Portfolio 2013

portfolio of selected works HEATHER LAHOOD DIETZ

Tiresius Institute for the Blind & Visually Impaired.......4 Seattle, Washington, USA

Japanese Cultural & Community Center.......................8 Seattle, Washington, USA

Caritas Welcome Center & Museum of Immigration............14 Porta Maggiore, Rome, Italy

Skin + Bones..............................................20 Corrugated Steel: Concepts for Wrapping + Structure

“Picture THIS”............................................22 Strömkajen, Stockholm, Sweden

“Face-lift”...............................................28 Storefront for Livsticket, Tensta, Sweden

[Re]Territorializing Infrastructures......................30 Vigsö, Jutland, Denmark

weathered steel frame surface

A

B

expansionC joint

custom steel frame extrusion

exterior wood surface (4mm x 80mm) 20mm x 20mm vertical support plywood backing 90 x 45 timber framing below

interior wood surface (4 x 40)

20mm x 20mm vertical support

vertical structure timber (240 x 45)

vertical steel support component for gutter (custom steel extrusion, angle, fasteners)

bent steel plate: gutter system weathered steel finish

vertical structure timber (240 x 45)

architectural intern

Architecture/Landscape Architecture in Rome: Assisted in planning, teaching, and grading for Design Studio, Drawing/Graphic Representation, and History courses.

teaching assistantships

spring 2012

[PROGRAMS & APPLICATIONS]

2013 2013 2012 2011 2010 2009 2009 2007

[PUBLICATIONS]

fall 2009 2008-2009 2007-2008 2005-2008 2004-2006 2006 2006

winter 2009, spring 2009, fall 2009

Adobe Creative Suite (CS4-6) AutoCad, Sketchup, Revit 2013, 3ds Max, Maya, V-Ray Microsoft Office Word, PowerPoint, Excell, iLife

Thesis: Silence & the Scream: Exposing Paul Virilio’s Humanism through the Architecture of Anti-form SAPV > Retrospective 1970-2013 Skin, Volume 9: Thesis Prizes Thesis: (Re)Territorializing Infrastructures: Enfilades through Landscapes of War at Stützpunkt Vigsö UW Architecture in Rome 2009: Student Work Skin, Volume 6: Japan Studio: “Cultural Crossroads” UW Japan Studio Student Work UIUC-SAPV Yearbook of Student Work 2006-2007

Graduate Thesis Citation Award UW Design Studio Commendation Betty L. Wagner Rome Center Endowed Scholarship Floyd A. Naramore Endowed Fellowship Gargoyle Architecture Honors Society James Scholar Honors Student University of Illinois Dean’s List Edward C. Earl Prize Nominee Elwood E. and Adalaide Schwenk Scholarship

2009, spring 2011 ARCH 352: History of Modern Architecture fall 2010 ARCH 151: Appreciation of Architecture winter 2009 ARCH 351: Romanesque, Gothic, and Renaissance Architecture

graduate student assistantships

2011 ARCH 351 Honors Section: Lead a weekly undergraduate honors-level discussion section.

[DESIGN ACHIEVEMENTS]

spring

winter

fall 2011

departments, organization and archiving for Morton School District #709 plan sets, regular surveying of District #709 buildings and updating district plans.

2002 - august 2004 Clark Engineers, Inc., Peoria, IL: AutoCad drafting for architectural and structural engineering

drafting technician

design role in small residential and educational projects.

2005, summer 2006 STS Consultants, Inc., Peoria, IL: AutoCad drafting for architectural and engineering departments,

architectural intern

design of Morton Fire Station, AutoCad drafting, Sketchup and Revit modeling.

