KATHERINE LANSKI ARCHITECTURE + DESIGN PORTFOLIO klanski@upenn.edu
MOTHER CULTURE Spring 2018 | PennDesign Published in PennDesign’s annual publication, “Pressing Matters 07” Featured on suckerPUNCHdaily.com
02 STUYVESANT OVAL Fall 2017 | PennDesign Published in PennDesign’s annual publication, “Pressing Matters 07”
THE CLEANING CUBE IN A DIRTY MINE Spring 2014 | University of Michigan Received an Honorable Mention in the Raoul Wallenberg Senior Studio Competition Published in TCAUP’s annual publication, “Dimensions”
NEWFOUNDLAND PUBLIC HALL Fall 2018 | PennDesign Models featured in ‘on models’ exhibition at PennDesign
HARDLY SOFT Spring 2018 | PennDesign
LAUGHTER IN THE DARK Fall 2016 | PennDesign Awarded First Place in the Manitoga Pavilion Competition
KAMI-GA Spring 2017 | PennDesign Manitoga Artist in Residence
GARDEN CULTURE Spring 2019 | PennDesign
SHY BABY Fall 2016 | PennDesign Published in PennDesign’s annual publication, “Pressing Matters 06”
FUBU January 2017 | PennDesign Awarded Third Place in the Schenk-Woodman Competition
COMPACT DEMARCATIONS Spring 2017 | PennDesign
IMPOSTORS, MISFITS, AND SECRET LANDSCAPES Fall 2013 | University of Michigan AIA Huron Valley Student Award | Honorable Mention
SPRING 2018, CRITIC: NATE HUME
Completed in collaboration with Daniel Silverman Serra.
MOTHER CULTURE
Mother Culture is a public market + production space housing, studying, and cultivating herbs, spices, and mother-cultures. Inspired by a recent resurgence and appreciation of food as a part of culture, rather than food as purely caloric sustenance, Mother Culture explores food at its essence, through «starters», i.e. mother yeast, kefir, etc, and «finishers», i.e. herbs and spices. This living archive reimagines the possibility of the cohabitation of these «starters» and «finishers» to procreate new culinary potentials in the realms of breadmaking, yogurt elaboration, pickling, and other forms of fermentation. Mother Culture considers a “both, and” condition through food and design, exploring ‘the raw and the cooked (and the rotten)’, ‘the familiar and the unfamiliar’, and ‘the digital and the analog’.
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BREAD HEARTH CAFE + JUICERY CULTURE LAB DRYING STATION EARTHY HERB GARDEN HERB GARDEN LIVING ARCHIVE MECH / ELEC ROOM MOTHER CUPBOARD _ CALID MOTHER CUPBOARD _ TEPID MOTHER CUPBOARD _ FRIGID MOTHER MOTEL OUTDOOR MARKET + PUBLIC PLAZA TEST KITCHEN
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Detail photos of 1/8� model above and 1/4� model below. Materials: 3d print + rockite + upholstery foam + flocking + moss + bass wood.
Detailed wall section. Cast-in-place concrete + Shingle form-work + soft acoustical paneling providing herb growth + pin-hole apertures + skylight + cistern for water collection and distribution.
