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KRIST E N P E R N G
S E L ECTED W ORKS F ROM TH E BACHE LO R O F S C I E NC E IN A RCH ITECTU RE PRO GR AM AT T H E O HIO STATE U N IV ERSIT Y
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TABLE OF CONTENTS
TA B L E O F CO NT E NT S
p. 04
p. 12
p. 18
The Worker ’s Museum
Twist Tower
Piles Under Piles
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p. 24
p. 28
p. 34
Energy Towers
Precise Imprecision
Phalli’s Dress
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WORKER’S MUSEUM
W O R K E R’S M U S EU M L a B rea Tar Pits in Lo s A nge l e s, Cal ifor ni a G u i C o mp etitio n | 1 st Place F i nal i st Autumn 2019 // Group // Rachel Schmitmeyer + Sydney Strawser Studio Critic // Karen Lewis Role: site research, conceptual development, program organization, facade design, landscape design, site model design, diagrams, facade oblique, model fabrication Los Angeles is a city of contradictions. The city presents itself with a Hollywood image, harboring some of the most expensive zip codes in the nation. However, Los Angeles is a blue-collar city at its core, home to the largest working oil field in the United States with a history of oil exploitation. Just as Los Angeles is a city of contradictions, so is the museum. In Paula Findlen’s essay, “Containment: Objects, Places, Museum”, she discusses the difference between the museum as a study and the museum as a gallery. Findlen defines the study as one self-contained room, and the gallery as a place to pass through. The gallery is a space where knowledge is simply on display, and the study is defined by knowledge in the pursuit of wisdom. The Worker ’s Museum combines the study and gallery by making visible the laboratory and specimen storage, visitors are presented with the depth of research and study that makes the museum. On the ground floor, the public amenities are separated from the specimen storage; however, the path creates a visual connection between the two. These separate spaces then blend into one space on the floors above, challenging the privatization of the institution by uniting the two functions. The museum evokes the image and the undergirding of labor evident in Los Angeles.
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WORKER’S MUSEUM
Tar Pits
Peter Zumthor’s LACMA
Lake Pit
Pavilion for Japanese Art 06
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Active & Display Relate to Research & Exhibit
The building footprint is representative of the two different types of tar pits: one active research and one display. The front facade bends to face both the excavation tar pits and the display tar pit, Lake Pit.
Ground Floor Plan by SS The Main Node
The building acts as a gate that opens up onto the park and connects visitors from the street to the main node of the park. That node is the intersection of Lake Pit, Pavilion for Japanese Art, and the new LA County Museum of Art.
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WORKER’S MUSEUM
Second Floor Plan by SS
Section A by RS 08
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Two Buildings Become One
Nesting Volumes
Sectional Relationship
The building combines the study and the gallery.
The research laboratory is made more private as a floating volume.
The roof caves in to acknowledge the research lab and specimen storage below.
Laboratory maintains privacy
Visitors are Presented with Depth of a Museum
Section B by RS 09
WORKER’S MUSEUM
The Facade
The Getty Center
1997
Paul Smith, Melrose
2005
Automotive Museum
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2015
By sampling other iconic LA buildings, the museum appropriates travertine facades with a scaled-up image of travertine in pink. The color references the Instagram famous wall.
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Shearing The Plane
The monolithic mass is carved away by shearing exterior surfaces, sculpting a form that accommodates multiple publics: creating covered outdoor spaces, theaters, and points of entry.
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TWIST TOWER
T W IST T OW E R C owo r king O ffic e D own t own Co lum b us, O hio Spring 2019 // Partner // Natalie Perri Studio Critic // Andrew Cruse Role: conceptual development, program organization, diagrid modeling, diagrams, floor plans, model fabrication The WeWork© company proposes to generate flexible shared workspaces. The millennial driven workspace aims to encourage collaboration with a redesign of the typical office typology. Twist Tower establishes itself with a rectangular base that becomes lofted into a square. Simultaneously, as the building lofts it rotates 45 degrees. The move of the twist creates potential difference on ever floor and an iconic office tower against the Columbus skyline. The plans are organized based on a Piet Mondrian attitude of offsetting lines from the square circulation core, designing within the limits of squares and rectangles. A Bürolandschaft approach is applied in the office furniture arrangement, creating a landscape of organic circulation patterns. The diagrid treatment of the facade enforces the twist and allows for maximum use of open office space surrounding the elevator and stair core. Unique daylighting situations appear as a result of the diagrid structure. The glass from the diagrid often pulls back based on the Mondrian plan strategy. This division of space creates multiple differing amenities such as outdoor terraces, winter gardens, and meeting rooms. This also allows for the creation of shared office space while dispersing lifestyle amenities of the gymnasium, daycare, supermarket, local cafes, and restaurant. Localized circulation provides varied routes and transparency between floors encased in sculptural stairwells.
