L O R I A. NO R TH Selected Works 2016 - 2019
L O R I A . N O R TH Selected Works B.A. Architecture | Clemson University 2016 - 2019
01 | Contents
I N T R O DUCT I ON Through my architectual education, I’ve found that I tend to gravitate toward simple, elegant designs and often challenge myself to conform to a strict argument for design operations. I enjoy this challenge because the end result is a project filled with conviction. Conviction is something I always strive for in my work because that is where I find the passion to propel the development of a design. Passion and conviction are the foundation
of my aspiration to become an architect. These lead to excitement for design which leads me to push the boundaries of my abilities with each new project. I love the process of conceptual, abstract design and enjoy the translation of these explorations to technical, practical representations. This portfolio demonstrates my ability to design through both of these lenses.
CO N T E X T S 03
United States Embassy to Brazil: Chancery and Consulate
15
Montepulciano Cantina
27
Museum of Architecture
35
Urban Form
T E C T O N I CS 41
Tectonic Explorations
47
Where Sky Meets Earth
CO MP E T I TI O N S 53
The Barn
61
Devoiler
03
41
53
F RE E H A N D DR AWI N G
69
RESUME
77
03 | United States Embassy to Brazil
U N I T E D STAT E S E M BA SSY TO B RAZIL: C HA N CE RY A N D CONSULATE ARCH 351 | Precast Concrete Morphologies Fall 2018 Clemson University Dr. Michael C. Kleiss
The two major themes of the studio were using precast concrete as a main building material, and representing the United States to another country via chancery and consulate design.
The most interesting challenge was creating an interesting, appealing, and well representative design while confined to strict security constraints.
05 | United States Embassy to Brazil
M O D E L E X P LO R AT I ON Massing & Facade After creating a series of study models, I determined two themes to guide the project. First, there would be intersecting volumes to represent two countries embracing one another and partaking in a reciprocal relationship. Second, there would be fluid gestures to
further symbolize the AmericanBrazilian relationship, to mirror gestures in Brazilian works of architecture such as the Cathedral of Brasilia, and to evoke the sense of the American flag blowing in the wind.
06
07 | United States Embassy to Brazil
FINISHED FLOOR MATERIAL GROUT & REINFORCEMENT MESH 4’ HOLLOW CORE SLABS HSS STEEL GIRDER SUSPENDED CEILING
WIDE FLANGE STEEL COLUMN ALUMINUM CURTAIN WALL FRAME, EXTERIOR EXTERIOR GLAZING INTERIOR, BLAST RESISTANT GLAZING HSS STEEL COLUMN ALUMINUM CURTAIN WALL FRAME, INTERIOR
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F
G
H
I
UP
A
J
DN
B
K C
D L
E 8 7 6 5 1
2
GROUND LEVEL 01 & 02
3
4
S
0m
5
10
N
09 | United States Embassy to Brazil
N
S
RESPONSE TO SOLAR CONDITIONS GFRC Ribbon Facade Fluidity is manifested in the facade design in the form of a ribbon-like GFRC skin. To give these ribbons practical meaning, I designed them so that they would be rotated at different angles depending on which side
of the building in order to provide most efficient sun shading. The twisting motion produced by this decision also adds a subtle layer of fluidity and elegance to the facade.
10
1.1 GFRC RIBBON STEEL ANGLES, CAST INTO LOUVRES ANCHOR BOLT STEEL ANGLE, WELDED TO WIDE FLANGE COLUMN STEEL WIDE FLANGE COLUMN STEEL HSS SECTION GIRDER
1.1 GFRC Panel Connection
11 | United States Embassy to Brazil
1.1
C O N T E X T & SI T E The U.S. Embassy in Brasilia is situated on the Avenue of Nations, surrounded by the Portuguese, Russian, and French embassies. Placement of the controlled access compounds (CACs), is based on a circulation analysis provided by KCCT architects in Washinton, D.C. 1.1 Figure Ground Map of Brasilia
The consular CAC at point A is the public, pedestrian-only entrance. There is a Burle Marx Garden at this corner of the site that must be preserved. The main CAC at point C is the entrance for staff and dignitaries and must be located across the site from the service CAC (point F) for an escape route.
