garage did not exist previously and was initiated to bring light to the newly open ground plane. The tower inherits the split-level property of the garage which is advantageous for its extremely small floor plate. Each half of the tower fits only two units and each unit enters directly from the stairwell. The units are small living spaces intended for students or short term lecturers coming to Yale University. Through a system of ramps and new exit stairs inserted into the garage, the tower connects to a event center at the other end. The tower slides through the parking ramp and connects to the ground level along with the event center to define the ground plane.
31
32
Anna Kärtner / Design Portfolio 2020
Program Concept Model
Circulation Concept Model
Building as Site
33
34
Anna Kärtner / Design Portfolio 2020
Ground Floor Plan
Building as Site
35
Typical Plan 01
36
Anna Kärtner / Design Portfolio 2020
Building as Site
37
38
Anna Kärtner / Design Portfolio 2020
1/16 Scale Model
Building as Site
39
40
Anna Kärtner / Design Portfolio 2020
PUBLIC BUILDING ETH Exchange Spring 2019 Critic : Adam Caruso Team Members: Laia Bonet, Kaoru Lovett
A cupola, balcony, stairs, and a room
In the heart of the old city center of Zurich is the Gemusebrucke, or Vegetable Bridge, historically important to the city as a place for weekly markets and the city hall. Studying the idea of the public building through the eyes of Florian Beigel’s Half Moon Theatre, it was not a single building that could define the space of the bridge, but rather the collection of buildings that begin to determine a space. Therefore the project aims to undertake a series of small interventions in order to rebuild the political, economic, and social aspects of the public realm on the bridge. These interventions include turning the entrance of the old city hall to face the bridge, a small market building on the bridge, a balcony that signals the unification of the upper floors of several buildings into start-up space, small exterior stairs and interior stairs signaled through windows that signal entrances into the newly turned public buildings, and lastly a urban room. The urban room is anchored on the side of the bridge in a similar manner to the old city hall. The building reflects the scale of its surroundings on its facades, so much so that they act almost as though they are walls for a set. The thick walls of the urban room grow out of the foundations for the bridge and house all of the back of house and other utility spaces that serve the room.
Public Building
41
Site Plan
42
Anna Kärtner / Design Portfolio 2020
Amphitheater
Balcony
Market
Enfilade
Public Building
Food Stalls
Stairs
43
Public Room
44
Anna Kärtner / Design Portfolio 2020
Physical Model, 1 : 50
Public Building
45
46
Anna Kärtner / Design Portfolio 2020
Public Building
47
48
Anna Kärtner / Design Portfolio 2020
Physical Model, 1 : 50
Public Building
49
50
Anna Kärtner / Design Portfolio 2020
Post Shaker Fall 2019 Critic : Preston Scott Cohen
Post Shaker is an experiment in taking the architectural language of the Shakers and extending it to the present
Historic preservation usually falls into two prescribed categories, either the original is recreated as a historical artifact through reconstruction or restoration; or there is a clear visual break between the old and new where the architecture plays a game of explicit contrast in order to not alter the identity of the original. Neither of these categories allows the historical to be brought into the present moment, instead both approaches freeze the past and treat architecture as an archaeological artifact that is unchangeable. The studio investigated the architecture of the Mount Lebanon Shaker Village in New York whose site was to be converted into an art colony that treats the site and its building as a living tradition rather than a site frozen in time. The Shaker’s have been studied by other architects for their renunciation of ornament, ingenuity in modern technology, and their artisinal craft, which developed new forms of tectonic expression. The Shakers believed in gender and racial equality, and celibacy. Their belief in these separations and equalities generated a peculiar dualism and symmetry in their architecture that resisted centrality. All of these aspects of the Shaker’s were studied in order to take the language of the Shakers beyond to a new Post-Shaker expression which took the form of several new buildings added to the Mount Lebanon Village to house and provide Workshop space for these artists. These new buildings present an uncanny relationship to the historical buildings. 51
52
Anna Kärtner / Design Portfolio 2020
Physical Model, 1’ : 1/16”
Post Shaker
53
54
Anna Kärtner / Design Portfolio 2020
Physical Model, 1’ : 1/2”
Post Shaker
55
View of Workshop
56
Anna Kärtner / Design Portfolio 2020
Physical Model, 1’ : 1/2”
View from bottom of the stairs
Post Shaker
57
58
Anna Kärtner / Design Portfolio 2020
Post Shaker
59