Liz Stanfel Selected Work 2010-2016
LIZ STANFEL T: 619 207 8597 E: elizabeth.stanfel@gmail.com W: Lizstanfelarchitecture.com
EDUCATION RICE UNIVERSITY, HOUSTON, TX Bachelor of Arts in Architecture, Class of 2014 Cum Laude, GPA: 3.76/4.00
Bachelor of Architecture, Class of 2016 STUDIO ART CENTER ITALY, FLORENCE, ITALY Florence, Italy, Late Spring Semester 2012 Courses: Renaissance Art History, Photography
HONORS & AWARDS 2014 / WILLIAM WARD WATKIN TRAVELING FELLOWSHIP Rice University award for senior thesis 2014 / TAU SIGMA DELTA Rice University Recognizes intellectual achievement, effort and initiative as well as leadership and character
SKILLS FABRICATION Carpentry and Construction, 3-D printing ADOBE CS Photoshop Illustrator InDesign AfterEffects
DIGITAL MODELING Rhino (V-ray Rendering) Revit (novice) DIGITAL PHOTOGRAPHY CERTIFIED YOGA INSTRUCTOR Corepower Yoga, 2013
INTERMEDIATE SPANISH PIANIST
WORK EXPERIENCE DILLER SCOFIDIO RENFRO, PRECEPTORSHIP ASSOCIATE Fall 2014 - Summer 2015, New York, NY • Collaborated on a wide variety of projects including a residential tower, New York’s Museum of Modern Art, a public park in Toronto and a private island residence • Performed schematic design, concept diagrams, construction documents, material studies, vendor contact, site research • Created presentations for partners and clients, including physical models, digital and print materials
AGENCY-AGENCY, DESIGNER Summer 2014, Houston, TX • Aided in the design of the new Big Brothers Big Sisters headquarters in Houston • Produced multiple iterations of programmatic and formal concepts • Created visualizations for clients and for fundraising
HOUSTON ACTION RESEARCH TEAM MEMBER Parks and Urban Recreation Evaluation (PURE) Fall 2015, Houston TX • Constructed a modular tool to measure park quality in multiple categories • Developed presentation and paper to successfully communicate metrics and transition tool to iPhone app • PURE will be the first systematic measure of park quality applied in the City of Houston and will have a large impact on master planning
MINGEI INTERNATIONAL MUSEUM, CURATORIAL INTERN Summer 2013, San Diego, CA • Helped curate the exhibition, Three on the Edge, a retrospective look at the work of three native San Diegan architects James Hubbell, Kendrick Kellogg and Wallace Cunningham • Collaborated on concept, developed timeline of major works and oversaw inventory of material content
REFERENCES David Allin, Diller Scofidio Renfro, New York, NY <www.dsrny.com> Tei Carpenter, Principle, Agency-Agency, New York, NY <www.agency-agency.us> Elizabeth Vann, Director at Center for Civic Leadership at Rice University <https://ccl.rice.edu/students/act/hart/previous/> Christine Knoke, Director of Exhibitions, San Diego, CA <www.mingei.org>
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Content Visualization
Presentation Models
Diller Scofidio Renfro 2014-2015
Diller Scofidio Renfro 2014-2015
5 Big Brothers Big Sisters Agency-Agency Principle Tei Carpenter Spring 2014
MODEL PHOTOS
9 Snap Space
Rice University Prof. Ron Witte Spring 2016
Contents
17 Writersâ&#x20AC;&#x2122; BLOCK
Rice University Prof. Tei Carpenter Spring 2014
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Gradient Layers
Flexible Urban Fabric Rice University Prof. JesĂşs Vassallo Fall
Rice University Prof. Albert Pope Fall 2013
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Overlapping Infrastructure
Negotiated Boundaries
Rice University Prof. Neyran Turan Fall 2011
45 Pliable Soft Containers Rice University Prof. Dawn Finley Fall 2015
Rice University Prof. Grant Alfred Spring 2011
46 Rock Blocks
Rice University Prof. Danny Samuels and Nonya Grenader Fall 2010
47 PURE
Rice University Rice Center for Civic Leadership Fall 2015
Office work Diller Scofidio Renfro 2014-2015 Agency-Agency Summer 2014
Concept Visualizations Firm: Diller Scofidio Renfro Spring 2015
Concept drawings communicate an idea or intention for architecture that exist independent from a specific scheme. This selection of drawings were made for a Ferry Boat Terminal competition and a RFP for a university building, both in Toronto. 1.1-1.2 The RFP was for a small tower that houses a variety of cultural programs on a university campus. The collaged tower shows the various communities on campus that would have a relationship to the building. A series of initial massing studies shows the ways we were think about combining public and scholarly programs. 1.3-1.4 The drawings on the right communicate the potential for a building to augment climate in a park space to create a place of gathering and interest in the frozen winter landscape.
