Architecture + Design, 2015 by Katie Lanski

KATHERINE LANSKI

ARCHITECTURE + DESIGN PORTFOLIO

SELECTED WORKS 03

THE CLEANING CUBE IN A DIRTY MINE Winter 2014, Wallenberg Critic: Clark Thenhaus

MISFIT FAMILIES Fall 2013, Instructor: Clark Thenhaus

LIGHT STUDIES Fall 2012, Fall 2011, Instructors: Tony Patterson, Michael Hannum

LUNATICS Winter 2014, Instructor: Clark Thenhaus

MEMORY Fall 2011, Instructor: Dawn Gilpin

213 W. WASHINGTON Winter 2015 to Present, Professional Work at Kraemer Design Group

2x2 Winter 2013, Instructor: Jennifer Harmon

SPECTATORS + MICHIGANENSIAN 2012 - 2014

SCHINDLER-CHACE HOUSE Fall 2011, Instructor: Dawn Gilpin

IMPOSTORS, MISFITS, & SECRET LANDSCAPES Fall 2013, Instructor: Clark Thenhaus

THE CLEANING CUBE IN A DIRTY MINE. WINTER 2014, WALLENBERG CRITIC: CLARK THENHAUS.

Raoul Wallenberg Senior Studio Competition Honorable Mention. Published in Dimensions 28. Situated within Salt Lake Cityâ&#x20AC;&#x2122;s Rio Tinto Kennecott Mine, The Cleaning Cube acts as an architecture of amnesty in which two opposing sides

co-exist. While architecture may, in some situations, provide a solution to a problem, it need not always. In the latter case, the architecture can act as a lens through which a problem is revealed or mediated, and function as a non-biased narrator for social change. This holds true in the case of The Cleaning Cube.

LEFT

Rendering of The Cleaning Cube + field condition within Bingham Canyon’s Rio Tinto Kennecott Mine.

BELOW

Photos of pollution over Salt Lake City; the 2013 landslide within the mine; panorama of the mine, prior to landslide.

Salt Lake City’s Rio Tinto Kennecott Mine, located in nearby Bingham Canyon, is one of the largest and most polluting surface mines in the world. It produces gold, silver, molybdenum, and nearly one-quarter of our country’s copper needs. In 2011, the mine employed 17,781 people and contributes over one billion dollars annually to Utah’s economy. At 2.75 miles in diameter and nearly 1 mile in depth, Rio Tinto Kennecott expels over one-third of the pollutants in Salt Lake City, endangering its entire ecological system, as well as threatening the only existing salt lake within the United States. The threats posed by Rio Tinto have been exacerbated by recent technological advancements which, while providing for faster extraction rates of minerals, also result in an increased speed at which pollutants are released into the atmosphere. Over the next few years, the Rio Tinto Corporation plans to expand the mine. This is due to a landslide that occurred in 2013, which filled roughly one-quarter of the mine. This massive landslide resulted in six mini-earthquakes; the first occurrence on record of an earthquake resulting from a landslide, rather than vice versa. It also has broken the record for the largest non-volcanic, terrestrial landslide known to man. Currently, the residents of Salt Lake City are petitioning to have the mine shut down, but Rio Tinto is countering with the argument that an expansion of the mine will provide for thousands of jobs, resulting in an economic boom.

Measuring at roughtly 1 mile in depth and 3 miles in diameter, Rio Tinto Kennecott is one of the world’s largest surface mines.

Over 1/3rd of the pollutants in Utah are produed through the extraction of minerals in the Rio Tinto Kennecott Mine.

Due to its close proximity to The Great Salt Lake, runoﬀ from the mine is becoming a large threat to natural resources.

First Floor

Fourth Floor

Second Floor

Fifth Floor

Third Floor

Sixth Floor

Perching within the mine, The Cleaning Cube provides a space of amnesty wherein these two opposing sides may co-exist. Rather than attempting to resolve any conflicts, this object acts as a non-biased mediator for social awareness and change. The Cleaning Cube blurs the typologies of bathhouse and observatory. Bathhouses provide spaces for self-reflection, while observatories provide a space for reflection on the environment and society around oneself. Colliding these typologies holds to the serene, reflective spaces found within, while blurring the lines between introspection and extrospection. 05

While containing baths of differing temperatures, depths, and sizes, The Cleaning Cube provides horizontal and vertical observational moments to the surrounding landscape and sky. This includes observations of the mine itself, the Great Salt Lake, and a fog-covered Salt Lake City. Because of the dense fog, it is often hard to see the stars at night from the city. Therefore, the upper-most story contains a sky-observatory bath, as The Cube is outside of the Salt Lake City fog.

