University of Pennsylvania -- Master of Architecture
University of Florida -- Bachelor of Design in Architecture
laura ellis
This portfolio is a culmination and documentation of my graduate career at the University of Pennsylvania and my undergraduate career at the University of Florida. In the upcoming future, I plan to create architecture that integrates and celebrates the natural creation right before us while additionally providing spaces the changing world needs.
contents
tilted depths
captivating visitors through the operation of titling
hotel milano
threading the past and future of milan’s water systems
Excavation taken of tilted forms create spatial configurations for art galleries and public spaces. The interplay of reliefs and transparent surfaces invites viewers to engage with the tilted perspectives both visually and experientially.
01 tilted depths
captivating visitors through the operation of tilting
site: philadelphia, p.a program: art museum
501 instructor: Daniel Markiewicz collaboration: individual
Tilted depths captivate visitors through the operation of tilting versus the extrusions of depths created by the relief.
Public art is everywhere in West Philadelphia. West Philadelphia has a rich history, with murals titling the city’s identity to unfold these visual narratives that celebrate the city’s history and showcase expression.
Programmatically, excavation of the tilted forms creates spatial configurations for art galleries and public space.
ELEVATIONS - south & east
The integration of tilted geometries and extruded reliefs embodies this layered narrative, inviting the public to explore the relationships between art, space, and history through its bold, geometric facade.
Whether you are a fan of art or not, public art is everywhere here. Therefore, in a way individuals are forced to look at this artwork. Artwork in return tilts viewers’ perspective to incline a person to draw toward an opinion.
In this public art museum, “tilting” symbolizes a deliberate disruption of balance and alignment. It aims to engage visitors actively.
The shift towards abstraction conveys the visitors’ emotions and concepts. Because, not everyone looks at art in the same way, everyone has a different opinion on it.
CHOISY - intricate layers of tilted depths
STREET VIEW - approaching the extrusions of depth
PHYSICAL MODEL
depths and physical model
Tilted Depths are a series of containers to hold these tilted perceptions, to create shifting of depth and movement.
The reliefs are extruded into the massing to adorn and laminate impressions on the exterior.
Programmatically, excavation of the tilted forms creates spatial configurations for art galleries and public space.
SECTION - series of containers & social configurations of public space
Colors and relief studies can employ bold geometric styles and immersive colors, to tilt emotions and connect viewers to appreciate the memories tied to the artwork, connecting with the history, architecture, and culture of the place.
The dual-skin design symbolizing the fluidity and loss of the city’s canals. This rippling facade creates a visual narrative, embodying the undulating effects of water and capturing the tension between past and present.
STREET VIEW - approaching the monster
02 hotel milano
threading the past and future of milan’s water systems
critic: Alfonso Perez-Mendez site: milan, italy program: hotel, water therapy collaboration: Acacia Li published: University of Florida
Hotel Milano is a vertical tower inspired by Milan’s historic water systems, combining a hotel and water therapy. Its ribcage and skin design reflects the fluidity of water and the loss of the city’s canals. The caged ribcage symbolizes the unrealistic hopes of younger generations conforming to traditional norms. The voids in the design represent the absence of Milan’s waterways, covered by modern infrastructure. The building emphasizes primary spaces and the concept of concealing the interior, creating a journey that mirrors the city’s water history.
This partner design project became part of my undergraduate Honors Thesis, published to fulfill Summa Cum Laude requirements at the University of Florida’s College of Design, Construction, and Planning.
Access the publication via the link below.
https://ufdc.ufl.edu/AA00088295/00001/pdf
BRACKETED SITE SECTION - the mystery of form and function
The skin and the ribcage connect to the building’s program and form, concealing the interior from the exterior. This design invites people to approach the caged structure without knowing what’s inside, relfecting the mystery and depth of Milan’s lost waterways.
INTERIOR - fluid layers
The interior mirrors the fluidity of water, with suspended walkways and layered spaces creating a journey of exploration.