12
A B F
C D E
0m
Circulation & Approach
Points of Interest
vehicle - west vehicle - east pedestrian
A. CCAC B. Public Entry & Burle
Marx Garder C. MCAC
50
100
D. Parking E. MSGR F. SCAC
250
13 | United States Embassy to Brazil
GALLERY & FULL HEIGHT ATRIUM EXTENDING THROUGH INTERSECTION OF MASSES
L2-02
EXECUTIVE OFFICES L2-01
MANAGEMENT SERVICES OFFICES
L1-02
L1-01
GENERAL SERVICES OFFICES CONSULAR PUBLIC ENTRANCE & WAITING
G-02
CONSULAR SERVICES OFFICES MAIN ENTRANCE
G-01
LESS SECURE
MORE SECURE
14
1.2
1.3
1.2 Atrium 1.3 Consular Entrance
15 | Montepulciano Cantina
MON T E P ULCI A N O C ANTINA ARCH 350 | Introduction to Urban Contexts Fall 2017 Clemson University Profesor Julie Wilkerson
A small infill project in an Italian hilltown. The client is a fictional 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. The project presented challenges of how to respond to the rich history of the town and how to create a villa-like feel in a dense and compact setting.
17 | Montepulciano Cantina
M O N T E P U L C I A N O , I TA LY
0’
1000’
500’
NORTH
1.1
0’
100’ 200’
NORTH
1.2
K E Y M A P : CI T Y E X T E N T S Montepulciano, Italy Montepulciano, Italy is a medieval hilltown known worldwide for its wine. Its narrow, windy streets, Italian piazzi, and unique topography create a rich backdrop for a small cantina. The site, marked in red, has been
vacant since the 19th century, when an earthquake caused the previously existing building to fall. The site is located along Via Ricci, one of the major veins of the city. It is at the highest elevation of the city and provides a view to the vineyards and mountains beyond.
1.1 Key Map, Montepulciano, Italy 1.2 Figer Ground Map, Montepulciano, Italy
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1. Figure ground of city with Piazza Grande and site highlighted.
2. Piazza Grande perimeter figures with outline.
3. Outline isolated as a character.
4. Character applied to building facade.
DWELLING DWELLING RETAIL & SMALL TASTING ROOM LARGE TASTING ROOM
CELLAR
5. Character adjusted for walls and floor plates.
6. Floor plates determined by character.
19 | Montepulciano Cantina
1.3
1.3 Massing Model 1.4 - 1.5 Parti Model
1.4
1.5
1.6
1.7
1.6 - 1.7 Spatial Model
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DWELLING LEVELS 3 & 4 46’ - 0”
BATHROOMS, ELEVATOR, & EGRESS STAIR SERVICES
RETAIL & SMALL TASTING LEVEL 2 24’ - 0”
LARGE TASTING LEVEL 1 20’ - 0”
CELLAR GROUND LEVEL 0’ - 0”
21 | United States Embassy to Brazil
DWELLING LEVEL 4 | 58’ - 0” DWELLING LEVEL 3 | 46’ - 0” RETAIL & SMALL TASTING LEVEL 2 | 24’ - 0” LARGE TASTING LEVEL 1 | 20’ - 0” CELLAR GROUND LEVEL | 0’ - 0”
22
SS V IA SA O
R EST.
VIA RIC CI
S T RE E T ACCESS
C ELLAR
G R O U ND FLOOR : CEL L A R 0ʼ
5ʼ
20ʼ
SS V IA SA O
R EST. O.T.B. O.T.B.
O.T.B.
O.T.B.
VIA RIC CI
LAR G E TASTI N G R OOM
FIRST FLOOR: LARGE TASTING 0ʼ
5ʼ
20ʼ
23 | Montepulciano Cantina
ASSO V IA S
R E S T. STREET ACCESS (ENTRY )
O.T.B.
O.T.B.
VI A RI CC I
O.T.B.
