LISA KNUST Architecture Portfolio Selected Works 2018 - 2020
LISA KNUST Curriculum Vitae
Philadelphia, PA | e: lisa@knusthome.com | c: 812.598.5472
Education 2019 - 2022 | University of Pennsylvania Philadelphia, PA
Master of Architecture
2015 - 2019 | Ball State University Muncie, IN
Bachelor of Science in Architecture Summa Cum Laude
Experience 2019 | BSU College of Architecture and Planning Materials Lab Assistant Muncie, IN
Assisting with the organization and distribution of building materials as well as designing and executing material displays, poster, and other events.
2018 | BSU College of Architecture and Planning Digital Design Mentor Muncie, IN
Assisting and mentoring department underclassmen with various software, including Rhino, Grasshopper, Photoshop, Illustrator, and Revit. Maintenance and assistance of laser cutting.
2018 | Ratio Architects Architectural Intern Indianapolis, IN
Master and site planning, and preliminary schematic design of K-12 renovation and addition. Construction documentation and administration of KAR office in Carmel, IN.
2017 | Lamar Architecture + Design Architectural Intern Newburgh, IN
Schematic design, project development, rendering and visualization efforts, construction documentation, and client relations for various retail, office, and religious projects.
Involvement 2019 -
| Women in Design
Member
2018 - 2019 | Aggregate Publication
Co-Editor in Chief, Editorial Chair
2016 - 2019 | American Institute of Architecture Students
President, AIA-AIAS Student Representative
2018 | Sigma Tau Delta
Honor Society Fraternity
daniel@formany.net 2017 | Freedom by Design phone
Fundraising Chair
Awards | Exhibits | Publications 2020 | Pressing Matters 9 Discontinuous Continuity
Weitzman School of Design Student Journal
2020 | Speculative Collections Discontinuous Continuity
Featured Exhibit at Penn Museum
2018 | MKM Steel Competition Transit Station
First Place Individual
2018 - 2020 | Aggregate Publication Various Works
Ball State Architecture Department Student Journal
2017 - 2019 | Glue Publication Various Works
College of Architecture and Planning Student Journal
2017 | IHLA Wood Competition Columbus Community Center
Honorable Mention
2015 - 2019 | Dean’s List
Earning a semester GPA of higher than 3.5
Skills 3D Modeling Rhino Grasshopper Revit Maya 3DWings Sketchup 3D Scanning
Graphics Photoshop Illustrator InDesign Keyshot V-ray Enscape
Fabrication 3D Printing Laser Cutting CNC Milling
Johnathan Lamar Lamar Architecture + Design jlamar@lamar-arch.com 812.202.9689
Josh Coggeshall Studio Professor jrcoggeshall@bsu.edu 765.702.8802
References Daniel Markiewicz Studio Professor daniel@formany.net phone
01
Curriculum Vitae
05
Discontinuous Continuity
17
Ghosts of Tokyo
27
Transit Station
| an archive extension to the Penn Museum
37
| housing that embodies its residents
Typological Disfigurations
63
| study of boolean operations + texture applications
Millenial Dwelling
53
| celebrating a city, its people, and its visitors
Climbing Folly
45
| generating new space from the latent potential of poche
| loss of identity through coding manipulations
Stitch Glitch | questioning the latency of a familiar object
CONTENT
01 | D I S C O N T I N U O U S C O N T I N U I T Y University of Pennsylvania Critic | Daniel Markiewicz Location | Philadelphia, PA Penn Museum Year | 2019
In reimagining an archive extension to the Penn Museum, Disconnected Continuity looks at the potential of the “fourth wall” and completing the remaining side of the Stoner Courtyard. This “fourth wall” is established through a meeting of three points of extension, and guided by the three sets of program incorporated into the overall addition. The first extension comes from the east wing of the courtyard, expanded the administration and education facilities present; the second is from the west, building upon preexisting gallery and exhibition space. The final wing emerges upward from underground, maximizing upon its untapped potential for secure, climate-controlled archive storage. Collectively, it forages a continuous loop around the courtyard, despite its appearance of disconnect above ground. The form itself developed upon a collective of design elements built up through exercises over the course of the semester. A prominent element was a regulated grid consisting of thirty degree intersections that governed all shifts and transitions from the orthogonal grid in both horizontal and vertical orientations. The resulting sense of slippage and suspense was fostered to promote framed views that conceal and reveal the existing museum depending on the viewer’s position. While this slippage breaks the overall form of the addition, the facade continues and invisible thread that visually connects the three extensions into a cohesive whole. Disconnected Continuity establishes a to the Stoner Courtyard, illustrating the and modernization of the museum, paying homage to existing museum and its
new gate rebranding while also rich history.