BRACKETS - initial studies of the structure, hand drawn
To start to develop the systematics in the interior, a series of bracketed initial plan studies of the space were created. Following the same theories of Peter Zumthor’s experimental block studies to create the Therme Vals, Hotel Milano mimics those principles. As Peter Zumthor said,
“Sketching was a playful form of research without architectural models. I remember feeling greatly – freedom in pursuing issues of composition, working on them out on the basis of these block studies, giving them shape in spontaneous drawings and trying to understand them.”
These bracketed initial plan studies helped with scale, program, and created a musical rhythm for the interior.
groundwater hydrology
hydrologic studies
The contoured, elegance of the ribcage follows existing curving geometries of the waterways that are now covered. The ribcage is associated and hooks into the skin by tension trusses. Fluidity of skin reacts to the water narrative and unrealistic ambitions of the young generation reflected by the caging of the ribcage attempting to coalign the generation with orthodox norms.
Water can shape architecture by embodying its natural fluidity and challenging traditional orthogonal forms. It evokes wellbeing and calmness while creating spatial illusions. The ribcage and skin design mirrors water’s fluidity, while the voids symbolize the city’s lost waterways, replaced by modern infrastructure like roads and covered canals.
STREET VIEW - approaching the monster
SECTION - programmatic spaces
The composition of the main programs spotlighted by yellow masses, dictates a musical rotation of vertical ascension and of programmatic hierarchy.
program and exterior
PHYSICAL MODEL - massing
The massing model mirrors the Northern Snakehead’s invasive nature with fragmented forms and jagged edges. Its aggression translates to architecture as rigid structures break and adapt under external forces, becoming fluid and responsive.
In the dark depths of Bartram’s Garden, I glide silently, like a STEALTHY HUNTER in unfamiliar waters. I, the Northern Snakehead, slither silently beneath the rippling currents. UNSEEN, but NOT UNNOTICED. I am FEARED and reviled by those who do not understand the dance of life and death that pulses through my veins.
They call me an INVADER, nicknaming me “FISHZILLA” and “DEVILFISH”. I am an intruder in these Schuylkill waters. I pay no mind to those who dare to challenge my reign. To them, I’m an intruder; to me, I’m a CONQUEROR
In the deep shadows, I feel the pulse of Bartram’s Garden’s ancient rhythm, blending with my predatory instincts. It’s a survival dance against human mistakes. Beneath lily pads, I guard untold secrets of adaptation.
Humans, with their clumsy boats and futile control attempts, are mere spectators in my realm. They admire my sleek form but recoil at my power. They don’t realize I’m NATURE’S FURY, unfazed by their attempts to contain me.
I am the Northern Snakehead, top predator, ruling these murky waters. Let them gossip about me; let them shiver at my name. I’m more than a fish; I’m a LEGEND, A MYTH, A CREATURE OF THE SHADOWS, bound only by nature’s laws.
INK STUDIES - selected works of 4” x 6” on watercolor. 104 total The ink studies capture the snakehead’s aggression with bold strokes and sharp contrasts. This energy translates to architecture as motion and tension, where forms embody disruption and adaptability. 4” W x 6” L
NORTHERN SNAKEHEAD STUDIES - hand drawn, ink, digital drawn
This study dissects the Northern Snakehead’s anatomy and aggression. Its skeletal forms and muscular features inspire adaptable, modular architectural systems that mimic its invasive, fluid movements and ability to reshape environments.
DIAGRAM - how the fish becomes architecture
This diagram translates the interlocking joints of the fish into architectural plans. The structure mirrors the fish’s adaptability, with interlocked forms that allow habitat to invade architecture. These moments of invasion become fluid, creating flexibility within the design.
PLAN - interlocking through adaption
The plan reflects the interlocking joints of the Northern Snakehead, showcasing adaptability through flexible and interlocked forms. These moments of habitat invasion create fluidity and transformation, allowing architecture to blend seamlessly with natural rhythms and adapt to its surroundings.