North-Facing Section

ABOVE

The Cleaning Cube uses pixellation and striation, i.e., a distortion of the cube, as a basis for exterior form. These formal qualities stem from an initial study of part-to-part vs. part-to-whole relationships through the collision of formal binaries found in architecture: visually heavy objects vs. visually light objects, and structural objects vs. massing objects. This form-making strategy then influenced the design of three formal objects reflecting the qualities of pixellation and striation. These three objects then became the basis of design for The Cube.

Architectural mashups, studying part-topart vs part-to-whole relationships.

RIGHT

3D-printed formal objects which influenced the final design of The Cube.

FAR RIGHT

Geometric Analyses of the formal qualities of The Cube.

Overlapping Spaces

Through the intrusion and protrusion of truncated cones, intersecting spaces are created, both in plan and section, allowing for the Vertical Extrusions cross-over, or distortion, of Sky Observatory Spaces the typologies.

Horizontal Section

rotrusion

Vertical Extrusions

Sky Observatory Spaces

Gridded Primitive Solid

Extrusion of Cones

Intruding

Truncated Cones

Protruding

Intruding

Truncated Cones

Baths

Overlapping & Interlocking Spaces

ntrusion

Vertical Extrusions

Plunge Pools Truncation of Cones

Plunge Pools

Intersecting & Overlapping Spaces

Horizontal Section Through the intrusion and protrusion of truncated cones, intersecting spaces are created, both in plan and Protrusion section, allowing for the cross-over, or distortion, of Gridded Primitive Solid the typologies.

Horizontal Section

Vertical Extrusions Protrusion Spaces Sky Observatory

Intruding

Truncated Cones Baths

Protruding

Extrusion of Cones

Overlapping & Interlocking Spaces

Vertical Extrusions Plunge Pools

Intrusion

Truncation of Cones

The facade of The Cleaning Cube is the result of Intersecting & Overlapping Spaces Horizontal truncated cones intruding and protruding through the Section primitive cube, creating dynamic, pixellated surfaces. Protrusion In addition, truncated cones were further extruded vertically, creating moments of striation. These extreme vertical moments contain plunge pools and sky observatories.

The intrusion and protrusion of truncated cones create overlapping and interlocking spaces within the object, thereby distorting the two typologies found within. These areas hold sensory deprivation baths, chemically altered baths, hidden Gridded Primitive Solid baths, and spaces which directly alter typical elements found within the typologies: windows distort and pixellate the landscape, and lounge seating extrudes above eye level. This allows for new ways to occupy and circulate within the baths, while providing fragmented observations of the mine. 07

LEFT

Final 3D-printed model and field condition made out of stacked, routed foam.

RIGHT: UPPER

Ink drawing used as a formfinding strategy for the field condition surrounding The Cube. Materials used: ink, water, salt, and mylar.

RIGHT: MIDDLE

Translation of ink drawing using Rhino and Grasshopper to find topography and triangulation of drawing and mine.

RIGHT: LOWER

Final field condition surrounding The Cube, including baths and networking tunnels.

The surrounding field condition, designed through a formfinding process using ink studies, allows for exterior circulation and occupation. Projecting the ink studies onto the site resulted in a vertical distortion of the landscape, creating exterior baths and networking tunnels. These baths and tunnels run both above and below ground, muting the landscape and blurring the lines between mine and object. Due to recent technological advancements, the rate of extraction of natural resources has dramatically increased, resulting in an accelerated scarring of the Earth. Presently, these marred landscapes are thought to be wastelands with no apparent future use. In these instances, The Cleaning Cube could set a precedent for a new typology that could make use of these supposed wastelands.

MISFIT FAMILIES.

FALL 2013, INSTRUCTOR: CLARK THENHAUS.

Formal study exploring spatial qualities and shadows produced when unique objects physically impose upon one another. Materials used: wire hangers, nylons, wood block, and acrylic paint.

LIGHT STUDY // VIGNETTES.

FALL 2012, INSTRUCTOR: TONY PATTERSON. Light study vignettes taken from study model for an underground art exhibit. The goal of these spaces is to juxtapose moments of brightness and darkness. Graphite on bristol.

LIGHT STUDY // FILM PHOTOGRAPHY. FALL 2011, INSTRUCTOR: MICHAEL HANNUM.

Selected photography studying positive and negative space produced in double-exposed prints. Process: two separate photos taken and developed, then exposed printer paper one negative at a time.