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CAFE + JUICERY TEST KITCHEN HERB GARDEN DRYING STATION JARRING + PICKLING STATION HERB + TEA SHOP BREAD + HERB SHOP LIVING ARCHIVE FRO-YO BAR CULTURED CHEESE LAB OUTDOOR MARKET + PUBLIC PLAZA COVERED MARKET ENTRANCE
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SPRING 2018, CRITIC: NATE HUME
Shingle + Growth Panel + Starlight Window Detail
Foundation + Re-bar Detail
Window Joint Detail
Window Sill + Planter Detail
Interior Elevation_accoustic + growth paneling
Exterior Elevation_mossy growth
Exterior Elevation_shingles
FALL 2017, CRITIC: KUTAN AYATA
Stuytown Co-Living Community [September, 2037]
02 STUYVESANT OVAL
With the increase in use of technology and social media, the United States has become a strongly individualistic society. As we retreat into our ever-advancing technologies, we lose track of one another along the way. The Stuytown Co-Living Community does not propose that it can fix this problem, but rather allows for an environment of communal living, working, and service to one another. As a self-sustaining and self-supporting co-living community, it provides a collective home for those seeking a collaborative and, somewhat, “old fashioned� communal environment. More specifically, this is a home for those fed up with 2037 society’s lack of investment in and service to the collective whole. Formally, communal space within the building is explored through a volumetric carving and extrusion of the cruciform in elevation and section. This pixellation of the facade is studied at the micro-level as well as the macro, through brick penetrations and texturing, which produce intimate, atmospheric conditions in the private bedroom spaces.
Exterior rending of Co-Living Community in the year 2037.
Initial massing studies exploring pixellation and a distortion of the existing facade through the sectional extrusion and carving.
Axonometric chunk renderings exploring volumetric carving of multi-story communal space, brick penetrations in relation to private bedrooms, and use of interior-wall poche.
Elevational rendering of South-East facade.
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Stuyvesant Town enlarged site plan. Drawing produced in collaboration with Logan Weaver.
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Scale: 3/32� = 1’
Level 09
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Level 09 | Residential Communal Units
Level 17 | Co-Working, Community Space
Scale: 3/32� = 1’
Level 17
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Exterior and interior renderings of Co-Living Community in the year 2037.
Enlarged Bedroom Detail
Enlarged Plan Details _ Brick + Window Screens
Enlarged Sectional Perspective of one multi-story, communal unit.
Published | Dimensions 28 | Annual TCAUP Publication
Honorable Mention | Raoul Wallenberg Senior Studio Competition | University of Michigan’s TCAUP
WINTER 2014, CRITIC: CLARK THENHAUS
THE CLEANING CUBE IN A DIRTY MINE
Situated within Salt Lake City’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. 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.
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 fi lled roughly one-quarter of the mine. This massive landslide resulted in six mini-earthquakes; the fi rst 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.
First Floor
Fourth Floor
Second Floor
Fifth Floor
Third Floor
Sixth Floor
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.
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 uppermost story contains a sky-observatory bath, as The Cube is outside of the Salt Lake City fog.
North-Facing Section
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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 mash-ups, studying part-to-part vs part-to-whole relationships.
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Geometric Analyses of the formal qualities of The Cube.
Through the intrusion and protrusion of truncated cones, intersecting spaces are created, both in plan and section, allowing for the cross-over, or distortion, of the typologies.
Gridded Primitive Solid
Extrusion of Cones
Intruding
Protruding
Overlapping & Interlocking Spaces
Truncation of Cones
Intersecting & Overlapping Spaces
Horizontal Section
Vertical Extrusions
Sky Observatory Spaces
Protrusion
Truncated Cones Baths
Vertical Extrusions Plunge Pools
Intrusion
The facade of The Cleaning Cube is the result of truncated cones intruding and protruding through the primitive cube, creating dynamic, pixellated surfaces. 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 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.
Ink drawings used in a form-finding strategy for the field condition surrounding The Cube.
The surrounding fi eld condition, designed through a form-fi nding 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.
Exhibited in ‘on models’ | Babble Exhibition | PennDesign | Spring 2019
FALL 2018, CRITIC: PAUL PREISSNER
NEWFOUNDLAND PUBLIC HALL
Built upon a combination of wet sand, wet sod, and sometimes boulders, the cast-in-place concrete of the Newfoundland Public Hall provides diverse spatial, textural, and atmospheric experiences for the visitor. Two rock-, boulder-, and grass-filled plazas welcome the visitor to sit, climb, picnic, heckle, or enter the building. Ranging from intimate hidey-hole to expansive vault, the Public Hall provides moments of serenity for individuals and vending machines, meeting rooms for friends, bingo nights for community members, hide-and-seek for children, movie screenings for film enthusiasts, and forum spaces for local artists and storytellers. Inspired by and referential to the landscape of Newfoundland, moments of intimacy and expanse provide an array of programmatic possibilities.