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1.2
1.1
1.3
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1.4
Presentation Models 2.1-2.2 SITE MODEL
Firm: Diller Scofidio Renfro Models were produced for a competition for a new ferry terminal in Toronto, Canada. The models were built in a period of a few weeks in New York and shipped to Toronto.
2.1
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2.3
60X36 in plexi, 3-d print Model was produced under the advisement of our partner Walter Hood Landscape
2.3-2.4 PARTIAL MODEL OF CANOPY 12x12 in laser cut basswood, plexi box with mirrored lid The fragment model was constructed to be suspended upside down in order to show the structural system of the laminated wood members.
2.2
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2.4
3.1
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Big Brothers Big Sisters Houston Headquarters Firm: Agency-Agency Summer 2014 Design Principle: Tei Carpenter Office building for 40 employees and community events Projected Completion: Fall 2016
A
team of two students, including myself, designed a new headquarters for Big Brothers Big Sisters Houston in the summer of 2014. Our work was funded by a faculty research grant led by Agency-Agency design principle, Tei Carpenter. The design provides flexible work space for 40 employees, and was thoughtfully developed with client input at multiple stages. The buildingâ&#x20AC;&#x2122;s thickened public face will give BBBS a new place for community gatherings and the switch back form announces its presence to the city.
3.1 STUDY MODELS 3X3 in paper Study models exploring the double slanted roof.
3.2 MODEL 12x12 in paper, museum boards Model shows the thickened public front.
3.3 VIEW: PUBLIC CONNECTOR The view shows the staircase connecting the lobby to other public programs.
3.2
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3.3
3.4
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SCALE: 1/16” = 1’-0”
Offices: 14 Open Work: 2 Phone Rooms: 2 Interview Rooms: 2 Meeting Rooms: 2 Match Activity Room: 1 Exhibition: 1 Cafe/Breakroom: 1 Kitchen: 1 Storage: 4 Event/Conference:1 Outdoor Space: 1
FIRST FLOOR PLAN
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SCALE: 1/16” = 1’-0”
SECOND FLOOR PLAN
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SCALE: 1/16” = 1’-0”
THIRD FLOOR PLAN
Big Brothers Big Sisters Big Brothers Houston Big Sisters Houston
THING START SOME THING START SOME
Big Brothers Big Sisters Big Brothers Big Sisters
BROTHERS S HERS OTTER BRSIS SISTERS
START SOMETHING START SOMETHING
3.5 MODEL Model photo shows a large event space on the third floor. The space is connected to the stair in the lobby and can be rented out at night.
MODEL PHOTOS
S BIG SISTERS BIG BROTHERS BIG SISTERS BIG BROTHER
3.6 ELEVATIONS
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SIGNAGESTUDIES STUDIES SIGNAGE
Elevations showing possibilities for signage.
3.7
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Rice University B.Arch work from six studios at Rice University 2010-2016
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4.1
In and Out of
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Snap Space The Culture Contract /ARCH 402/Spring 2016 Professor: Ron Witte Area: 19,000 m2 Program: Museum of 20th Century Art Site: Kulturforum, Berlin, Germany
S
nap Space borrows a 19,000m2 program of gallery, institutional and public spaces from a competition organized by the Prussian Cultural Heritage Foundation. The new museum of 20th century art is sited in the Kulturforum, bordered by the Neue Nationalgalerie, Berlin Philharmonie, and St. Matthews Church. The project aims to intensify the relationship between public and art by bringing together two spatial types in alternating bands. The organization of the “C” Shape forms and voids, in plan, create a masking effect that collage space together. New visual connections between gallery and public programs like bar, design shop, auditorium and coat check are formed. These collaged spaces are what I have defined as “Snap Space.” Snap Spaces are “hidden” organizations of the museum that structure the relationship between public-institution and art. The “C” shapes create momentary alignments that bring the relationship between public spaces and gallery in and out of focus. This creates a collage of high and low culture; as art is at times the back drop of public, or public a backdrop for art. The repeated shapes and strategies that are used to separate and connect the two worlds also work to visually blend them together.