05|06
graduate | university of pennsylvania
isometric chosiy
one | discontinuous continuity
07|08
plan|aerial
aerial plan
plan|third level
graduate | university of pennsylvania
one | discontinuous continuity
09|10
longitudinal section
graduate | university of pennsylvania
hardwood planks on top floor substrate concrete slab on metal decking steel shadow box panel drywall carbon fiber interior windowsill exterior facade detail
thermally insulated glass carbon fiber exterior windowsill aluminum cladding
11|12
one | discontinuous continuity carbon fiber exterior windowsill thermally insulated glass aluminum cladding aluminum window frame aluminum substructure steel frame mineral wool insulation fire resistant plasterboard
thermally insulated glass carbon fiber interior windowsill drywall
mechanical duct work hardwood planks on top floor substrate concrete slab metal decking ceiling grid drop ceiling detailed wall + floor section
graduate | university of pennsylvania
one | discontinuous continuity
13|14
graduate | university of pennsylvania
one | discontinuous continuity
15|16
02 | G H O S T S O F T O K Y O Ball State University Critic | James Kerestes Location | Shibuya, Japan Shibuya Crossing Year | 2019
Ghosts of Tokyo explores the latent potential within the poche of hospitality structures found in Shibuya, Japan. Furthermore, it investigates the formal typology of the hotel and the viability of its idiosyncratic nature of contemporary domesticity within its dynamic position of the urban landscape. Originating with the simplest of hotel typologies, a series of x-rays, density extractions, and poche formations produced a vast vocabulary in which a high-rise building of new programs was manufactured upon. Located at the famous pedestrian crossing, the Shibuya intersection, Ghosts of Tokyo examines the cultural history of Japan and its intersection with the urban context present today. Overlap between the two, offered criteria for new program of the hotel typology; while remnants of the original hotel remained, the rest of the program was reshaped by Japan’s long standing relationship with water. The traditional and utilitarian necessity of public bath houses throughout Japan, and the strong economic role the sea and its marine life play into the daily life of Japanese, assisted in the reshaping and development of a historically aware, but urbanistically present high-rise. Visualization of the project distilled Japanese representational techniques, specifically those present in Japanese graphic novels and of qualities found within the cyber punk genre. Cinematic pacing and compositional strategies such as aspect-to-aspect ratios were also used to assist with the guidance of form and program development as well as in enriching the overall visual story.
17|18
undergraduate| ball state university
Poche Genrating + Reading Given a generic rectangular extrusion, featuring a simple repeating floorplan of 12’x12’ hotel rooms and a central core, small sections of stacked floors were extracted from the massing and “x-rayed” through a series of renders. The produced render set examined different angles and overlay found within these extracted chunks. Areas of high density and activity were evident due to the darkening overlay of translucent material; an alternative poche. As a result, these areas of high density were extracted as 2D shapes and overlaid and extruded into the original hotel massing at its obtained angle. Once extruded through the massing, data either internally or externally located to the extrusion could be manipulated and erased. New cuts through the massing would then offer an altered reading, producing new poches that were overlaid on one another, and hybridized. The final series of hybrid floorplans and poches directly translated into primitives that built upon one another and evolved into the final form of the new high rise.
1 9| 2 0
two|ghosts of tokyo
x-ray 1
x-ray 2
open
^generic hotel with extracted chunk sample + floorplan
x-ray 3
extracting poche from x-rayed chunks of generic hotel^
undergraduate| ball state university
poche extraction series 1 | x-ray 1
poche extraction series 2 | x-ray 2
poche extraction series 3 | x-ray 3
two|ghosts of tokyo
21|22
hybridized floorplans |overlays of poche extraction
undergraduate| ball state university
two|ghosts of tokyo
23|24
undergraduate| ball state university
two|ghosts of tokyo
25|26
03 | T R A N S I T C E N T E R Ball State University Critic | Josh Coggeshall Location | Gary, IN Gateway Park Year | 2018
Intended as a space of gathering and celebration, the Gary Transit Center takes note of the cultural heritage of Indiana through its Native American practices, as well as from the natural geography found in the north: the sand dunes. Much like the built mounds of the Native Americans, the transit center emphasizes function and connectivity, situated towards the heart of Gary and opening its doors to the community as well as those surrounding the city. This newfound hub becomes a mixing bowl of people coming and going from different communities, fostering relationships and building bridges with neighboring cities. Furthermore, this center becomes a point of celebration, marking the point of arrival to Gary and offering travelers and locals their first glimpse into the city. The influence of the sand dunes can be seen in the physical appearance of the transit center, mounding up and rising above and over the tracks. The fluid sweeping and sloping form establishes a smooth, nearly seamless transition from the natural world to the built, offering up green space that fades into the structure and invites people to explore the site. Additionally, the mounded form acts as a built-in berm to the train tracks, assisting in dulling the unwanted noise of passing trains and shielding the city from the otherwise drab appearance of the tracks. The result is a new direction for the city of Gary; one that puts its people first and creates a space that rises and ascends towards a stronger, more connected community and future.