The interior space of the Public Hall is designed through strategic additive and subtractive methods. The additive method harvests the material intelligence of sand and sod through pouring, as each material acts as a liquid until hardened with an application of water, followed by concrete. These material pours produce medium to large gathering spaces. The subtractive method acts as a carving away of the wet sand and wet sod, followed by the pouring of concrete to produce smaller, more intimate moments. The stepped-forum space acts in the opposite way; concrete is poured first, the sand and sod are poured second, pushing the concrete outward and upward in the production of stepped moments.
Through these methods, the materials create varied atmospheres: dark and rough walls produced by the large-grained sod, light and sandpaper-like walls produced by the finer grained sand, varied colorations and surface textures produced by a mixture of these two. Roughly formed apertures in the floors reflect the residue of the construction process used while providing light, sneak peaks to above and below, and double height spaces. An infill of structural acrylic allows some of these apertures to be occupied not only through vision, but by foot. Other aperture moments can also be occupied or sat upon, through an infill of hammock netting.
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FLOOR 02
FLOOR 00
FLOOR 01
THE QUEUE
THE BINGO HALL
THE PROJECTOR
THE SNEAK-PEEK
THE VENDING MACHINE
THE FOLDING CHAIR
T H E C U R TA I N
SPRING 2018, CRITIC: MICHAEL AVERY
HARDLY SOFT
Hardly Soft is a furniture exploration working between the realms of the digital and the analog. Elasticized fabric, rockite (concrete), and plaster are used in tandem with laser-cut and 3d-printed formwork in the production of two end tables.
Process models exploring (fabric) formwork, joints, pockets, and scale.
Process sketches exploring “soft” surface as table top.
Process sketches exploring “soft” surface as underbelly.
1st Place (tie) | Manitoga Pavilion Design Competition | PennDesign
FALL 2016, CRITIC: MICHAEL LOVERICH
Completed in collaboration with Justine Huang, Ayo Ogunmoyero, Lingxiao Teng, Xieyang Zhou.
LAUGHTER IN THE DARK
Tucked away in the woodlands heyofhiManitoga, hello Laughter in the Dark is a mausoleum that presents a scene hereiniswhich my text mischievous creatures are caught in the midst of a gluttonous,for cannibalistic my projectact. The grotesque nature of their interactions both repulses blah and blahentices blah blah those who cross its path. Upon approaching the “feast�, an eye-lid-like poop.opening exposes the stomach of the mausoleum. Those who choose to enter will find themselves swallowed by a moist, squishy ze end. cavern for two.
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Diagrams of the three body parts studied, followed by diagrams of the four main components.
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Diagrams of the components potential connections and axonometric drawing of pavilion.
Laughter in the Dark is a mausoleum which explores gluttony, expression, and the human form. This pavilion began with a formal study of baby arms, lips, and eye lids. These three body parts were then hybridized such that each continued to hold its original function(s): bending + biting + eating + enclosing + producing expression. The massing of the mausoleum is inspired by a study of the pyramids which create a large-scale enclosure as well as an interior small-scale enclosure, in which the occupant lies. The mausoleum also explores the motifs of cherubs and gargoyles, reinterpreting and amplifying specific moments found in these creatures. While cherubs are commonly found on sarcophagi of children of the second century, symbolizing peace and hope, gargoyles are seen as a grotesque guardian, keeping evil out.
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Cross and transverse rse sections vilion at of the potential pavilion Manitoga.
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Photos of fi nal pavilion, vilion, built nnDesign. at half scale at PennDesign. Materials: Upholstery ery foam, blue chalk, pillow stuffi ng, PVC pipe, needles, and d thread.