2008 FGM Architects, Peoria, IL: Design team member for East Peoria Junior High addition and schematic

[WORK EXPERIENCE]

may-september

[TEACHING EXPERIENCE]

september

summer

Bachelor of Science in Architectural Studies

university of illinois urbana-champaign

Master of Science in History/Theory of Architecture Master of Architecture, AIA Henry Adams Certificate KTH Stockholm, Erasmus Exchange Program UW Architecture in Rome Program

university of washington seattle

2006-2007 UIUC-ENSAV Study Abroad Program, Versailles, France

spring 2008

fall 2009

winter and spring 2010

june 2013 june 2011

[ACADEMIC EXPERIENCE]

2435 N. Sheffield Avenue #9, Chicago, IL 60614 309.369.5163 hlahood2@gmail.com heatherlahooddietz.com

HEATHER LAHOOD DIETZ

<<< INITIAL SITE MASSING

^^^CONCEPTUAL DEVELOPMENT & FRAMING TECTONICS

<<< IMMEDIATE SITE CONTEXT: BELLTOWN [SEATTLE]

CYCLOPS CAFE >>>

[PERIPHERAL VISION]

tiresius institute for the blind & visually impaired, seattle The initial concept for this project dealt with the idea of a quality of vision/life limited to the peripheral. While it is a common type of impairment amongst the blind, peripheral vision, in this case, became defined in the project as an alternate means of navigation through space. Habitual methods of learning a new space, such as feeling walls, memorizing window locations and light patterns, and leading with a cane are accommodated and emphasized in the building. Peripheral information is manifested in wall texture, lighting (both natural and artificial), the tectonics of the building skin, and plan configuration, which are designed to load circulation corridors with information to establish landmarks for the users.

TACTILE LANDSCAPES

SECTION A: THRU STAIR

CONCEPT MODEL MONTAGE > STAIR SKETCH CONCEPT >> [TECTONIC MODEL] LOOKING DOWN STAIR >>>

<TECTONIC MODEL...................................................................^^^FISH-EYE ELEVATION VIEW

^^^

6

C C C B B A B A

SOUTH ELEVATION:

scale: 3/32” = 1’-0”

SOUTH ELEVATION:

scale: 3/32” = 1’-0”

A

LEVEL 3: MOVEMENT STUDIO

scale: 3/32” = 1’-0”

LEVEL 3: MOVEMENT STUDIO

scale: 3/32” = 1’-0”

LEVEL 3: MOVEMENT STUDIO

scale: 3/32” = 1’-0”

LEVEL 3

SOUTHEAST ELEVATION SOUTH ELEVATION:

3

C 2

3

C C B B A B A

scale: 3/32” = 1’-0”

1 1

2

3

2

1

A

LEVEL 2: CLASSROOMS (1), KITCHEN (2), DINING (3)

scale: 3/32” = 1’-0”

LEVEL 2: CLASSROOMS (1), KITCHEN (2), DINING (3)

scale: 3/32” = 1’-0”

LEVEL 2: CLASSROOMS (1), KITCHEN (2), DINING (3)

SECTION B:

scale: 3/32” = 1’-0”

SECTION B:

scale: 3/32” = 1’-0”

SECTION B:

scale: 3/32” = 1’-0”

SECTION C:

scale: 3/32” = 1’-0”

LEVEL 2

scale: 3/32” = 1’-0”

SECTION B

C C C B B A B A A

4

5 1

5

4

3 31

4

3 1 3

6 6

11

2

3 3

6 6

11

2

6 6

11

5

2

LEVEL 1

SECTION C

te................................................................... .......................de-mountable tea pavilion charette...................................................................

The idea of the “alternating turn” in Japanese architecture is culturally significant. In temple complex design, for example, perpendicular intersections in plan allow the choreography of an experience that is sacred – turning a corner can indicate the crossing of a threshold into more sacred .......................de-mountable tea pavilion charette................................................................... spaces and, on a symbolic level, more developed stages of enlightenment. A sense of humility is also embodied in the alternating turn, allowing more time for reflection as the user progresses to a predetermined destination.

1 2

4

SITE STRATEGIES: peel...............................................fold......................weave.................................loop...................................... <<<MOBILE TEA PAVILION

[ALTERNATING TURNS]

3

japanese cultural & community center, seattle 5

^^^TOPOGRAPHY STUDY SITE PLAN LEVEL 0>>> [LEVEL WITH NE CORNER] 1. cafe/auditorium entrance ramp 2. roof garden/reflecting pool 3. library 4. scholar accommodations 5. sunken courtyard (below) 6. sculpture garden, great hall (below)

<<<SITE/’SIGHT’ LINE MAPPING

6

A

<LEVEL -1 <<LEVEL -2 <<<LEVEL -3 MOBILE TEA PAVILION @ KUBOTA GARDENS>

SITE STRATEGIES: peel...............................................fold......................weave.................................loop.....................................