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TWIST TOWER
Restaurant Coworking Gymnasium Cafe Coworking
Daycare Coworking
Cafe
Lobby
Coworking
Supermarket
Program Diagram
Restaurant Level
New office program disrupts monotonous working levels.
Construction “Mockup” Model
Lobby Level 14
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West Facing Section 15
TWIST TOWER
Large Coworking Level
Medium Coworking Level
Supermarket Level by NP
Daycare Level by NP 16
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Small Coworking Level
Gym + Coworking Levels
Small Coworking w/ Cafe Level
Above: Daycare Below: Lobby
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PILES UNDER PILES
P IL ES U N D E R P IL ES C a rd b o a rd Installatio n H y p o style Hall at Knowlton Hal l Spring 2018 Group // Melissa Folzenlogen, Dylan Hart, Puying Liu, Grace Sun Studio Critic // Jonathan Rieke Role: precedent research, shim design, plans, sections, process diagram, elevation, photography, fabrication, assemblage, compilation of all documentation into a final book
The term hypostyle, comes from ancient Greek, meaning “under columns”. The studio was tasked to recreate a hypostyle hall for the Knowlton School. Each team was responsible for a 10’x10’x10’ pavilion comprised of columns and a roof constructed from eight foot cardboard. The eighteen individual cardboard pavilions were combined into one installation under the portico of Knowlton Hall. Our design presented four columns and a canopy made with a pile building agenda. Mass-produced modular units are used to simulate an assemblage art form similar to the work of Andrew Kovacs. Inspired by the formless nature of Formlessfinder ’s Bag Pile, Autodesk Maya was used to simulate the physics of dropping blocks. To rationalize and formulate a way of building the piles simulation in the real world, we designed shims similar to the green wedges used in the fabrication of Blocks of BlaBla by First Office. The readymade cardboard blocks are used as a medium to construct a designed composition, this formula suggests a pile aesthetic.
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PILES UNDER PILES
House Addition (2015) Andrew Kovacs
Bag Pile (2011) FormlessFinder
pile1 /pīl/ noun noun: pile; plural noun: piles 1. a heap of things laid or lying one on top of another. “he placed the books in a neat pile” synonyms: heap, stack, mound, pyramid, mass, quantity
Blocks of BlaBla (2015) First Office pile2 /pīl/ noun noun: pile; plural noun: piles 1. a heavy beam or post driven vertically into the bed of a river, soft ground, etc., to support the foundations of a structure.
Left: The second definition of piles is present in the orange structural posts. 20
Above: A catalog of labeled shims allowed for precise fabrication of the Maya simulation.
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PILES UNDER PILES
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ENERGY TOWERS
E N E RGY T OW E R S Re s ea rc h L ab o rato ry | West Campus O h io St a te Univers ity | Co l u mbus, Oh i o Spring 2019 Studio Critic // Andrew Cruse Process: concrete studies, precedent study of louis khan’s richards medical research laboratories, site visit, study models, rhinoceros, illustrator, relief model
An energy research laboratory will be the first building built per Ohio State’s master plan for the west campus. This plan aims to turn the fields of west campus into a research campus. The design of the laboratory draws upon on the idea of the collective versus the individual. The collective is represented by the public ground floor while the individual is represented by the service towers. The ground floor holds more accessible program and connection to the campus ground. Both public and private amenities exist on the ground floor, such as the private corn garden for energy research and the cafe garden for eating and socializing. The roof grid structure is denser in gathering areas, creating a gradient light field signaling proximity to a public amenity. The towers are always pairing office spaces and clean laboratories together. The research towers have thicker floor slabs than the office towers that accommodate for clean laboratory systems. The research towers are coded with smokestacks on the rooftops allowing for public awareness. Concrete fins are the main structure of the building allowing for extreme openness and light to flood into the towers and ground floor. 24
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Site Plug + Concrete Study
Relief Model
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ENERGY TOWERS
Tower Plan
Ground Plan 26
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South Facing Section
North Facing Section 27
PRECISE IMPRECISION
P REC I S E I M P RECIS ION H o n o rs Res earc h | Ideas o f t h e Fut u re Fea t u re d o n s uc kerPUNCH dai l y Spring 2020 Group // Courtney Masters, Salma Abdelrahman, Xhoana Nikolli Studio Critic // Sandhya Kochar + Dow Kimbrell Role: conceptual and aesthetic development, catalog design, all representation for prototype number two, final video editing
Precise Imprecision lies in the realm of the known. This design method seeks to deploy the familiar in unfamiliar ways and argues that error is part of architecture’s essence: mistranslations, contradictions, happy accidents, and wicked problems pervade our systems of design and building, almost always yielding surprising aberrations. These aberrations have the potential to become design agents. This project proposes to construct “the error ” in precise ways therefore presenting precise imprecision as a designed mistake. We imagine and deploy possible construction errors within suburbia to evaluate the overly propagated typology of the house. Our prototypes create the new, using familiar sets of constructions methods that are deemed as mistakes to create new houses with unexpected spatial qualities. The four prototypes have deployed only a percentage of the catalog. The catalog uses four sets of imprecise techniques but can be added to infinitely based on how mistakes are generated. Based on this we propose a new kind of urbanism that infiltrates the everyday. Our proposal calibrates the mistake as an opportunity to invent and to transform its political territory of dissent into a new territory for architecture.