Throughout this exploration, the hole has been studied as a tectonic and aesthetic choice. Within the creatures, these holes act structurally as joints by which each component connects, but aesthetically read as expressive, gaping mouths, either devouring or waiting to devour another creature. The hole is also represented in the aggregation as a whole. While the creatures protect and enclose the mausoleum, there are moments where holes appear due to the nature of the creatures’ connections. These holes allow sneak peeks into the mausoleum. The most privileged hole in the mausoleum, though, is that which lies at the top of the mausoleum, as it is visible only to those who lie within the eye-lid-like cavern.
Manitoga Artist in Residence
KAMI-GA
SPRING-SUMMER 2017, CRITIC: MOHAMAD AL-KHAYER
After tying for first place in the Manitoga Pavilion Design Competition, a class of 20 students and I further developed the winning pavilions into one design throughout the Spring 2017 semester, for full-scale installation at both the University of Pennsylvania and at Manitoga. Video of production process can be found at: PennDesign Pavilion 2017 - Manitoga Artist in Residency Program https://www.youtube.com/watch?v=ptPRCx4EBdI&feature=youtu.be
Manitoga, meaning place ofhey great hi spirit, hello is now home to Kami-Ga, a celebration of the sublimationhere of the is dancing, my text climbing, and playing spirits of Manitoga. In this frozen moment, for mythe project spirits create a threshold between the human world and theblah spiritblah world. blah The blah soft, decomposing material that they are made of represents the poop. spirits’ transition from atmosphere to physical presence, while also representing their inevitable decay back into the either ze of end. Manitoga.
Renderings and models exploring figure, assembly, materiality, and structure.
Shop drawings, created by Musab Badada, detailing process of creating one figure.
Production process of components. Materials: high density foam as formwork, copper wire, PVC pipe, expanding soft foam.
Construction drawing of pavilion substructure joinery.
Detail shots of pavilion construction at the University of Pennsylvania.
Final construction of pavilion at the University of Pennsylvania.
Pavilion construction at final location: Manitoga / The Russel Wright Design Center.
Final construction of pavilion at Manitoga / The Russel Wright Design Center. Pavilion photographs taken by myself, Ailin Wang, Grace Soeganto, Musab Badada, Mohamad Al-Khayer, and the Russel Wright Foundation photographer.
SPRING 2019, CRITIC: FLORENCIA PITA
In Progress _ a collaboration with Daniel Silverman-Serra
GARDEN CULTURE
Garden Culture is a large-scale park-as-garden exploration on a vacant industrial site next to the LA River, intended for multicultural and multi-generational exchange. A garden is inherently a space that negotiates the notion of the natural and the synthetic, the monumental and the domestic, the every day and the enchanted, the permanent and the ephemeral. All attributes which are also descriptive of Los Angeles. Through a palimpsest of fields and textures, an array of atmospheres and experiences are produced. Fields of rivulettes, pools, and filigree infiltrate the site and are over and underlayed by a series of walkways, elevated garden plaforms, and follies. When visiting the garden, one might find: the gloomthy forest / the aromatic maze / the misty cave / the reflective pond / the rocky desert / the peaceful folly / the overgrown orchard.
FALL 2016, CRITIC: MICHAEL LOVERICH
SHY BABY
Published | Pressing Matters 06 | Annual PennDesign Publication
GALLERY 02 // PLAN 02
GALLERY 02 // PLAN 01
GALLERY 03 // PLAN 02
Synthetic drawing including photograph of physical model, plans of each gallery, and rendering.