R E TA I L
SECOND FLOOR: RETAIL & SMALL TASTING 0ʼ
5ʼ
20ʼ
SMALL TA S T I N G ROOM
24
SS V IA SA O
O.T.B.
VIA RIC CI
O.T.B.
PR I VATE K I TC HEN
PR I VATE LI VI N G AR EA
PR I VAT E G AR DE N
THIRD FLOOR: DWELLING 0ʼ
5ʼ
20ʼ
SS V IA SA O
VIA RIC CI
B ED R OOM LOFT
EN SUI TE
FOURTH FLOOR: DWELLING 0ʼ
5ʼ
20ʼ
25 | Montepulciano Cantina
26
27 | Museum of Architecture
M USE UM OF A R CH I TECTURE ARCH 252 | Architectural Foundations II
Spring 2017 Clemson University Professor and President Emeritus James F. Barker
Conceptual exploration to answer the question, “what should a museum of architecture look like?” The
project focuses on daylighting strategy and a novel form to create a unique user experience.
29 | Museum of Architecture
1.1
V E S S E L F OR LI GHT Formal Exploration The form was driven by a desire to have a central oculus which would fill the museum with light. The fluidity of the form represents the
fluidity of architecture over time through the evolution of ideas and innovation.
1.1 3D printed section of core of form (oculus)
30
Frame of curves for lofting operation
Form generated by a closed loft, rebuilt with ten control points
3D print of form
Laser cut wood model; 1/8� contours
31 | Museum of Architecture
Slice
Twist
OU T S I D E & I N SI D E Slicing and Twisting to Create Indoor/Outdoor Interactions Splitting the orginal form into stories allowed for manipulation of floor plates. To create interactions between the inside and outside, the floor plates are twisted to create exterior shelves which function as terraces. One
of these is located on every floor, letting in natural light, allowing the user constant framed views of city, and allowing the user to move inside and outside as they navigate the galleries.
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Wood model for exploring floorplate twisting & stacking
33 | Museum of Architecture
34
35 | Urban Form
UR BA N F O R M ARCH 350 |Introduction to Urban Contexts Fall 2017 Clemson University Professor Julie Wilkerson Project Partner: Niki Antunez
Examining the city fabric of Accra, Ghana through the lens of figure ground.
37 | Urban Form
ACCRA, GHANA LORI NORTH & NIKI ANTUNEZ
SCALE: 1” = 1 MI
1.1
KE Y MA P : CI T Y E X T E N T S Accra, Ghana Accra, the capital of Ghana, is a vast and densely populated city—24,836 people per square mile—making it difficult to identify the city’s edge in an aerial view. The topography is made up
1.1 Key Map, Accra, Ghana
of dry plains, sloping gently from the coast, and a waterway that winds north through the western side of the city.
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1.2
1.2 Figure Ground Map, Accra, Ghana
39 | Urban Form
1.3
PAT H WAY T H R O UGH T Y P OLO GIES Accra, Ghana A pathway is identified along which various ordering systems exist. 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
1.3 Pathway Through Typologies
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, postmodern.
40
1.4
1.5
SCALE: 1” = 1 MI
SCALE: 1” = 1 MI
1.6
1.7
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 walled city. 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.
1.4 Core of City 1.5 The Water’s Edge
1.6 Redirection of Order 1.7 Competing Ordering Systems
41 | Tectonic Explorations
T E CT O N I C E X P LOR ATIONS ARCH 251 | Architectural Foundations I Fall 2016 Clemson University Professor Dave Lee
A series of models exploring two types of tectonics: folding and carving. Through this exercise, I experimented with creating space with 2D media, testing patterns
and configurations of the design operations, and setting rules for making design decisions.
43 | Tectonic Explorations
1.1
1.2
F O L D E D P LAT E Geometric Column, Curved Crease, and Hexagonal Parabaloid For the column model, I experimented with diagonal pleated folds. Although made with four sets of pleats, the final iteration is a
1.1 Column Crease Pattern 1.2 Column Sculpture
three-sided structure which appears strong and elegant due to the underlying structure of triangles.