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PRECISE IMPRECISION
The Catalog
1-5: Mis-measure
6-10: Mis-align
The catalog deploys imprecision as a kit of parts.
Mis-measure deploys over scaling and incorrect uses of standard prefabricated materials.
Mis-align expands unfamiliar thresholds to include misaligned expectations.
11-15: Bad Corner
16-20: Not Plum
Bad corners create new doors and apertures.
Not plumb introduces new wall conditions.
It uses four sets of imprecise techniques but can be added to infinitely based on how mistakes are generated.
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No. 01
No. 02
No. 03
No. 04
The Prototypes No. 01 explores a restrained use of the catalog by
No. 02 resembles a familiar shotgun house but
working with a standardized image of a single unit house.
creates atmospheric tension in the interstitial spaces.
No. 03 reverses the materiality of the house
No. 04 references gordon matta-clark’s “splitting”,
by unveiling every layer of construction as the designed aesthetic of the house.
juxtaposes exterior materials with interior conditions and inverts the threshold.
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15:46 - No. 4 | Peeling Wall
15:42 - Enter No. 4 | Folding Roof
12:26 - No. 3 | Interior Courtyard
12:11 - Enter No. 3 | Extended Wall
7:45 - No. 2 | Occupying the Wall
7:36 - Enter Prototype 2 | Mis-align
4:40 - No. 1 | Mis-measure
3:47 - Enter Prototype 1 | Not Plum
PRECISE IMPRECISION
Below: Stills from Final Video https://youtu.be/ShYIEAlpDGM
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16:54 - No. 4 | Punctured Boundary
16:34 - No. 4 | Splitting
13:10 - No. 3 | Prop Wall
13:03 - No. 3 | Unveiling Materials
8:40 - No. 2 | Punched Nook
7:53 - No. 2 | Exterior Interior
6:00 - No. 1 | Fractured Wall
5:53 - No. 1 | Bad Corner
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PHALLI’S DRESS
P H AL L I ’S D R E S S S E RV it e c ture Fas hio n S c ha u : Scu l pt ure D e s ig n Co m p etitio n | 1 st Pl ace February 2019 // Partner // Courtney Masters Critics // Jackie Gargus, Kay Bea Jones, Karla Trott, Emily Mohr Process: visit yayoi kusama: infinity mirrors exhibit, research, sculpture studies, draw, collect trash, stuff, sew, spray paint, model
Suit (1962)
The annual Fashion Schau is hosted by SERVitecture, a student organization, that raises money for Dress for Success Columbus. Students are tasked with designing and fabricating an outfit made out of unconventional materials according to a theme. In accordance to the theme of Sculpture, our design pays homage to Yayoi Kusama. Her extensive oeuvre is an obsession with the female struggle, mental health, and sexuality. Suit (1962) and Blue Coat (1965) present questionings of sexuality, specifically the juxtaposition of phalluses and the female body. Influences from artistic movements like Abstract Expressionism and Pop Art can be seen in Kusama’s colorful yet minimal works.
Blue Coat (1965)
The production process started with the collection of trash such as water bottles, aluminum cans, and plastic bags from our homes and Knowlton Hall. To assemble the dress, we stuffed men’s tube socks with these recycled materials. The stuffed socks were then sewed to a sweater. We finished the piece with red spray paint in an effort to physically solidify and aesthetically unify the dress. This created another juxtaposition between hard and soft in the materiality of the dress. The viewer expects a plush textile but is met with the crunch of plastic. 34
Materials Diagram by CM
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