27|28
undergraduate|ball state university
Exterior Cladding 8’ x 10’ kalwall translucent skin panels glass inlay
wayfinding glass skylights various sizing
Upper Structural Frame 10” round HSS tubing 8’ x 10’ o.c.
Spaceframe 8” round HSS tubing 8’ o.c.
Lower Structural Frame 10” round HSS tubing 8’ x 10’ o.c.
Upper Level train platforms waiting + flex space 13700 sq ft
Lower Level offices
2 x 2100 sq ft
waiting 2 x 6000 sq ft
tickets 2 x 2700 sq ft
restaurants 2 x 5000 sq ft
retail 8 x 1600 sq ft
bus terminal uber + taxi pickup
three|transit center
29 | 3 0
binder-jet powder print of concourse section
undergraduate|ball state university
Skin kalwall translucent 8’ x 10’ panels with glass inlay
Primary Structure 10” circular HSS
Secondary Structure 8” circular HSS chords
Tertiary Structure 10” circular HSS
Skin System
31|32
three|transit center kalwall exterior paneling extruded aluminum composite sheet metal + plastic sheet gutter sheet steel bent to shape top truss, steel tube node joint
interior chords, steel tube
bottom truss, steel tube
Skin to Structure Connection
hollow structural member
connector bolt threaded end + aperture jam nut fixed nut set screw node joint
Joint to Joint Connection
undergraduate|ball state university
main concourse lobby
three|transit center
33|34
covered train depot
undergraduate|ball state university
three|transit center
35|36
04 | C L I M B I N G F O L L Y University of Pennsylvania Critic | Ezio Blassetti + Danielle Willems Location | Philadelphia, PA Schuylkill River Trail Year | 2019
Climbing Folly examines properties of photgrammetry and extracted geometries of a common household objects. In this project, the extracted object was a samll, potted succulent,. From the pot of the succulent, a hexagonal solid unit was established to form the basis of a 24’ x 24’ x 36’ box. This box served as the foundation for a public climbing folly to be placed in a park adjacent to the Philadelphia Museum of Art. Looking at the organic components of the succulent, specifically the physical leaves, another unit was established, however, much less regular and adorned with thel leaves’ natural texture. This organic unit was developed as a tool to begin a subtractive process within the established box. Looking towards the layered, three pronged structure of each leaf unit, a simple “rail” was created in which the leaf unit was arrayed along. The arrayed leaves were subtracted from the original mass to form a hollow that took on three loosely connected areas. As a climbing wall, these three hollowed spaces come together to create a continuous montage in which the climber or passerby could navigate from one end of the box to the other, all while continuing to experience different levels of climbing intensity and forms of movement. The natural texture of the leaves allow for a built in texture upon the walls of the climbing unit, offering footholds and extrusions to grab hold of. The reversed smooth side of the leaf unit conversely provides for intermittent plateaus throughout the structure, allowing users to pause and sit for a moment, whether they be in need of a climbing break or want to enjoy a view of the scenic Philadelphia skyline.