ARCH 442 PROJECT 1.0 DATE: 2014.01.17 KEY NOTES: TAG TEMPLATE FOR APHORISMS

NOTE Print in Color on card-stock weight paper.

asylum noun | a•sy•lum | /∂’sil∂m/ : a place of protection and shelter : a place for the care of the poor or the physically or mentally ill

Trim to red border using crop marks at the corners. Fonts, sizing, spacing, color, justiﬁcation, word count - all stay as formatted.

LUNATICS. WINTER 2014, INSTRUCTOR: CLARK THENHAUS. A room with a view, but at what cost? Focusing on mental hospitals of the early 1900s across New England, this triptych studies the architecture of these so-called asylums as an alleviator vs. a perpetuator of lunacy.

L L U U N N A A T T II C C S S

MEMORY.

FALL 2011, INSTRUCTOR: DAWN GILPIN.

Narrative translation of Graduate Student Instructorâ&#x20AC;&#x2122;s story from childhood, exploring familial ties, tradition, and the tainting of a memory. Graphite on bristol.

213 W. WASHINGTON.

WINTER 2015 TO PRESENT, KRAEMER DESIGN GROUP. This 25-story tower, located at the intersection of Washington and Main Streets in South Bend, Indiana, was completed in 1971 and continues to be the tallest building in the city today. It is iconic for the residents of South Bend as it can be seen from almost every vantage point. As a mixed-use building with attached parking garage, the tower has had numerous tenants, including a succession of banks, hotels, offices, and restaurants. The open plan of each floor plate is the ideal canvas for the new residential and hotel use. 213 W. Washington Street in South Bend will become the destination for those seeking a temporary or permanent downtown residence. As an architectural designer, my responsibilities for this project entailed drawing the as-built conditions, helping with demolition plans, designing the residential units, creating the Sketch Up models and renderings, drawing sections and elevations, and helping with construction documents. The building is currently out for bid while interior demolition is underway.

ABOVE

Typical residential floor plans.

RIGHT

Photo of existing building and renderings of new facade designs.

2X2. WINTER 2013, INSTRUCTOR: JENNIFER HARMON. Two Programs // Two Sites // One Typology. A semester-long study on the typology of the middle school, exploring the idea of a school intertwined with community involvement, through the incorporation of a printing press.

LEFT

Isometric drawing of school and submerged site.

RIGHT

1/16” model in site. Materials used: rockite, bass wood, acrylic, chip board, and MDF.

BELOW

Exploded programmatic diagram (top to bottom): Cafeteria Printing Press Classrooms Administration Interior Circulation Gymnasium Site + Exterior Circulation

2X2 // PART ONE. Located on the outskirts of downtown Ann Arbor, this middle school strives to provide a sense of purpose and community for its students through the added program of the printing press. Stepping down into the site, enlarged steps allow for communal spaces for students to congregate and circulate during breaks and free periods. With exterior and interior circulation paths, students are given a sense of freedom to move about the school without feeling trapped within the confines of a fully enclosed structure. “L” shaped classrooms provide moments of structured learning and concentration, as well as moments of relaxed learning and creative expression. The negative space between the “L” shaped classrooms create pod-like spaces, allowing for learning to continue outside of the classroom, while providing additional gathering spaces for students. The screening condition of the facade integrates structural c-channel glass and non-structural glass, creating a pattern of translucency and transparency. The elevated cafeteria’s facade utilizes the aesthetic of a screen print through a pixellated patterning system on its facades; allowing for the students to view out, but preventing the public from viewing in. The printing press, located at the entrance of the site, will be open to students and Ann Arbor residents. This printing press will be an integral part of the school’s curriculum. It is designed to teach the students about creative production and expression, the history of the press, its impact on society, and the science behind complex printing units. This emphasis on the press allows the students to learn in ways that are directly relatable to their daily lives at the school. In the evening, the printing press will act as a community center where residents of Ann Arbor are able to take classes, hold events, and sell their work.

2X2 // PART TWO. Located on Main Street in Downtown Ann Arbor, this alternative middle school explores similar principles to those studied in part one of the 2x2 project, such as fostering a sense of community and purpose, while expanding on the ideas of public vs. private space and the integration of a “peeling in” facade. During the day, the school will remain for students and staff only, while in the evening the first and fourth floors will be open to the public. The first floor of the school holds the printing press, an informal library, an enclosed courtyard, and administrative spaces, while the fourth floor holds the cafeteria and a roof terrace. The in-between, split-level floors are considered private, containing classrooms and pod-like community spaces for the students. The facade screening condition of this middle school utilizes horizontal layering of a transparent and translucent glass-like material which “peels in”, creating the interior landscape of the building. At 6 inches in height, each horizontal layer creates a step. These steps create staircases leading from one floor to the next, shelving in the informal library, and enlarged steps for the students to gather around.