4.2
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4.3 Elevation The building is wrapped in a fritted glass. In places where light is not desirable, the glass is mirrored and the city is reflected back on itself behind the frit pattern.
4.3
4.4 SNAP SPACE Snap Space set ups three program sequences in the building. (From left) The ENTRY SNAP sets up a circulation sequence that includes the lobby, focus gallery, cashier/coat check, childrenâ&#x20AC;&#x2122;s loft, and an exterior courtyard. The PUBLIC SNAP contains a portion of the restaurant, bar, shop, auditorium, and snap galleries on the third floor. The INSTITUTIONAL SNAP houses the art library, offices, reading room, and print galleries.
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NON-SNAP SPACE Non-Snap Space operates as a continuous swath of programs that is intersected by the voids of Snap Space.
4.5
4.6
4.5 LOOKING ACROSS SNAP SPACE
4.6 LIBRARY-OFFICE SNAP SPACE
4.7
4.7 SECTION OF INSTITUTIONAL SNAP SPACE
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basswood, plexi
OPEN OFFICE
EXHIBITION: ART AFTER 1960 LARGE FORMAT GALLERY
TICKETED POINT
MECH.
SNACK BAR
MECH.
MECH.
SPECIAL EXHIBITION: PRINTS VIEWING/ REST AREA
BOOK SHOP
MECH.
SPECIAL EXHIBITION: PRINTS
TICKETED POINT
VIEWING/ REST AREA
BOOK SHOP
LOADING
DELIVERY
MEDIA SPACE
EVENT SPACE
TEMORARY STORAGE
SEATING
DF
DF
DF
DF
DF
DF
FREEZER
DAS KAPITAL RAUM
EXHIBITION: ART AFTER 1960 PUBLIC DISPLAY ROOM
RESTAURANT
PREP KITCHEN
EXHIBITION
ART LIBRARY HELP DESK
PERIODICALS
ART LIBRARY
MECH.
ART LIBRARY
VARIABLE COLLECTIONS
BELOW
VARIABLE COLLECTIONS BELOW
VISITOR SERVICES
FOCUS EXHIBITION BELOW
DAS KAPITAL
RAUM
DF
DF
DF
STAIRS TO SHOP MEZZ.
MUSEUM SHOP
MECH.
LOBBY SEATING
DF
DF
DF
GROUND FLOOR PLAN
EXHIBITION: ART AFTER 1960 LARGE FORMAT GALLERY
OPEN OFFICE
SNACK BAR
CASHIER COATCHECK
LOCKERS
ART FAIR
19.1
17.2
PAINTING RESTORATION
MECH.
MARX COLLECTION SNAP GALLERY
CASHIER COATCHECK
LOCKERS
SECOND FLOOR PLAN
PAINTING RESTORATION
MECH.
MARX COLLECTION SNAP GALLERY
EXTERIOR COURTYARD
MECH.
EXTERIOR COURTYARD
MECH.
THIRD FLOOR PLAN
19.0
10.7
6.1
12.9
12.4 M
MECH.
MECH.
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MARX COLLECTION SNAP GALLERY
CHILDREN'S LOFT
The model is built in six pieces that correspond to the banding of snap and non-snap spatial types.
