LORI A. NORTH Selected Works Clemson University 2015 - 2018
Throu gh my a rch i t e ct u a l edu c ati on, I ’ v e fo u n d t h a t I t e n d t o gravi tate t o wa rd s i m pl e , e l e ga n t desi gns and o ft e n ch a l l e n ge m yse l f t o c onfor m to a st r i ct a r gu m e n t fo r de s i gn operati ons. I e n j o y t h i s ch a l l e n ge bec au se the e n d re s u l t i s a pro j e ct fi l l ed w i th co n v i ct i o n . C o n v i ct i o n i s somethi ng I a l wa ys s t r i v e fo r i n m y work bec au se t h a t i s wh e re I fi n d t h e passi on to p ro pe l t h e de v e l o pm e n t o f a desi g n. P a ss i o n a n d co n v i ct i o n a re the fou nda t i o n o f m y a spi r a t i o n t o bec ome an a rch i t e ct . T h e s e l e a d t o exc i tement fo r de s i gn wh i ch l e a ds m e to pu sh the bo u n da r i e s o f m y a bi l i t i e s wi th eac h ne w pro j e ct .
A B O U T
M E
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Where Sky Meets Earth
13 Montepulciano Cantina
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Urban Form
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Freehand Drawing
C O N T E N T S
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WHERE SKY MEETS EARTH ARCH 251 | Architectural Foundations 1 Fall 2016 Clemson University Professor Dave Lee
The following project is an open air viewing structure located on a mountainside in a state park. Drawing on earlier projects and knowledge of tectonics, I used the boolean method as my catalyzing design operation.
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WHERE SKY MEETS EARTH
1.1
T h e P ro ce s s o f C a r v in g The process of carving is meant to form a new relationship between earth and sky. The mass carves into the earth and the sky carves into the mass through voids left by the boolean operation. Through these voids, light is filtered in from above into the depths of the mountainside and inhabitable spaces for experiencing the exchange between the two worlds are created.
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1.1 Final Solid-Void Model 1.2 Wireframe Showing Prisms Carving 1.3 Wireframe Showing Prisms Carving 1.4 Wireframe Showing Solid Remaining
1.5 Wireframe Showing Solid Remaining 1.6 Final Solid-Void Model 1.7 Final Solid-Void Model
1.2
1.3
1.4
1.5
1.6
1.7
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A
1.8
B
1.9
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1.8 Elevation 1.9 Site Plan
1.10 Section Cut B 1.11 Cut Plan A
A
1.10
B
1.11
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URBAN FORM ARCH 350 | Urban Contexts Fall 2017 Clemson University Senior Lecturer Julie Wilkerson
Through this project, I examined the city fabric of Accra, Ghana through the lens of figure ground. This project was completed in collaboration with Niki Antunez. Hand drawings, digital diagrams, and analyses were completed with mutual effort.
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ACCR A, GHANA LORI NORTH & NIKI ANTUNEZ
SCALE: 1� = 1 MI
KEY MAP: CITY EXTENTS
2.1
A cc ra , G ha n a Accra, the capital of Ghana, is a vast and densely populated city. As of 2013, the population had reached 2.3 million with a density of 24,836 per square mile. This characteristic makes it difficult to distinguish a clear edge of the city through a satellite view. Located on the Gulf of Guinea, Accra was the capital of the British Gold Coast from the late 19th century to the early 20th century. This led to various colonial influences throughout the city’s development. The topography is made up of dry plains which slope gently from the coast and a water way that winds north through the wester side of the city.
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2.1 Key Map (City Extents Map)
2.2 Hand Drawn Figure Ground of Accra, Ghana
2.2
This binary view of the city allows us to see the density, grain, and patterns of the city fabric. There are various organizing systems and patterns imposed over one another. Western European colonization heavily influenced this city’s expansion through the development of segregated neighborhoods into the 1920s. As European settlers pushed natives further from the city center, lack of regulation led to the development of a crowded and jumbled texture in many areas. Later, after gaining independence, several city planning attempts left their mark in the city’s fabric.