ABOVE

Plans, sections, elevations, axonometric drawings, and formal diagrams of school showing the shifting of the plan and peeling in of the facade. Graphite on mylar.

RIGHT

1/8” section model of school, made of stacked 1/16” acrylic, rockite, MDF, and chip board.

SPECTATORS.

2014 FIRST PLACE WINNER, “SITES” CATEGORY. Center For Global and Inter-Cultural Studies Photography Contest.

MICHIGANENSIAN.

Personal photography selected for 2012-13 & 2013-14 University of Michigan Michiganensian Yearbooks. 17

LEFT

Diagrammatic axonometric drawing, representing the tilt-up construction method used for the concrete exterior walls.

RIGHT

Plan and sections of the couples’ home.

BELOW

Photos of group model, created with Brooke Dexter. Materials used: museum board and bass wood.

SCHINDLER-CHACE HOUSE. FALL 2011, INSTRUCTOR: DAWN GILPIN.

Built in 1922, Rudolph Schindler designed the Schindler-Chace house as an experiment in communal living, incorporating architectural and social theory. Each individual had their own room to “express their individuality,” while communal spaces were found on the patio and in the sunken gardens. Two sleeping baskets are found on the roof, one for each family. The construction of the home utilizes tilt-up concrete walls that were poured on site. Schindler seamlessly integrated the indoors with the outdoors, creating “A Real California Scheme.” The model mimics the construction of the home. The concrete walls are fixed to the floor of the model, while the roof and window walls are unattached. This allows for one to view the unique spaces inside the model.

IMPOSTORS, MISFITS, & SECRET LANDSCAPES. FALL 2013, INSTRUCTOR: CLARK THENHAUS. Student Architecture Exhibition Honorable Mention. Located in Wolf Point, Chicago, the Museum of Women in Espionage is dedicated to the lives of female spies who have contributed during critical moments in history. Because men have held the power throughout history, women will be given the privileged upper hand as they circulate within the museum. Through the use of hierarchical, gender-segregated circulation paths, men and women will experience this museum in different ways, with different privileges, resulting in the possibility of different understandings of the museum and the spies’ stories. This museum is designed with a focus on plan vs. section, and through the use of carving and extrusion, it creates a unique core-as-privilegedvoid form. The plan is considered the “norm” of the museum, which relates to the men’s experience of the museum, while the section and elevation misfit and impose upon the plan. The latter, which the women will experience, moves in the opposite direction of the men, through the privileged, elevated circulation path. This path will provide the opportunity to spy on the other visitors throughout the museum. It is not until the end that the men understand that they have been spied upon. This flips stereotypical gender roles and brings into question the privilege that still exists in our society. Through the act of spying, this museum may also provide insight to one’s [false] sense of privacy or security in an era when, due to technological advancements, the ability to spy or be spied upon is commonplace, but often goes undetected.

Lower Level 2

Lower Level 1

Ground Level

Upper Level

LL1

LL2

LL1

LL2

LL1

LL2

LL1

LL2

LL1

LL2

LL1

LL2

Primitive Square

Extrusion

Carving // Core As Privileged Void

Spaces linked by common space

Semi-Submerged

Site Plan

LEFT: UPPER

Group drawing, created with Ajae Whittaker and Alex Salvadero. Graphite on bristol.

LEFT: LOWER

“Drawdles” derived directly from group drawing, followed by initial formal study model and diagram of the key formal attributes of the museum. Materials: chip board and museum board.

ABOVE: UPPER

This “drawdle” uses mylar, stacked acrylic, and black foam core to bring model and drawing together, aiding in the design of the carved interior form.

ABOVE: LOWER

Axon displaying relationship between carved interior form and extruded exterior form, followed by section through axon, displaying privileged views found within the museum.