<FINAL MODEL.................^SW ENTRY THRU BERM........WEAVING STUDIES>

EAST ELEVATION

<<<VIEW FROM NE CORNER CAFE ENTRY...............

The Japanese Cultural and Community Center for Seattle eschews cliché architectural typologies in exchange for this subtle concept. The project itself evolved into a complex configuration, in which the user is invited to explore several pathways that lead to spaces which are buried in the existing topography of this site. Alternating turns were derived from the intersections of four “sight” lines, which were drawn after the initial site visit and based on the available views of the extended context: Mt. Rainier, Beacon Hill, and Downtown.

12

......................................^^^VIEW SOUTH TOWARDS MOUNT RAINIER ON RAINIER AVE

SECTION A: THRU CAFE & AUDITORIUM

[SCAVI///SCAFFOLD]

caritas welcome center & museum of immigration, rome The initial design process for this intervention was modeled after an archeological graft. Conceptually, the investigation involved stripping away layers of the site - topographically, historically, and contextually - to derive geometries and forms for programmatic organization. Historical maps, photographs and architectural drawings provided evidence for what certainly had existed, and on-site observation verified what remained on the surface. The project itself became a means of exhuming a palimpsest - to expose and express subsurface conditions.

^STUDY MODEL #2 ^^SITE STUDY [RUINS, ROADS, SCAFFOLD] <STUDY MODEL/GOOGLE EARTH/ AQUEDUCT SHADOW STUDY <<STUDY MODEL #1

C

11 1

D

10

2

^FINAL MODEL

9 3 5 4 6

1. museum entrance ramp 2. reception 3. research center 4. public restrooms 5. facility restrooms 6. study lounge 7. cafe 8. scaffold warehouse 9. courtyard 10. sunken courtyard (below) 11. museum exit ramp

8

B

GROUND FLOOR PLAN & EXISTING SITE CONTEXT>>>

A

7

^^PORTA MAGGIORE....................>>

PM

EXISTING SITE CONDITIONS

The grafting process was employed to emphasize with the current dilemma of how to reconcile modern interventions within historically loaded sites. In this case, the ruins are not “untouchable.”

They are integrated into the users’ experience of the facility with the purpose of connecting them to a past/present, in which their participation is the most recent layer of the palimpsest.

MIGRATING SCAFFOLD EXHIBIT CONCEPT

SECTION C: RAMP ENTRY TO MUSEUM

SECTION D: THRU SUNKEN GALLERY AND COURTYARD

^EAST ELEVATION: PORTA MAGGIORE <SECTION THRU LIGHT WELL

WEST ELEVATION: FACADE SCAFFOLD

SECTION A: THRU MUSEUM ENTRANCE RAMP

SECTION B: THRU MUSEUM EXIT RAMP, LIBRARY, CLASSROOMS, & WORKSHOP

[SKIN + BONES]

corrugated steel: concepts for wrapping + structure A quick design charette exploring deviations from the metal shed.

WRAPPING: DRESS/CRIMP/FOLD/GATHER>>>>>>

vv^STRUCTURE: DIG/ANCHOR/CARVE/FORM

weathered steel frame surface

expansion joint

Drawing inspiration from the picturesque location, these structures are quite literally expressed as frames for public life along one of the most beautiful quays in Stockholm. From Strรถmkajen, ferries take thousands of passengers every year to the archipelago. The passage is very active in the spring and summer months with people waiting for a ride to the islands, tourists visiting art museums along the quay, runners, and others enjoying a leisurely stroll.

custom steel frame extrusion

exterior wood surface (4mm x 80mm) 20mm x 20mm vertical support plywood backing 90 x 45 timber framing below

interior wood surface (4 x 40)

20mm x 20mm vertical support

2.5m x 3.125m 2.5m x 2.5m

3.12

vertical structure timber (240 x 45)

3.12

vertical steel support component for gutter (custom steel extrusion, angle, fasteners)