GALLERY 03 // PLAN 01
GALLERY 01 // PLAN 03
GALLERY 01 // PLAN 02
GALLERY 01 // PLAN 01
Shy Baby explores secrecy, shyness, and intrigue through three withdrawn galleries tucked into the woodlands of Manitoga, New York. While traversing a quarry trail, the visitor’s path is slowly engulfed by trees, generating a dim and claustrophobic atmosphere. Off the path, gaps in the trees create light wells which subtly guide the wanderer, leading them to discover a mysterious crease in the hills. Undulating from crawl space to cavern, a dark, plump passageway snakes through baby-arm-like hills that split in multiple directions. Will this discomfort turn the visitor away or entice them? At the end of each passage, one finds a secluded pocket, or courtyard, in the landscape. Pursuing this eerie landscape further, the wanderer stumbles upon one of three withdrawn galleries.
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The formal qualities of each gallery were found through a series of model-making studies, using fabric pouches filled with rockite, laid on the site model, to create formal in direct response to the created site.
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2’ x 2’, 1/16” site model, used in the form-making of the three galleries. Materials: Upholstery foam, flocking, rockite, corrugated cardboard.
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Photos of 1/8” section model of Gallery 01 and site model.
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Diagrams of formal studies, producing three nestled galleries.
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Axonometric drawing.
The shy qualities of the galleries are apparent in their postures; they nestle into the surrounding landscape, formally similar, yet distinguished by their colors and textural qualities. In this way, the galleries act as wallflowers, seeking the corners (or in this case, the creases) of spaces. Shyness is revealed throughout the interior spaces as well. Slumped interior folds act as pockets that display gallery pieces. In some cases, the overlapping folds fully conceal the object, compelling the visitor to peel open the folds. This level of interaction challenges the visitor to take on a more active role in the exploration of the gallery and question whether their experience of the space is one of innocent wandering or of disruption.
GALLERY 03 // SECTION
GALLERY 02 // SECTION
GALLERY 01 // SECTION
ENLARGED STAIR DETAIL
ENLARGED FOLD DETAIL
3rd Place | Schenk-Woodman Competition | PennDesign
Completed in collaboration with Yitian Zheng and Ayo Ogunmoyero
JANUARY 2017
F.U.B.U.
F.U.B.U. is a Septa Hub, market, and community center for the people and by the people of Parkside, Philadelphia. This space creates a new train stop while also bringing life, beauty, economic opportunity, and access to fresh fruits and vegetables to the community. F.U.B.U. does not simply provide these new amenities to the neighborhood, it empowers, creating opportunities for residents to become community leaders and take on an active role in the development of this burgeoning urban hub.
The population of the Parkside Community has an average yearly income ranging from $14k - $40k. About 35% live below the poverty level and have an unemployment rate of 14%.
The Parkside Community is a food desert, containing only four small “grocery� stores with little to no fresh fruits and vegetables.
There is currently a lack of community space that allow all age groups, races and religions to gather.
FUBU food trucks, shops, and markets provide employment and a new source of income to community members.
The FUBU roof garden is cultivated and maintained by the community, providing fresh fruits and vegetables for weekly farmer’s markets.
A community space is provided for all ages, races, and religions, to gather, play, talk, and celebrate. They are also able to build and transform the open spaces to accommodate any event.
F.U.B.U.
----------for us, by us----------Hours of Operation FUBU Cafe: 7am-10pm, Daily FUBU Produce Store: Mon-Fri 8am-8pm Food Trucks: Mon-Fri 11am-8pm Farmer’s Market: Sat-Sun 7:30am-4pm
Weekend Weeken Wee ee ekend Far e Farmers rrmers Marke Mar M Market ke et Det e Detail taill ttai
COMPACT DEMARCATIONS
SPRING 2017, CRITIC: ANNETTE FIERO
Map studying sun patterns, shadows, and circulation paths through exposed and interstitial spaces in Parkside, Philadelphia.