YEAR 2100 - section through ruins for nature reclaims the built environment
The year is 2100. The site is fully submerged in water, and nature has invaded the structure, blending seamlessly with its framework. Animals and humans adapt to this reclaimed environment, creating a balance where architecture is transformed by its surroundings. This section reflects how the design mirrors the Northern Snakehead’s adaptability, allowing nature to conquer and redefine the space over time.
“Habitat invades architecture” reflects how the environment reshapes buildings over time, inspired by the invasive qualities of the Northern Snakehead. The structure mimics the fish’s skeletal framework, with a tectonic scaffold constructed using lightweight materials and interlocking joints. These components enable flexibility and adaptability, allowing the scaffold to integrate harmoniously with its surroundings.
Layered on top of the architectural drawings are the ink studies, which capture the snakehead’s aggression through bold strokes and sharp contrasts. This energy translates into motion and tension within the design, where forms embody disruption and adaptability. The scaffold system emphasizes seamless connections, modular growth, and adaptive transformation, mirroring the invasive resilience of the fish. Together, the scaffold and ink studies create a layered narrative, where nature and architecture evolve in response to their environment.
WATER VIEW - digital drawing, ink drawing
INHABITATED FRAMEWORK - digital drawing, ink drawing
APPROACHING THE INVASION - section of habitat invading architecture
This section shows how habitat invades architecture and the invasive quality of the Northern Snakehead transforming into the structure. Sharp edges define human-controlled spaces, creating a sense of rigidity and order, while curved bends signal where habitat begins to take over, blending architecture with the natural environment. As the structure nears the water, the edges grow sharper, reflecting the tension and resilience of the design as it adapts to the forces of nature.
The progression of forms mirrors the snakehead’s invasive nature, with architecture breaking and reshaping itself to coexist with its surroundings. This layered transformation emphasizes modular growth and adaptive flexibility, where the structure becomes part of its environment. The sharp-to-curved transition creates a narrative of coexistence, where the built form both resists and integrates with habitat, allowing the environment to leave its mark while redefining architectural boundaries.
reynoutria japonica. japanese knotweed. swimming and lap pool.
castanea dentata. americian chestnut. waterfall.
lythrum salicaria. purple loosestrife.
quercus. oak.
doctor fish. garra rufa. ichthyotherapy.
hot bath. duckling hydrotherapy. nature baths. hedgehog massage cold bath lounge. be one with the fish. salvelinus fontinalis. eastern brook trout. stumus vulgaris. european starling. ectopistes migratorius. passenger pigeon. channa argus. northern snakehead. phragmites neogobius melanostomus. round goby.
PHYSICAL MODEL - massing
The massing model mirrors the Northern Snakehead’s invasive nature with fragmented forms and jagged edges. Its aggression translates to architecture as rigid structures break and adapt under external forces, becoming fluid and responsive.
36” W x 48” L x 5” H
PHYSICAL MODEL - tectonics
The rigid, linear framework mirrors human control, while its layered complexity symbolizes habitat invading architecture. This system blurs boundaries, evolving and transforming over time to reflect the invasive qualities of the snakehead.
10” W x 48” L x 10” H
“Habitat invades architecture” shows how the environment reshapes buildings over time, much like how the simple forms in the diagram evolve. The painting’s layers and textures mimic this interaction, with colors and patterns representing how nature and time leave their mark on a building’s surface.
OIL PAINTING - tectonics
Linen Stretched Canvas 24” x 36”
AXONOMETRIC - division of ground and program
details
04 edges of performance
movement of art in orlando
site: orlando, florida program: public plaza, dance, music critic: John Maze
My structure emerges from extracting and identifying moments that stand out from surrounding buildings, using techniques like erasing, adding, and implementing their ideas. Colored glass panels celebrate movement and the beauty of art, while shading fins manage northern light to create gathering spaces for a break from the surroundings. This design contrasts the perfection seen by audiences with the pain dancers experience, blending visual beauty with the reality of performance.