[PICTURE THIS]

ferry frames @ strรถmkajen, stockholm

weathered steel frame surface

bent steel plate: gutter system weathered steel finish

expansion joint

vertical structure timber (240 x 45)

custom steel frame extrusion

exterior wood surface (4mm x 80mm) 20mm x 20mm vertical support plywood backing 90 x 45 timber framing below

1

2

interior wood surface (4 x 40)

20mm x 20mm vertical support

<CONCEPTUAL MONTAGE

Conceptually, the idea of an art gallery is reflected in this project. As the structures would be located in front of the National Gallery and along the main pedestrian path to the Modern Art Museum, their form embraces an exhibitionist nature; framing moments of city life. The frames are designed with standard structural timber sizes in order to allow easy and affordable construction. Their configuration along the site is undetermined. Installation requires only a small pad footing, which is poured into a cut-out of the existing pavement. The materiality as shown, is only one suggestion â&#x20AC;&#x201C; the regular structure and simple surface geometry allow for variation depending on what is desired.

3.125m x 2.5m

2.0m x 2.5m

3.125m x 2.5m

2.0m x 2.5m

FINAL TECTONIC MODEL

.5m

2.0m x 2.5m

2.0m x 2.5m

.5m

2.0m x 2.5m

2.5m x 3.125m

3.125m x 2.5m

2.0m x 2.5m

2.5m x 2.5m

3.125m x 2.5m

2.0m x 2.5m

weathered steel frame surface

expansion joint

custom steel frame extrusion

exterior wood surface (4mm x 80mm) 20mm x 20mm vertical support plywood backing 90 x 45 timber framing below

interior wood surface (4 x 40)

20mm x 20mm vertical support

vertical structure timber (240 x 45)

vertical steel support component for gutter (custom steel extrusion, angle, fasteners)

bent steel plate: gutter system weathered steel finish

vertical structure timber (240 x 45)

PLAN DETAIL: 1:4

SITE PLAN SITE 1:2000 PLAN 1:2000 GROUND GROUND FLOOR PLAN 1:25PLAN 1:25 FLOOR

TENSTA TENSTA CENTRUM CENTRUM

Contextual Contextual Space Studio Space - Block Studio 4, Spring - Block2010 4, Spring 2010 Heather LaHood Heather LaHood

FACE-LIFT FACE-LIFT Centrum. The Centrum. main objective The main is to objective increaseistransparency to increase transparency at the pedestrian at thelevel, pedestrian while maintaining level, while maintaining security and security promoting andbusiness promoting for the business commericial for the commericial program to be program accomodated to be accomodated for here. Thefor here. The architecture architecture is concentrated is concentrated in the designinofthe custom design wood of custom window wood frames, window which frames, are inserted which into are inserted into the existing facade. the existing Thefacade. vertical members The vertical of the members framesof are thetapered frames and are tapered may be and mirrored mayto beset mirrored the to set the

DEMOLITION PLAN

beams - duebeams to irregular - duestructural to irregular spacing structural of the spacing existing ofbuilding. the existing Thebuilding. glass is safety The glass rated is safety and bulrated and bullet-proof, which let-proof, eliminates which the eliminates need for the the need existing foriron the bars existing thatiron create barsan that unfriendly create an atmosphere. unfriendly atmosphere.

The design requires The design minimal requires demolition minimalofdemolition the existing ofbuilding the existing (seebuilding demolition (seeplans), demolition and concenplans), and concentrates this effort trates in the this outer effort skin in the of outer the building. skin of the Using building. the existing Usingstructural the existing gridstructural as spacing gridfor asthe spacing for the and merchants andcan merchants utilize the can space utilize under the space the canopy under as theacanopy buffer for asdisplaying a buffer for goods displaying or providing goods or providing outdoor seating. outdoor As the seating. topography As the slopes topography downward, slopesthe downward, windows the provide windows benches provide for occupants benches for occupants to sit under the to sit canopy. under the canopy.

The canopy itself The canopy follows the itselfsame follows architectural the same architectural language aslanguage the windows. as the Utilizing windows. steel Utilizing frames,steel in- frames, instead of wood, stead thisof system wood, is this more system resiliant is more to weather resiliantand to weather vandalism. andThe vandalism. canvas canopy The canvas is looped canopy is looped orientation, the orientation, canopy also the canopy providesalso shading. provides Thisshading. eliminates This the eliminates need forthe blinds need that forwould blindsblock that would block the view to the theinteriors. view to the interiors.