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P A T H W AY T H R O U G H T Y P O L O G I E S
2.3
A cc ra , G ha n a The various ordering systems layered together provide the opportunity for a pathway that offers experiences in each. This diagram was inspired by a diagram by Peter Eisenmann in which he took the grid of a house, copied it and layered in ontop of itself, offset and adjusted a bit each time, and then drew a path through the voids. Here, I did the opposite wherein I first drew a path through the city, as if it were a hallway in a house with different rooms opening off to the sides, and then attempted to simplify it until it became a series of rectilinear suggestions of rooms and paths. This pathway can be understood as both typological and chronological. It begins in the heart of a cosmic grid in the oldest part of the city, transitions into an industrial strip and after crossing the river passes into a section of residential ordering of both grids and winding streets; pre-modern, modern, post-modern.
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2.3 Pathway Through Typologies Diagram 2.4 Diagram Marking Core of City as What is Bounded by Ring Road 2.5 Diagram Documenting all Figures
SCALE: 1” = 1 MI
Along Shorelines 2.6 Diagram Showing Grid System Redirecting Outside Ring Road 2.7 Diagram Showing Competing Grid Systems
SCALE: 1” = 1 MI
2.4
2.5
2.4
2.7
Ring Road winds around the center of the city and creates a clear boundary between “inside” and “outside”. This road is a piece of modern infrastructure, however it resembles the medival plan of a city placed inside a ring-shaped wall. In Accra, this “wall” is made up of Ring Road and the coastline. Over time, a series of ordering systems have been imposed over one another in Accra. In blue, the cosmic grid springs from the original city center. One of its fingers extends north and becomes a defining edge for the major gridiron portion of the city. Binding these and offering access inside the center is a radial order, defined most prominently by Ring Road.
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MONTEPULCIANO CANTINA ARCH 350 | Urban Contexts Fall 2017 Clemson University Senior Lecturer Julie Wilkerson
A small infill project in an Italian hilltown for a couple looking to open a cantina for wine tastings and wine cellar tours. The couple also wished to have a small dwelling space for anything from weekend to extended stays.
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M O N T E P U L C I A N O , I TA LY
0’
500’
1000’
NORTH
KEY MAP: CITY EXTENTS
3.1
Mon te p u lc ia n o, I ta l y Montepulciano, Italy is a medival hilltown known worldwide for its wine. Specifically, the Vino Nobile. Its narrow, windy streets, Italian piazzas, and unique topography create a dynamic backdrop for a small cantina.
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3.1 Key Map: City Extents
3.2 Figure Ground Map
0’
100’ 200’
NORTH
3.2
The site, marked in red, has been vacant since the 19th century after an earthquake caused the previously existing building to fall. The site is located along Via Ricci, one of the major veins of the city. Via Ricci runs along the highest elevation of the city, meaning at the location of our site and its void, there is an incredible view to the vineyards and mountains beyond.
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1. Figure ground of city with Piazza Grande and site called out.
2. Piazza Grande perimeter figures with outline.
3. Outline isolated as a character.
DWELLING DWELLING RETAIL & SMALL TASTING ROOM LARGE TASTING ROOM
CELLAR
4. Character applied to building facade.
5. Character adjusted for walls and floor plates.
6. Floor plates determined by character.
C I T Y PA R T I
Pia zz a a s Facade The Italian piazza is a piece which functions as a pause, a meeting point, and a connection point. Piazza Grande is a cornerstone of Montepulciano’s city fabric. Taking its characteristic outline, I applied it to the facade and will have it become a void extending through the building. I intend for this void to frame the view and preserve it from Via Ricci, connect the monolithic facades and cause the barrier of a wall to become a meeting point, and connect the two street levels.
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3.3 Massing Model
3.4 Parti Model
3.3
3.4
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MODELS
3.5
3.6
M a s s i n g to S t r u ct u ra l The void now dictates the placement of the floor plates. Service components (restrooms, elevator, egress stairs) are quietly aligned along the north wall, while the void and the floor plates hanging off from it contain the main programatic spaces.
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3.5 Massing Model 3.6 Spatial Model 3.7 Spatial Model 3.8 Final Model with the Front Facade
Removed 3.9 Final Model from Via Sasso Elevation 3.10 Structural Model
3.7
3.8
3.9
3.10
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DWELLING 58’-0”
DWELLING 46’-0”
RETAIL & SMALL TASTING ROOM 34’-0”
LARGE TASTING ROOM 20’-0”
ELEVATION FACING VIA RICCI SCALE: 1/8” =1’
CELLAR 0’-0”
3.11
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3.11 Front Elevation: Facing Via Ricci
3.12 Rear Elevation: Facing Via Sasso
DWELLING 58’-0”
DWELLING 46’-0” RETAIL & SMALL TASTING ROOM 34’-0”
LARGE TASTING ROOM 20’-0”
ELEVATION FACING VIA SASSO SCALE: 1/8” =1’
CELLAR 0’-0”
3.12
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ASSO VIA S
REST.