SECTION COLLAGE
Study of the surroundings, series of images taken from the site collaged together
MOVEMENTS STUDIES - in pen
Study of body movement
Echoing the first floor, the second floor has offices, a library, dance classrooms, balcony of the theater, more changing rooms, and a storage room.
Movement is reflected in the colored glass and fins that curve and sway like dancers. While exploring the Orlando site, I noticed color used in various ways—like the stained glass of the church and the intriguing shadows outside the museum. Inspired by this, I incorporated colored glass panels to celebrate bodily movement. Different materials were used to create a dynamic façade. The shading fins help distill and dilute northern sunlight, enhancing the experience.
Level 2
THEATER - movement
Here the curvilinear ceiling structure mimics the body and rolls the audience heads downward to see the movement and art of the body come to life.
CLASSROOMS - interior
The small watercolors represent different transverse section cuts:
1. Blending, tying, and erasing away.
2. Separation to create a void for upliftment, providing a break from the surroundings (gathering and hangout space).
3. Spreading, splashing, smearing, and encircling for the main performance space.
4. Rolling, laminating, and impressing various materials to cover specific areas.
The long blue watercolor represents a longitudinal section of the site, emphasizing the contrast of distributing, bonding, and bouncing light while also reflecting the concept of continuous growth.
Dancers often experience exhaustion and pain from being on their toes all day. This design blends what the audience sees—perfection— with what dancers feel—the pain that comes from beauty.
Andrea Palladio Palladian Basilica (1549) - Vicenza, Italia
Carlo Scarpa Casa Borgo (1975) - Vicenza, Italia
Antoni Gaudí Casa Milà (1906) - Barcelona, España
05 travel sketches comparing façades
site: orlando, florida program: public plaza, dance, music critic: John Maze
In the Fall of 2021, I participated in the University of Florida’s School of Architecture’s Vicenza Program in Italy, just a short train ride from Venice. During my travels to eight different countries, I captured various architectural façades. The façade is the most important exterior element of a building, as it sets expectations, adds unique personality and character, and defines the overall feel. I noticed that façades either blend in with their surroundings or stand out from the crowd.
Andrea Palladio Loggia Valmarana (1565) - Vicenza, Italia
Andrea Palladio Palazzo Porto (1552) - Vicenza, Italia
Porton del Luzzo (1500) - Vicenza, Italia Vicenza, Italia
Colosseo (70AD) - Roma, Italia
7’ TALL MODEL - anamorphic projection coming to life
Our sarcophagus holds these memories and perceptions on the time in this world by adorning and laminating these perceptions on the outside.
collaboration: Laura Ellis, Sepideh Bayat, Kerun Wang, and Wenyu Wang
Our sarcophagus showcases anamorphic projection, suspension, and obfuscation to manipulate the perception of sunken reliefs.
A sarcophagus is a decorated container designed to hold remains and preserve personal history. Likewise, a memory is a mental container that safeguards our emotional connection to past events and people. However, just as a sarcophagus deteriorates with time, human memories can become distorted as time passes.
MEMORY DIAGRAM: human memory distorts over time
Relief studies taken from the containers on the right each showcase unique viewpoints of the final model. These perspectives blend to create new reliefs, highlighting how memories shift and distort over time. This process mirrors the manipulation of perception.
Design | Fall 2023
Section
Orthographic & Two point perspective
Detail joints Design | Fall 2023
MDF = 1/8”
copper wire (inside) = 1/16” wood glue EPS foam
rigid foam board= 1/2”
KD-HT stud = 3/4”
Our sarcophagus showcases anamorphic projection, suspension, and obfuscation to manipulate the perception of four captured moments. It conveys transitioning between worlds and personal retrospection on memories. By obfuscating these moments through anamorphic projection, this project highlights the subjective nature of memory perception. Our aim is to influence the audience's emotions and mindset, encouraging interpretation and introspection. Varying volumes symbolize life's highs and lows, while a grid measures time's constant march. Planar elements conceal anamorphic viewpoints, emphasizing individualized experiences. Colors and patterns evoke memories and emotions, prompting reflection. Relief elements add depth to the composition, engaging viewers in multifaceted perspectives and perceptions.