[FACE-LIFT]

A

DEMOLITION SECTION

SITE PLAN 1:2000

storefront for livsticket, tensta, sweden This project focuses on the ground floor of the housing blocks along the main promenade in Tensta Centrum.

Contextual Space Studio - Block 4, Spring 2010 The main objective is to increase transparency at the Heather LaHood pedestrian level, while maintaining security and promoting business. The architecture is concentrated in FACE-LIFT the design of custom wood window frames, which are Centrum. Theinserted main objective increase transparency at theThe pedestrian level, members while maintaining intois tothe existing faรงade. vertical ecurity and promoting business for the commericial program to be accomodated for here. The architecture isof concentrated in the design of custom wood window which to areset inserted into the frames are tapered and may be frames, mirrored he existing facade. The vertical members of the frames are tapered and may be mirrored to set the the glass pane closer to the interior or exterior of the beams - due to irregular structural spacing of the existing building. The glass is safety rated and bulenclosure. glass is safety rated and an bulletproof, et-proof, which eliminates the The need for the existing iron bars that create unfriendly atmosphere. which eliminates the need for the existing iron bars he design requires minimal demolition of the existing building (see demolition plans), and concenrates this effort in the outer skin of the Using the existing structural grid as spacing for the that contribute to building. a hostile atmosphere.

TENSTA CENTRUM

B SECTION THRU CANOPY

C

SOUTH ELEVATION

and merchants can utilize the space under the canopy as a buffer for displaying goods or providing outdoor seating. As the topography slopes downward, the windows provide benches for occupants o sit under the canopy.

he canopy itself follows the same architectural language as the windows. Utilizing steel frames, intead of wood, this system is more resiliant to weather and vandalism. The canvas canopy is looped

orientation, the canopy also provides shading. This eliminates the need for blinds that would block he view to the vertical interiors.wood framing element window frame + safety glass electrical wiring

exterior metal framing element

A

^CASEWORK DETAIL

A

B

B

C

C

<SECTION PERSPECTIVE................................................GROUND FLOOR PLAN

AN 1:2000

e maintaining for here. The e inserted into ored to set the

ated and bulatmosphere.

and concenpacing for the

ds or providing for occupants

eel frames, inopy is looped

t would block

GROUND FLOOR PLAN 1:25

The proposed design requires minimal demolition of the existing building and concentrates this effort in the outer skin of the building. Using the existing structural grid as the spacing for the openings, the new windows will extend to the floor. As the topography slopes downward, the windows provide benches for occupants to sit under the canopy.

Utilizing steel frames instead of wood, this system follows the same architectural language as the windows and is more resilient to weather and vandalism. The canvas canopy is looped through the frame configuration and can be replaced when necessary.

SECTION THRU

[RE]TERRITORIALIZING INFRASTRUCTURES

Enfilades through Landscapes of War at Stützpunkt Vigsö

Despite its contested history, the Atlantic Wall is valued as a transnational cultural heritage that should be safeguarded. The Atlantic Wall bunkers are significant for their architectural quality, influence towards a new aesthetic cannon for modernity, and their spatial relationships within natural and urban contexts. The extensive network of fortifications represents the largest physical artifact of collective European culture—embodying a public and shared memory of WWII. Aligning with the ambitions of the Atlantic Wall Linear Museum, the design portion of the thesis proposes an intervention in the coastal landscape proximate to Stützpunkt Vigsö (Strongpoint Vigso); a former Nazi Army battery established in 1941for the defense of he Skagerrak. Rapid coastal erosion has unearthed several bunkers that comprised the original formation, threatening to submerge the entire site underwater within the next 100 years. The proposed interventions—a jetty extended to reverse the process of erosion and a series of excavations that allow visitors to re-engage the architectural relics—are not an attempt to freeze the current state of certain infrastructural elements or landforms, but to confront the forces—both of nature and culture—that have shaped the site’s condition throughout history.