MARX COLLECTION SNAP GALLERY
CHILDREN'S LOFT
4.8 SECTIONAL MODEL
4.9 AUDITORIUM-BAR-SHOP SNAP
4.10 SPECIAL EXHIBTION SNAP
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4.13 SECTION OF PUBLIC SNAP
4.11 SHOP-BAR SNAP
4.12 TRANSITION
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4.15
4.16
4.17
4.18
4.17 COAT CHECK - LOBBY SNAP SPACE
4.18 CHILDREN’S ART - COURTYARD SNAP SPACE
4.19
4.19 SECTION OF ENTRY SNAP
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5.1
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Writers’ BLOCK Producing Production/ARCH 402/Spring 2014 Professor: Tei Carpenter First Prize William Ward Watkin Traveling Fellowship Area: 10,000 sf Site: Cambridge
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riters’ BLOCK is a live/work co-op that would rise out of the demand from a self-publishing world. The model that I am proposing brings the services of freelance editors and graphic designers into the same space. In this model, the creation of content and the imagining of the final product take place on a single plane. The building would also provide an outlet for distribution and give authors the benefit of a group identity. The architectural implications of Writers’ BLOCK is driven by the relationship between part and whole. The buildings address the needs of a writer by providing spaces for them to work independently and independently together. The project is made up of three primary programs: writers’ live/work units, rentable office space, and collective shared space. Embedded in each unit is some relationship to an overall structure. The units come together to inform the nature of collaborative work and shared resource spaces in the building. The housing units are contained in the bands that are then cut by volumes of shared collective space. Micro communities will be formed within the building through the organization of units in plan and section. The writer’s unit provides a living and individual working space for the writer that could be rented for a flexible period of time. The “service” units provide rentable office space for an individual or group of free lance graphic designers, editors, printers etc.
5.2
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5.1 CONCEPT DIAGRAM
5.2 NIGHT VIEW
5.3 IN-FILL STRATEGY
Bars of apartment program are intersected with boxes of shared program.
At night the homogeneous bars of apartment program are illuminated.
The bars in-fill into vacant city lots. Flexibly combining to adjust for various conditions.
5.4 Sections
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5.5 Section Perspective Shared programs are highlighted: fitness, cafe, work, gathering.
5.6 APARTMENTS The floor plan is an example of a floor with writersâ&#x20AC;&#x2122; apartment access.
5.7 SHARED SPACE This floor plan is an example of a shared space floor (2,3, and 5) in which shared program spaces intersect the bars. All apartments are duplexes and there is no entry to the apartments on these floors.
5.6
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5.7
5.9
5.10
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5.11
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5.12 5.9 COLLABORATIVE SPACE
5.10 MODEL SHOWING COLLABORATIVE SPACE
5.11 ROOF
5.12 APARTMENT
Gradient Layers
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Inner City, New Town/ARCH 401/Fall 2013 Professor: Albert Pope Partner: Ian Griffith Project Architect: Tsvetelina Zdraveva System for development Area: 6 square miles, Site: 5th Ward, Houston
I
nner City, New Town is an ongoing study that explores the potential of urbanism to combat the effects of global climate change through densification and the planning of an open space network. The site is the Fifth Ward, Houston, TX. The proposed scheme of gradient banding involves the organization of residential, civic, commercial, industrial, and open space programs into specific figures that are then layered on top of one another within the boundary of the 5th ward. After all program figures have been layered, these figures are then pixilated, revealing residual program layers and creating a variety of scales for different program blocks. The Ward is developed overtime. Each new development growing around space set aside for open space.
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6.1 Isometric Plan of Ward
6.2
Residential
Commercial
Open Space
Industrial
Civic
RESIDENTIAL
INDUSTRIAL
PROGRAM %
COMMERCIAL
6.3
6.4
FIFTH WARD
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RESIDENTIAL FIELD: residential program exists as an evenly distributed continuous fabric that permeates throughout the entire ward. It forms the base layer upon which other programs are imposed.
COMMERCIAL BANDS: commercial program exists as vertical bands and serve to connect adjacent districts on the North/South axis.
INDUSTRIAL FINGERS: industrial program exists as fingers that stitch together sectors separated by freeways. The gaps between the fingers allow for the infill of public programs.
OPEN SPACE BANDS: open space exists as horizontal bands that connect districts in the East/West direction CIVIC CLOUD: Civic program exists as a point cloud. Each civic point serves to centralize and define the scale of individual neighborhoods.