DIAGRAMS OF STRUCTURE
Our sarcophagus showcases anamorphic projection, suspension, and obfuscation to manipulate the perception of four captured moments. It conveys transitioning between worlds and personal retrospection on memories. By obfuscating these moments through anamorphic projection, this project highlights the subjective nature of memory perception. Our aim is to influence the audience's emotions and mindset, encouraging interpretation and introspection. Varying volumes symbolize life's highs and lows, while a grid measures time's constant march. Planar elements conceal anamorphic viewpoints, emphasizing individualized experiences. Colors and patterns evoke memories and emotions, prompting reflection. Relief elements add depth to the composition, engaging viewers in multifaceted perspectives and perceptions.
The facade, crafted from MDF and rigid foam board, connects to a KD-HT stud structure for stability. Volumes made from EPS foam attach through precisely notched joints, while copper wire secures the relief panels. The plywood base anchors the entire installation, emphasizing precision and layering to create an immersive experience. Each element reinforces the concept of blending memories and perspectives into a unified form.
Orthographic & Two point perspective
KD-HT Stud
Volume
EPS foam
Perspective
Perspective
Base
Facade
MDF & Rigid Foam Board
Structure
Plywood
CONSTRUCTION IMAGES
The construction process reveal the framework assembly, combining wooden scaffolding with layered reliefs. Each piece works together to bring the concept of “Distorted Perceptions” to life.
The orthographic views showcase the layered facade, while the perspective highlights anamorphic distortion. These angles emphasize how memory shifts based on viewpoint, blending clarity with distortion.
ARCH 501 Daniel Markiewicz
‘Scan Me'
CLOSE UP OF HOUSING MODEL - moments of interaction
The rotational spheres create moments for social interaction, layering movement and play into the Wanamaker Building. These modules bring light and life back, transforming it into a vessel for gathering and discovery.
18” W x 24” L x 56” H
07 social vessel
living, breathing vessel of social life
site: philadelphia, p.a program: housing
601 instructor: Scott Erdy collaboration: individual
The Wanamaker Building was once a spectacle for social interaction and innovation. The founder believed that inspiration and amusement should enrich everyday life and work. Wanamaker was home to the world’s largest organ, first department store, and even had a monorail weaving through its toy department. Wanamaker reflected a playful, interactive spirit by bringing the community together to create unforgettable memories.
However, the spectacle is now gone. The Wanamaker Building stands as a massive structure that lacks the light and life that once made it special. I want to restore its vibrancy by reimagining it as a space for movement, play, and interaction—a living, breathing vessel for social life.
SPECTACLE - Wanamaker was a spectacle for social interaction and innovation
Historical images showing how important wanamaker was to Philadelphia
SECTION - layers of interaction
Here cascading units arranged in cul-de-sacs, designed to foster community. Hollowed spaces introduce light and create vibrant courtyards, encouraging movement and social interaction within the reimagined Wanamaker Building.
LAYERS OF LIGHT AND INTERACTION - massing model
The massing model explores light-filled spaces and layered forms, reflecting the Wanamaker Building’s transformation into a dynamic hub for movement and play. These conceptual views highlight the interplay of mass and void, fostering connection and discovery.
SECTION ZOOMED IN - layers of interaction
Cascading units zoomed in to show how individuals move in the space
CRUISE SHIP VS. WANAMAKER - programmatic comparisons
Drawing inspiration from cruise ships, which layer activities and interactions, the reimagined Wanamaker Building will become a center of connection and discovery Hollowed-out spaces will allow natural light to flow in, creating courtyards and layered areas for gathering and exploration. The monorail will act as connective tissue, linking public spaces and residential units, encouraging movement and engagement across themed areas.