37|38
site plan | contour lines of 10’
graduate|university of pennsylvania
1
3
2
4
1 | original artifact: succulent 2 | extraction of data from artifact 3 | application + evolution of folly 4 | isometric of final climbing wall iteration
four|climbing folly
39|40
top | plan, cut at + 4’-0� bottom | front elevation
graduate|university of pennsylvania
four|climbing folly
41|42 left | north elevation center | longitudinal section right | south elevation
graduate|university of pennsylvania
four|climbing folly
43|44
05 | M I L L E N I A L D W E L L I N G Ball State University Critic | Josh Coggeshall Location | Unspecified Year | 2018
Millennials have earned themselves a reputation as being a generation unlike those of them before. Millennials are a diverse group of young individuals that strive on transparency, flexibility, and connectivity; they are collaborative and curious, technology driven and hardworking. While it is clear this generation stands out from the rest, it can often times be difficult for millennials to freely express this unique individuality and set of characteristics that drive them. As a result, this millennial dwelling strives to offer this group of young adults an opportunity for a home that is as unique and flexible as they are. Breaking form the typical orthogonal grid that seems to dominate the housing market at present, the Millennial Dwelling opts for a smooth series of ribs that is as flexible and free-flowing as the millennial and as sleek as the technology in their hands. The curvature of the form allows for two softly defined living space within the home. Building upon the ideals of transparency and connectivity, these “soft� spaces promote a coming together in a centralized common space, initiating a collaborative and communicative nature with residents of the dwelling. However, each resident can take comfort in their own personal space when craving a little extra privacy. The rib system allows for the unique form, while also incorporating a portion of the structural system. At either end, curtain walls open up the dwelling, deepening the transparency of the residence and offering natural light throughout. The penetration of natural light is aided as well by the offsetting of the ribs, and the introduction of clerestory openings.
45|46
undergraduate|ball state university
5
floorplan | third
4
3
floorplan | second
2
floorplan | f i r s t
bottom to top 1 | initial form from spline boundary lines 2 | addition of threshold passageway + subtraction of form for skylights 3 | contouring + stretching of form 4 | structural ribs 1
5 | compiled form on stilt supports
five|millennial dwelling
47|48
structural grid
undergraduate|ball state university
five|millennial dwelling
49|50
undergraduate|ball state university
five|millennial dwelling
51|52
translucent resin model
06 | T Y P O L O G I C A L D I S F I G U R A T I O N S University of Pennsylvania Critic | Ezio Blassetti Location | Unspecified Year | 2019
Typological Disfigurations examines common platonic solids and simple bouncing agents throughout the application of coding and script based techniques. Combined, the result is the formation and unearthing of patterns, relationships, and alternative readings within these simple programs. Bouncing agents are assigned to track their path, marking internal patterns that develop within each individual solid. Variations in these bouncing agents, from starting angles and volumetric placement within the solid, offer a wide range of results and emerging patterns, as well as the ability to recognize similarities between variables. These agents additionally are assigned the ability to deform (or not) the faces of the solid it is interacting within. As agents intersect faces of the solid, the affected face is pushed outward and the integrity of the solid is modified. The quantity of face interactions can be controlled and, thus, monitored to illustrate how such patterns and manipulations are derived, and furthermore, how alternative readings can be formed from these geometries. Patterns, layering, and densities can be extracted from the projections of the bouncing agents, lending themselves to influence and aid new forms and complexities. The ultimate goal is that these simple elements transform the way in which common typologies and geometries are viewed and interpreted, allowing new and alternative design techniques and readings to be explored and built upon.
53|54
graduate|university of pennsylvania
45°
45°
x y
45 platonic solid studies| attractor
x z
y
45 platonic solid studies| no attractor
55|56
six|typological disfigurations
x
x y
60°
z
y
60°
45 platonic solid studies| attractor
60 platonic solid studies| no attractor
graduate|university of pennsylvania
six|typological disfigurations
57|58
resulting cube disfigurations
graduate|university of pennsylvania
six|typological disfigurations
59|60
resulting sphere disfigurations
07 | S T I T C H G L I T C H Ball State University Critic | James Kerestes Location | Unspecified Year | 2018
Stitch Glitch was a short alternative design investigation that explored latency within contemporary design mediums and tools. In this investigation, familiar objects, such as Stitch from Lilo and Stitch in this case, were utilized in order to tap into new design opportunities and alternative readings of these familiar objects. In the study, the object, Stitch, was altered and manipulated digitally through the use of a 3-dimensional model and its corresponding coded language. The coded language was disrupted through strategies of both the removal and addition of data, pattern guided alterations of values, and systematic rearrangement of coded lines. The resulting manufactured glitch would vary greatly in correlation to the technique, or combination of techniques, applied. Inadvertent patterns emerged as a byproduct as well, enriching the manipulated form and offering an additional layer of misreading the original form. The intent of the design experiment was to rationalize design moves while understanding and developing a procedural logic that would allow for a new design language. This language in particular emphasizes an object’s digital DNA and the informed manipulation of it. The entire process was organized and cataloged by the means of alteration applied, allowing patterns, as well as the success or failure of specific manipulations, to be clearly identified.
63|64
undergraduate| ball state university
procedural taxonomy cataloging code manipulations and resulting patterns
seven|stitch glitch
65|66
glitched binderjet powder print