44
1.3
1.4
1.5
1.6
When designing my curved crease model, I also experimented with adding a cut in the pattern. This diagonal cut across the center of the paper allows the form to take a new shape which would have been otherwise impossible. It also allows for a spatial quality to be created 1.3 Curved Crease Pattern 1.4 Curved Crease Sculpture
under or inside the structure. The crease pattern for the hexagonal structure is based on the idea of pleats following a series of concentric shapes. It could be made from a circle, square, pentagon, etc.
1.5 Concentric Hexagonal Crease Pattern 1.6 Hexagonal Parabolic Sculpture
45 | Tectonic Explorations
1.7
C A RVI N G Exploring Subtraction through Boolean Difference Logic When carving, I worked within specific restraints and set “rules� for myself. I began with a solid 12 inch by 12 in cube and carved only with rectangular prisms which were four inches by four inches by eighteen inches. I used three of these prisms. To carve, I tilted the first prism 1.7 Solid Void Model
on one axis, rotated the second on two axes, and rotated the third on three axes. Working within these boundaries created a clean and elegant final product with a balance of silence and tension on its faces.
46
1.8
1.9
1.10
1.11
1.12
1.13
1.8 - 1.9 Wire Frame of Prisms Carving 1.10 - 1.11 Wire Frame with Remaining Solid Shaded
1.12 - 1.13 Solid Void Model
47 | Where Sky Meets Earth
WH E R E SKY M E E T S EAR TH ARCH 251 | Architectural Foundations I Fall 2016 Clemson University Professor Dave Lee
A pavilion nestled into the side of a slope in a mountainous, forested region. 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.
49 | Where Sky Meets Earth
1.1
E A R T H , S K Y : SOLI D, VO I D The Process of Carving Through the process of carving, spaces are created to capture both the vastness and the ephemeral qualities of the surrounding landscape. Carving into the mass creates strict pathways for circulation through the pavilion. Pedestrians can access three distinct 1.1 Final Model
areas: one small, meditative space which frames a view of the sky; one large space overlooking mountain vistas to the east; one above the other two, accessed by the ramp on the south side, which allows one to experience the eastern vistas and the vastness of sky simultaneously.
50
1.2
1.3
1.4
1.5
1.6
1.7
1.2 - 1.3 Wire Frame of Prisms Carving 1.4 - 1.5 Wire Frame with Remaining Solid Shaded
1.6 - 1.7 Final Model
51 | Where Sky Meets Earth
A
1.8
B
0’
6’
12’ 1.10
1.8 East Elevation 1.9 Site Plan
52
A
1.10
B
1.11
1.10 Section 1.11 Cut Plan
53 | The Barn
T HE BA R N Project Precast 2019 Spring 2019 Sponsored by the Precast Concrete Institute Project Partners: Kinga Pabjan & Fernanda Fraijo
The winning entry for the inaugural Project Precast, a 24 hour design competition sponsored by the Precast Concrete Institute. I was selected along with Kinga Pabjan from Washington University St. Louis and Fernanda Fraijo from the University of Arizona to represent
the Tindall Corporation. The task was to design a horse barn out of precast concrete, and deliver a proposal complete with drawings, renderings, structural details, and a construction schedule.
55 | The Barn
1.1
C O N T E M P O R A RY I N T E R P R E TATION A New Gambrel Roof Our design was based on the idea of simplifying a traditional gambrel roof to a single curve. The curves are then offset vertically to create a clerestory which provides the opportunity for daylighting and ventilation. We aligned the stalls along one wall of the barn and 1.1 Interior of Barn
used a large overhead door on the opposite side to create more open space than is usually available in a barn.