The formal ambitions of the Museum of Women in Espionage stemmed from an initial studio group drawing created by two classmates and myself, which was then used in each of our individual projects. Each student in the group created a secret rule-set to follow, which, when met with another rule-set, became either an impostor, a misfit, or a secret landscape. Beginning the individual project, a portion of this group drawing was modeled into multiple 3D “drawdles,” studying formal ambitions, spatial relationships, and organizational strategies. These studies focused on extrusion and carving, resulting in the theme of section misfitting and imposing upon plan. Once paired with the typology of the museum and the location of Wolf Point, Chicago, these formal qualities were further studied and developed, creating the submerged, core-as-privileged-void form. A secondary study of the group drawing provided the basis for which the interior form was designed. This study collided model and group drawing together, creating another form of “drawdle,” in which the initial line-work of the group drawing inhabits a stacked acrylic model. Based on the line weights and line types used, these lines informed the carving of the interior spaces, resulting in a hierarchy of privilege as one circulates within the museum.

ABOVE

Site drawing of Wolf Point including surrounding Site Planarea.

1/64” = 1’0”

RIGHT: TOP

Interior rendering of museum.

Jan Feb Mar April May June July Aug Sept Oct Nov Dec Prairie Smoke Official Name: Geum Triflorum Family: Rosaceae Height: 0.5-1.5 feet Spread: 0.5-1.5 feet Bloom Time: May to July Sun: Full Sun Natural Habitat (Tolderates): Deer, Drought Dry Soil Traits: Marroon, Fluffy appearance

Golden Bamboo Official Name: Phyllostachys Holochrysa Family: Phyllostachys Aurea Height: 15-20 feet, 1.25 stem diameter Spread: No limit, Invasive Bloom Time: All year Sun: Full Sun or full shade Natural Habitat (Tolerates): 0 degrees, Traits: Gold toned, Privacy screen,

Tiled Concrete Façade

Chicago River

RIGHT: MIDDLE

Rendering of core-asprivileged-void space.

RIGHT: LOWER

Final 3D-printed model in chip board site.

KATHERINE LANSKI INFORMATION

KATHERINE ANNE LANSKI klanski13@gmail.com

SKILLS AutoCAD Rhino Vray SketchUp Podium Revit ArchiCAD

Adobe InDesign

Adobe Illustrator Adobe Photoshop Adobe Muse

Model Making Hand Drafting Sketching Film Photography Digital Photography French (Working Proﬁciency)

REFERENCES Tony Patterson Clark Thenhaus

Robert Kraemer

EXPERIENCE

Kraemer Design Group | Architectural Designer | May 2014 - Present

My responsibilities include architectural drafting and designing, existing conditions surveys of historic buildings, SketchUp modeling, and rendering.

Architecture Externship Program

Kraemer Design Group | Detroit, Michigan | Spring 2014 Joeb Moore + Partners | Greenwich, Connecticut | Spring 2013 Internship program during the week of Spring Break, organized through the Taubman College of Architecture + Urban Planning.

Studied with professional photographers and students from the Metro Detroit area, using the medium of photography to help achieve Focus: Hope’s goal of breaking down racial, social, and economic barriers between city and suburb.

EDUCATION

University of Michigan | Taubman College of Architecture + Urban Planning | Ann Arbor | Class of 2014 Bachelor of Science in Architecture Minor in French + Francophone Studies Member of Alpha Rho Chi, Professional Architecture Fraternity

La Sorbonne | L’Université Paris IV | Paris, France | Summer 2013

French Grammar (B2 Level) + French Phonetics + Introduction to Art History

L’Université Stendhal | Centre Universitaire d’Études Françaises | Grenoble, France | Summer 2012

French Grammar (B1+ Level) + French Civilization + Written French + French Literature: “L’Autre”

HONORS + AWARDS

Dimensions 28 | Taubman College of Architecture + Urban Planning Publication | Fall 2015

Wallenberg Senior Studio work published in Taubman College’s annual publication Dimensions 28.

Raoul Wallenberg Senior Studio Thesis Competition | Spring 2014

Out of 21 students selected for this senior year competition, one received First Place and ﬁve received Honorable Mentions. I was awarded an Honorable Mention for my project “The Cleaning Cube in a Dirty Mine”.

Student Architecture Exhibition | Spring 2013, Spring 2014

Three students from each studio are selected to display their work in the Taubman College’s annual student exhibition. I was selected to display my work in the 2013 and 2014 exhibitions and was awarded one of ﬁve honorable mentions in 2014.

CGIS Photography Contest | February 2013

My photograph, “Spectator”, won ﬁrst place in the “sites” category of the University of Michigan’s Center for Global and Intercultural Studies’ (CGIS) annual photography contest.

VOLUNTEER WORK

Habitat for Humanity | Build Day | Spring 2015 K-Grams | Fall 2010 - Spring 2013

University of Michigan pen-pal program connecting U of M students with Detroit elementary school students.

KATHERINE LANSKI M. Arch Applicant klanski13@gmail.com