V IA R IC C I
STREET ACCESS
CELLAR
GROUND FLOOR: CELLAR SCALE: 1/8” =1’
3.13
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3.13 Ground Floor Plan
3.14 First Floor Plan
ASSO VIA S
REST. O.T.B. O.T.B.
O.T.B.
V IA R IC C I
O.T.B.
LARGE TASTING ROOM
FIRST FLOOR: LARGE TASTING SCALE: 1/8” =1’
3.14
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ASSO VIA S
REST. STREET ACCESS (ENTRY)
O.T.B.
O.T.B.
V IA R IC C I
O.T.B.
RETAIL
SMALL TASTING ROOM
SECOND FLOOR: RETAIL & SMALL TASTING SCALE: 1/8” =1’
3.15
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3.15 Second Floor Plan
3.16 Third Floor Plan
ASSO VIA S
O.T.B.
V IA R IC C I
O.T.B.
PRIVATE KITCHEN
PRIVATE LIVING AREA
PRIVATE GARDEN
THIRD FLOOR: DWELLING SCALE: 1/8” =1’
3.16
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ASSO VIA S
V IA R IC C I
BEDROOM LOFT
ENSUITE
FOURTH FLOOR: DWELLING SCALE: 1/8” =1’
3.17
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3.17 Fourth Floor Plan
3.18 Programatic Axon
DWELLING
RETAIL & SMALL TASTING ROOM ON GRADE WITH VIA RICCI
EGRESS STAIR ELEVATOR RESTROOMS
LARGE TASTING ROOM
CELLAR ON GRADE WITH VIA SASSO
3.18
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DWELLING 58’-0”
DWELLING 46’-0” RETAIL & SMALL TASTING ROOM 34’-0”
LARGE TASTING ROOM 20’-0”
LONGITUDINAL SECTION
CELLAR 0’-0”
SCALE: 1/8” =1’
3.19
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3.19 Longitudinal Section: Cut A
3.20 Transverse Section: Cut B
DWELLING 58’-0”
DWELLING 46’-0” RETAIL & SMALL TASTING ROOM 34’-0”
LARGE TASTING ROOM 20’-0”
TRANSVERSE SECTION
CELLAR 0’-0”
SCALE: 1/8” =1’
3.20
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F R E E H A N D D R AW I N G ARCH 351 | Field Studies Spring 2018 Charles A. Daniel Center, Genova, Italy Professor Henrique Houayek A series of drawings made on site at various landmarks during my travel through Italy and other European countries.
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F R E E H A N D D R AW I N G Learning to sketch has been one of the most rewarding aspects of my education. After getting comfortable using pens and markers and learning to capture the essence of a place rather than focus too much on details, sketching became an enjoyable and relaxing activity for both travel and day to day routine.
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4.1
4.1 San Agostino Cloister, Genova, Italy
4.2 Notre Dame Cathedral, Paris, France
4.2
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MODELS M a s s i n g to S t r u ct u ra l The void now dictates the placement of the floor plates. Service components (restrooms, elevator, egress stairs) are quietly aligned along the north wall, while the void and the floor plates hanging off from it contain the main programatic spaces.
4.3
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4.3 Arch of Titus, Rome, Italy
4.4 Duomo, Florence, Italy
4.4
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C ONTAC T EDU CATI ON E X PE RI E N CE A FF IL I AT I ON S SK IL L S
LORI
A.
NORTH
lorin@clemson.edu 864.517.5838
CLE M SON UNIV ERSITY May 2019 Bachelor of Arts in Architecture Minor in Business Administration 3.8 gpa Tau Sigma Delta, Phi Kappa Phi
DE SI GN ED FOR DOW NTOW N, L L C Summer 2017 Design Intern
CO R N E RSTONE CONSTRUC TION Summer 2016 Design Intern
A M E R I CAN INSTITUTE OF A R CHITEC TURE STUDENTS (AIAS) President Elect, Clemson Chapter Forum Site Selection Committee Member
F R E E DOM B Y DESIGN H A BI TAT FOR HUMANITY Adobe Illustrator Adobe Indesign Adobe Photoshop Rhinoceros Revit AutoCAD
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