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1.2
1.3
1.4
1.2 Hay can be lifted in through windows at loft level
1.3 Sunlight through clerestory 1.4 Natural ventilation
57 | The Barn
1.5
1.6
0’
5’
10’
20’ 1.7
1.5 Section 1.6 - 1.7 Plans
58
1.8
0’
5’
10’
20’
1.8 Panel Assembly
59 | The Barn
60
61 | Devoiler
D E VO I LE R ARCH 452 | Synthesis Studio Spring 2019 Clemson University Professor Tim Brown, Dr. George Schafer, Dr. David Franco, Professor Dave Lee, Professor Ulrike Heine Project Partners: Heather Kimbrell & Grayson Mosteller
Designed in partnership with Heather Kimbrell and Grayson Mostellar. All work was completed with mutual effort. An urban installation design for the Embellir Paris competition. We identified an aspect of Parisian culture to use to drive our design decisions. Drawing on the fashion
industry for inspiration led to use of white chiffon as the main material, and to the design of an assembly method based on traditional garment construction. Dévoiler means “to unveil” or “to reveal”. We chose this to convey the idea of “unveiling” the spaces within and along the pathway.
63 | Devoiler
3
2 5
1.1
1.2
S PA C E S & A SSE M BLY A Pattern for Construction Three types of spaces exist along the path: large, medium, and small. There are two large spaces, three medium spaces for small groups of people, and five small intimate areas of rest of relief for one person. Our pattern for construction draws 1.1 Spatial Diagram 1.2 Panel Array Diagram
a parallel between architecture and the rich fashion industry in Paris. The plan for assembly follows the same methods as assembly of garments via fashion patterns. The process follows four steps: trace, cut, fold, and stitch.
64
1.3
1.3 Entrance From Side
65 | Devoiler
UNVEIL Path, Pattern, and Play The site is a walking path underneath an elevated metro line approximately 700 meters long. Our installation is a series of chiffon panels with silhouettes cut to create a pathway along the length of the site.The panels are placed close enough to evoke a sense of solidity through which a path is carved. The
pathway and its spaces retain their shape according to the cut made in the panels, but users are permitted to move about freely, as they are made from. It is a play on the idea of “I am supposed to be here, I am not supposed to be there.” The user decides where they “should” be.
66
SOUTH ELEVATION
SITE PLAN 0m
12
24
67 |Devoiler
68
69 | Freehand Drawing
F R E E HA N D DR AW ING ARCH 351 | Field Studies Spring 2018 Charles E. Daniel Center | Genova, Italy Dr. Henrique Houayek
A series of in-situ drawings made during my European travels.
71 | Freehand Drawing
1.1
1.1 Il Duomo, Florence
72
1.2
1.2 Notre Dame, Paris
73 | Freehand Drawing
1.3 From Piazzale Michelangelo
74
1.3
75 | Freehand Drawing
1.4
1.5
1.6
1.4 Detail, Palazzo Ducale, Venice 1.5 Palazzo Ducale, Venice
1.6 Gondolas in the Grand Canal, Venice
76
1.7
1.7 Abbey of San Galgano
77 | Resume
ED UC AT I O N
CLEMSON UNIVERSITY Clemson, SC | May 2019 Bachelor of Arts in Architecture Minor in Business Administration 3.85 GPA, Alpha Rho Chi Leadership Medal Recipient, Blue Key Award Finalist, Rudolf E. Lee Award Nominee, Tau Sigma Delta, Phi Kappa Phi
AFFILIATIONS & I NV OLV EMENT
EXPE RIE NC E
CHARLES E. DANIEL CENTER Genova, Italy | Spring 2018 4.0 GPA CARLTON EDWARDS ARCHITECTS Asheville, NC | Summer 2018 Architectural Intern DESIGNED FOR DOWNTOWN, LLC Greenville, SC | Summer 2017 Design Intern
AMERICAN INSTITUTE OF ARCHITECTURE STUDENTS (AIAS) 2016 - present Co-President, Clemson Chapter, 2018 - 2019 Member, AIAS Equity and Diversity Task Force, 2018 - 2019 Member, AIAS FORUM Site Selection Committee, 2017 2018 PRECAST CONCRETE INSTITUTE (PCI) 2019 Member, Project Precast 2019 Competition Team
S K I LLS
FREEDOM BY DESIGN 2017 - present
Revit
Adobe Illustrator
Rhinoceros
Adobe InDvesign
AutoCAD
Adobe Photoshop
Grasshopper
Freehand Drawing
Enscape
L O R I A. NO R TH Thank you
L O R I A. NO R TH lorin@clemson.edu 864.517.5838 issuu.com/lorianorth