6.5 OPEN SPACE view of pedestrian paths through an open space block.
Pockets of OPEN SPACE take a variety of forms from natural landscape to civic parks, dog runs and soccer fields.
6.6 STREET PATTERN Large blocks of low continuity are tied together with a more continuous grid-like fabric that permeates the whole ward, resulting in a scheme that synthesizes the efficiency of the urban grid with the atmosphere of the a suburban landscape.
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6.7 OPEN SPACE BLOCKS
are layered on top of other program figures, creating datums that organize different programs and facilitate interaction between them.
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6.9
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7.1
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Flexible Urban Fabric FORMAT, ARCH 301, Fall 2012 Professor JesĂşs Vassallo Master Plan Area: 136 acres Site: Former KBR site, Houston Bayou
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his conceptual project creates a format for a housing development that can be applied on the scale of the master plan and the individual unit. The system begins with the juxtaposition housing types of different densities made from a common unit size. Together the bands create a vibrating grid or mesh. Major infrastructure lines cut the mesh and the form is cinched at these points. A faceted linear park stitches the forms together. The system is flexible because the width of the form can change depending on projected demand. The ordering of the program bands can adjust to current market conditions and social desires.
7.2
7.3
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7.4 FORMATION DIAGRAM
Program Bands
Infrastructure
Cinch
7.1 AXON
shows the layering of the street grid, the built fabric and the faceted park.
7.4 VIEW along bayous edge. 7.3 VIEW from the center of site looking Cut
Faceted Park
east towards downtown Houston.
DENSITY 1 232 UNITS
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11%
ONSTRUCTION
units
11%
construction
265
UNITS
232 UNITS
CONSTRUCTION
ONSTRUCTION
25%
ONSTRUCTION
55%
CONSTRUCTION
232
11%
25%
11%
1795 UNITS
25%
CONSTRUCTION
11% CONSTRUCTION
55%
CONSTRUCTION
7.6 DENSITY ONE: Contains one and 265
UNITS
DENSITY 3
120 UNITS
1795 UNITS
25%
two story single family homes that are connected by shared patio space.
CONSTRUCTION
9% CONSTRUCTION
55%
CONSTRUCTION
1795 units
55%
construction
120 UNITS
9% CONSTRUCTION
ONSTRUCTION
55%
ONSTRUCTION
7.7 DENSITY THREE:
multistory apartment buildings with single and duplex units.
7.5
7.8
7.9
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7.8 Possible outcomes of system 7.9 Graph shows the possible change in projected demand over time
7.10
8.1
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Overlapping Infrastructure Inside Out/ARCH 202/Fall 2011 Professor: Neyran Turan Program: New Bureau for the Study of the Arts Area: 40,000 Site: Houston (West University)
O
verlapping Infrastructure is a study of how multiple infrastructures can interact to form different experiences in a continuous space. In this project, I defined infrastructure as frameworks that organize movement. The two distinct entrances from city level set up separate experiences of movement throughout the building. The ground that slopes down is an entrance for cars. It provides a collective open space for the public to gather and interact. The second ground is anchored by the form of the auditorium and provides more direct access for pedestrians. The third ground of the building creates its own city like landscape. The enclosed spaces are galleries that are accessed on different terrace levels. A secondary infrastructure for the building are the three exterior voids. The voids create three modules that effect the roof, structure and programmatic aspects of the project. The facade of the building is a digital fabric that could be used as an outdoor theater. 8.1 BUTTERFLY SECTION reveals relationship between roof and interior.
8.2
8.3
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8.4 SECOND FLOOR PLAN
8.5 AXON
showing the movie plex ground, open gallery ground and close gallery ground
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8.6
8.7
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8.8
9.1
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Negotiated Boundary House ARCH 201/Spring 2011 Professor Grant Alford Program: residential house Area: 2000 sf Site: Houston (Montrose Area)
T
he project began with a case study from which I extracted a single architectural strategy that is projected into the design of a conceptual house. The conceptual thesis is derived from a close study of the Double House by MDRDV, in which an S-shaped wall divides two separate townhouses with in a single structure. The partition wall is the formal representation of the literal and spatial negotiation of the two residents. I re-used the concept architecturally by creating a system of freeform modular units that negotiate within the boundary of a container. The units have two variations in material that create hard and soft boundaries. The variation in material thickness and circumference of the units decides how they negotiate in the box. The more compromised, elevated spaces are private, resting spaces whose form is created by hard boundaries of the gathering spaces. 9.1 CONCEPT MODEL In the early development of the project, concept models were used to explore the relationships of â&#x20AC;&#x153;softâ&#x20AC;? boundaries with in a hard edge.