Abstract

Despite its contested history, the Atlantic Wall is valued as a transnational cultural heritage that should be safeguarded. The Atlantic Wall bunkers are significant for their architectural quality, influence towards a new aesthetic cannon for modernity, and spatial relationships with natural and urban contexts. The extensive network of fortifications represents the largest physical artifact of collective European culture—embodying a public and shared memory of WWII. Aligning with the ambitions of the Atlantic Wall Linear Museum, the design portion of the thesis proposes an intervention in the coastal landscape proximate to Stützpunkt Vigsö (Strongpoint Vigso), a former Nazi Army battery established in 1941 for the defense of the Skagerrak.

Rapid coastal erosion has unearthed several bunkers that comprised the original formation, threatening to submerge the entire site underwater within the next 100 years. The proposed interventions—a jetty extended to reverse the process of erosion and a series of excavations that allow visitors to re-engage the architectural relics—are not an attempt to freeze the current state of certain infrastructural elements or landforms, but to confront the forces—both of nature and culture—that have shaped the site’s condition throughout history.

A thesis submitted in partial fulfillment of the requirements for the degree of Master of Architecture.

University of Washington College of Built Environments School of Architecture Spring Quarter 2011

(RE)TERRITORIALIZING INFRASTRUCTURES HEATHER L. LAHOOD UW CBE arch spring 2011

[MASTER OF ARCHITECTURE THESIS]

(RE)TERRITORIALIZING INFRASTRUCTURES

<COVER DESIGN (BACK), COVER DESIGN (FRONT)>

Enfilades through Landscapes of War at Stützpunkt Vigsö Heather Lynne LaHood

^WANDERLUST MAPPING

PHOTO RECONNAISSANCE

FORTRESS EUROPE: MACRO SITE GEOGRAPHY

TERRITORIAL MAPPING

<SKAGGERAK MINE FIELD MAPPING

GERMAN MAP OF HANSTHOLM (1944)

<UN-EARTHING (1976)...........^^TOPOGRAPHY (2010)................................

The design proposal recognizes that nature is disheveling the territorial networks enforced by the German defensive strategy. Thus this study is at the intersection of cultural and natural histories. As the wind carves away at the coastline, the design interjects to reterritorialize the strongpoint. As a conceptual exercise, the intervention suggests a manner of contesting the permanence of architecture in a built environment of war. Sited in a fulcrum of dynamic forces, the design itself acts as a catalyst.

LITTORAL + LANGUAGE

FAILURE SEQUENCE OF RETAINING WALL @ VIGSO (1943-1944)

1945

.........CARTOGRAPHIC MORPHOLOGY (1842-2001)>

2111

[RE]TERRITORIALIZATION

The issue of rapid erosion is confronted in the perpendicular direction of the coastline with the construction of a jetty that extends past the original front of the strongpoint. The angle of the structure responds directly to the natural forces of wind and ocean currents in order to initiate the re-aggregation of the terra firma. The jetty, like the bunkers, is monolithic.

Constructed by consecutive pours of concrete and sculpted to deflect the waves, the new infrastructure, unlike the bunkers, confronts the forces of nature directly.

SITE PLAN (150 YEARS)

TERRITORIALIZATION 1954-2011

JETTY

JETTY SECTION [1]

[11]

[2]

[12]

[3]

[13]

[4]

[14]

[5]

[15]

[6]

[16]

[7]

[17]

[8]

[18]

[9]

[19]

[10]

[20]

As deposition increases over time, the jetty will also become part of the dry landscape. It is possible the structure will fail. The process of erosion would then begin to carve away at the landform created by the jetty, and the bunkers would be unearthed once more.

EXPERIENCE

SPIRAL EXCAVATION & REBURIAL

As deposition over the strongpoint occurs, the bunkers are reburied. The first excavation is suggested to occur in the southern corner of the strongpoint grouping in an area unexposed to the coastal erosion that threatens the front components. According to historic maps of the site, the standard bunker is oriented so that the close combat defense and the enfilade fire position faces north towards the coastâ&#x20AC;&#x201D;the direction of potential enemy invasion. The excavation takes the form of a spiral ramp, which funnels visitors to the strategic point of disarmament, facing the war voyeur with the enfilade fire position and the close combat defense behind. From this point the visitor can cross the threshold and explore the interior spaces.

fin.

HLD.WORKS