This diagram compares the cruise ship’s dynamic program (left) to the Wanamaker Building (right). Both layer housing, fun, and amenities to foster movement, interaction, and community, reimagining Wanamaker as a vibrant vessel for connection.
SOCIAL VESSEL PUBLIC COMMONS - the vessel of interaction
The Wanamaker Building, once a spectacle for social interaction, is reimagined as a vibrant vessel for movement and play. Inspired by the layered activities of a cruise ship, this transformation introduces hollowed spaces for light, a monorail for connectivity, and dynamic zones for gathering. The design restores Wanamaker’s legacy of inspiration and amusement, emphasizing joy, connection, and discovery.
queue poker face by lady gaga. bar. corona plz & thank you. bar seating.
PLAN - connective tissue of the monorail
The monorail weaves through the structure, linking public spaces and fostering architectural interaction. Units are organized into cul-de-sacs, strategically designed to direct and capture sound, enhancing the acoustic and spatial dynamics within the architecture. This layout prioritizes movement, connectivity, and a sense of community engagement. depths and physical model
monorail. so fun. black jack.
wheel of fortune. dollar storm.
rest. hang. vibe.
movable & rotational space. sweet dreams.
cook. love food forever.
INTERIOR VIEWS - layers of movement and connection
These interior views reveal the vibrant layers of activity within the reimagined Wanamaker Building. The monorail connects spaces across different levels, creating moments for interaction and discovery. Playful architectural elements such as spiral pathways and illuminated interiors promote movement, engagement, and a sense of community. The design fosters an environment where light, color, and space converge, emphasizing connectivity and dynamic social experiences.
This reimagined Wanamaker Building restores its legacy as a spectacle for Philadelphia, blending layers of interaction, play, and community. By weaving together light, movement, and gathering spaces, it becomes a living vessel for connection and discovery, inspiring a new era of social engagement.
FULL MODEL - layers of interaction
The sectional model showcases the layering of public and private spaces within the reimagined Wanamaker Building. The monorail wraps around the structure, weaving together residential units, courtyards, and public gathering spaces, creating a vibrant network of connectivity.
CLOSE UP OF HOUSING
AXONOMETRIC - division of ground and program
The massing highlights the distributed smaller vessels of “Urban Playscape,” creating a vibrant network of courtyards, plazas, and performance spaces. Residential blocks align with public areas, fostering local gatherings and movement while engaging with Rome’s urban fabric.
ground
08 urban playscape mixed-use development
in rome
site: roma, italia
program: public plaza, residential, design-tech high school
501 instructor: Alfonso Perez-Mendez collaboration: Acacia Li
Urban Playscape is a mixed-use development in Rome that engages inhabitants through smaller vessels distributed throughout the massing, creating a urban playscape that fosters local gatherings and movement. The residential blocks offer spatial and visual opportunities that align with the contours of adjacent public spaces. By carving out interior courtyards and balconies, the design aims to establish a metaphysical relationship between residential areas and attractor zones, emphasizing the creation of vibrant outdoor public space.
EXPLODED AXO - massing programmatic
SECTIONAL PERSPECTIVE - engaging connections
This section reveals how courtyards and public zones connect within the residential blocks, fostering movement and vibrant interactions in Rome’s urban fabric.
STREET VIEW - approaching the public plaza
The smaller vessels distributed in the massing situation themselves to engage inhabitants of the plaza, inner courtyards, and performance spaces. These formulate a topography or urban playscape, assesses the motions of local gathering and movement.
BRACKETED PLAN STUDIES - engaging connections
The smaller vessels distributed in the massing situation themselves to engage inhabitants of the plaza, inner courtyards, and performance spaces. These formulate a topography or urban playscape, assesses the motions of local gathering and movement.
laura ellis -- architecture portfolio
University of Pennsylvania -- Master of Architecture
University of Florida -- Bachelor of Design in Architecture