Across Parkside, a green network grows. It reaches from corner to corner, filling each empty lot with renewed life. Grass, trees, flowers, fruits, vegetables – no lot remains untouched. The heart of the network is located in the Leidy-Viola block, consisting of six separate nodes that contain libraries, cafes, markets, a music archive, and a learning center. Nestled into an undulating series of hills and valleys imposed on the landscape, each node becomes an intimate site for community engagement. Weekly town meetings are held within, after school programs keep children busy, reading rooms provide spaces for silence and thought, and the cafÊ and study spaces promote socialization, inviting interaction between all age groups. From my living room window, I watch my children play outside on the hills. From my bedroom window, I look over the flower-filled gardens. In the evening, I wander through the Stiles Street networks, leading me to the music archive. I find my son and his friends listening to old records. On Saturday, I start my morning in Fairmount Park and meander through the Viola Street corridor, finding myself in front of another library. In the Spring, Summer, and Fall, my neighbors and I sell the flowers, grasses, herbs, and vegetation grown throughout our green network.
EXISTING INTERSTITIAL NETWORKS
UNOCCUPIED LAND
VACANT LOT: ABANDONED + PARKING
FUTURE LIBRARY SITE
VACANT LOT: GREEN + COMMUNITY
Map of Parkside, Philadelphia exploring potential networks across existing interstitial spaces and vacant lots, using attractors and repellers of negative behaviors depending on the vacant lots current appropraition.
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Found material analysese: compact discs and chain link fencing. These found “junk� materials were studied for their formal and atmospheric qualities and their physical transformations when woven together. This later influenced form-making strategies employed across the site.
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Interstitial Space
Vacant Lots
Solstice Shadows
Sunlit Land
Sunlit Vacant Lots
Generative Reflective Network
Subdivision of Sunlit Land
Positive/Negative Ground Condition Site diagrams of qualities which influenced the design of the library nodes and green network through vacant lots and interstitial spaces of the Leidy - Block.
Site plan of green netwowrk + library nodes.
NODE 01 | PHILADELPHIA MUSIC HERITAGE MUSEUM OUTDOOR PERFORMANCES: FIRST FRIDAY OF THE MONTH, 8PM MON - FRI: 4PM - 8PM SAT - SUN: 9AM - 8PM
NODE 02 | PARKSIDE CAFE OPEN MIC NIGHT: SATURDAY, 8PM - CLOSE MON - THURS: 7AM - 7PM FRI - SAT: 9AM - 12AM SUN: 9AM - 7PM
NODE 03 | CHILDREN’S LIBRARY + MUSIC EDUCATION CENTER MON - THURS: 7AM - 7PM FRI - SUN: 9AM - 12AM
NODE 04 | PARKSIDE MARKET HOURS DEPEND ON SEASON
NODE 05 | MUSIC ARCHIVE + LISTENING ROOMS MON - THURS: 7AM - 7PM FRI - SUN: 9AM - 10PM
NODE 06 | ARCHIVE + READING ROOMS MON - THURS: 7AM - 7PM FRI - SUN: 9AM - 10PM
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SHADOWS PRODUCED AT 12PM DURING WINTER AND SUMMER SOLSTICES
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MAGNETIC NETWORK PRODUCED BETWEEN CENTROID OF SUN-EXPOSED SITES
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REFLECTIVE NETWORK PRODUCED BETWEEN CENTROID OF SUN-EXPOSED SITES
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Map of Parkside, Philadelphia studying sun-lit vs shaded vacant lots and the potential networks produced between these lots.
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Honorable Mention | Student Architecture Exhibition | Michigan’s TCAUP
FALL 2013, STUDIO CRITIC: CLARK THENHAUS.
IMPOSTORS, MISFITS, & SECRET LANDSCAPES
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.
Primitive Square
Extrusion
Carving // Core As Privileged Void
Spaces linked by common space
Semi-Submerged
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 misfi t, 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 misfi tting 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 linework 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.
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-privileged-void 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
Site plan of Wolf Point, Chicago.
Axon exploring relationship between carved interior form and extruded exterior form, and sectional axon displaying privileged views found within the museum.