9.2
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9.3 EXPERIMENTAL MODELS
The design was developed through a series of spatial models. Even model built of the previous, developing another layer of complexity or finesse.
9.2 MODEL The large central gathering space is accessed from an open air cell on the ground floor
Level 4
9.4 PLANS
3/16”=1’-0”
Site Plan 3/32”=1’-0”
Level 4
3/16”=1’-0”
Level 3
3/16”=1’-0”
Level 2
3/16”=1’-0”
Level 1
3/16”=1’-0”
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Level 3
Level 2
3/16”=1’-0”
3/16”=1’-0”
26 ft
18 ft
8 ft
4 ft
Level 1
3/16”=1’-0”
Arch 102 / Rice School of Architecture / EX.10 Projecting the ____ House / Critic: Grant Alfred/ Spring 2011 /Elizabeth Stanfel
26 ft
18 ft
8 ft
4 ft
Negotiated Boundaries House Plans
9.5 AXON The axon shows the relationship beArch 102 / Rice School of Architecture / EX.10 Projecting the ____ House / Critic: Grant Alfred / Spring 2011 / Elizabeth Stanfel
tween the frame, and the “soft” and “hard” boundary cells.Negotiated Boundary House Axonometric
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Pliable: Soft Containers
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ARCH 523 / Prof. Dawn Finley / Fall 2015 Pliable is a design seminar that utilizes sewing as a form making and organizational technique.
Rock Blocks â&#x20AC;&#x2039;ARCH 101/Fall 2011 Professor Danny Samuels and Nonya Grenader â&#x20AC;&#x2039; The conceptual toy was created by making a series of cuts in a block of poplar wood. The split block was then drilled with holes and columns to support the blocks and provide greater varieties and opportunities for stacking.
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CUTS
This diagram shows the progression of cuts used to create this compact yet complex toy.
access
maintanence
social environment
context amenities aesthetics facilities safety
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Applied Research: Houston Parks Department Rice Center for Civic Leadership Director: Elizabeth Vann Fall 2015
H
ouston Parks and Recreation Department (HPARD) asked the Rice Center for Civic Leadership to determine a way to better understand the relationship between park quality and user improvement preferences. A team of four undergraduate students, including myself, conducted a literature review and field research in order to develop a new qualitative tool. The PURE provides a qualitative means by which parks can be assessed along eight distinct aspects of park quality, and was created after an analysis and critique of multiple other instruments. It uniquely combines field based evaluation with other available public information to provide a holistic understanding of park quality. The PURE is the first systematic measure of park quality applied in the City of Houston and will contribute important new data about master planning priorities for HPARD.
user input
Future steps
++ ++ + + ++ + ++ + + ++ + +
MAINTENAN
AMENITIE
PURE
Aspects of park quality
riverside | enter park name
MAINTENANCE
CONTEXT
SAFETY
AESTHETICS
RICE UNIVERSITY | HOUSTON ACTION RESEARCH TEAM
Parks and Urban Recreation Evaluation
SOCIAL ENVIRONMENT
ACCESS
FACILITIES
AMENITIES
RICE UNIVER RICE UNIVERSITY | HOUSTON ACTION RESEARCH TEAM
RICE UNIVERSITY | HOUSTON ACTION RESEARCH TEAM
tool testing tool review
lit review
Sept.
riverside gragg
park visits
defining aspects of park quality oct.
coding questions
meetings with Hpard
pure
Drafting pure
riverside southland eastwood
revisions formatTing
testing pure
nov.
dec.
RICE UNIVERSITY | HOUSTON ACTION RESEARCH TEAM
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EXPOSED, Digital 2012
Liz Stanfel Selected Work 2010-2016