Lori North Portfolio Fall 2017

LORI A. NORTH Selected Works Clemson University 2015 - 2019

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 si m pl e , e l e ga n t desi gns and o ft e n ch a l l e n ge m ys e l f t o c onfor m to a s t r i ct a r gu m e n t fo r de si 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 su 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 st r i v e fo r i n m y work bec au s e 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 s si 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 s pi r a t i o n t o bec ome an a rch i t e ct . T h e se l e a d t o exc i tement fo r de si 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

C O N T E N T S

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Folded Plate Structures

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Carving

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Town Repair

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Where Sky Meets Earth

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Montepulciano Cantina

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Urban Form

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F O L D E D P L AT E S T R U C T U R E S ARCH 251 | Architectural Foundations 1 Fall 2016 Clemson University Professor Dave Lee Working with folded plate structures, I discovered the difference between complex and complicated. These models aren’t meant to be complicated--they are simple patterns that create structures that appear complex and elegant. This exercise consisted of three models: a column structure, a curved crease structure, and another of any folding method.

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GEOMETRIC COLUMN

For the column model, I experimented with diagonal pleated folds. The first was simple: one section of five sets of pleats. As I folded it into itself, it created a foursided vertical structure that resembles a twisted rectangular prism. Then, I began experimenting with different numbers of pleat sets and additional sections. Too many sets of pleats appeared crowded and messy, so I ended up decreasing it from even five to four to create the final three-sided model. The final model appears elegant and strong due to the underlying structure of triangles, the simplest shape yet a symbol of strength and stability.

1.1

CURVED CREASE

Inspired by a paper sculpture made by Yoshinobu Miyamoto, I began by trying to make a replica of his model. The model I referenced looked simple enough, but without a crease pattern I had to guess at how to go about constructing it. This of course required numerous tries with which I manipulated the endpoints and sharpness of the curves as well as the size of the aperture. As I played with study models that would not stand on their own as Miyamoto’s did, I was intrigued by the possibility of them resting on their faces instead. This changed the way I looked at my models and I was pleased with the dynamic space they created.

H E X A G O N A L H Y P E R B O L I C PA R A B A L O I D

For the hexagonal hyperbolic parabaloid model, I began by experimenting with tessellations that involved hexagons. These tessellations, when folded, did not create very dynamic spaces or three dimensional objects. They were hardly three dimensional at all in fact, they simply resembled a texture rather than an object. Still intrigued by the hexagon, I turned to a book lent to me by my professor, Folding Techniques for Designers: From Sheet to Form by Paul Jackson. There I found the crease pattern for a hexagonal hyperbolic parabaloid, which was a manipulation of a basic hypar form made from a square. I chose to use the hexagon instead because it appears more complicated, but really isn’t complex. Additionally, the hexagonal form could be manipulated, once folded properly, to stand on three legs or two. This quality provided another opportunity for manipulation of the three dimensional space this crease pattern created.

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1.4

1.7

1.1 Colum Crease Pattern 1.2 Colum Study Models 1.3 Final Colum Model 1.4 Curved Crease Pattern 1.5 Curved Crease Study Models

1.2

1.6 Final Curved Crease Model 1.7 Hexagonal Hyperbolic Parabaloid Crease Pattern 1.8 Hexagonal Model Detail Shot 1.9 Final Hexagonal Model

1.3

1.5

1.6

1.8

1.9

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CARVING ARCH 251| Architectural Foundations 1 Fall 2016 Clemson University Professor Dave Lee

This was an exercise in working between analog and digital methods. It allowed me to understand the strengths and weaknesses of each method and use them correctly. The analog method I found particularly useful for understanding space while the digital method allowed for more precision and quicker results.

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2.1

2.2

2.3

2.4

THE BOOLEAN DIFFERENCE

Working within specific restraints, I set “rules� for myself to follow to create the final form. This loose recipe included parameters such as: use only rectangular prisms to carve the cube; rotate the first prism on one axis, the second on two, and the third on three. In the end, I added a fourth rotated on three axes and positioned it to carve a dynamic streak across a face of the cube, ending cleanly in one corner.

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2.1 Analog Wireframe Model 2.2 - 2.4 Digital Wireframe Iterations

2.5 Final Solid-Void Model

2.5

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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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3.1

3.2

3.3

3.4

3.5

3.6

C A R V I N G PAT H S Using the boolean operation, I decided to start with an extrusion with an area equal to the buildable area of the site. Then, I carved paths according to the circulation patterns I determined through a few sketch site analyses. Along these paths, I opened voids to objectify different views of the sky and the vistas beyond.

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3.1 - 3.6 Beginning Digital Sketches Determning Circulation

3.7 Buildable Area of Site Carved with Volumes Representing Paths and Spaces

3.7

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0’

2’

5’

10’

3.8

N

0’

2’

5’

10’

3.9

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3.8 Elevation Wire Frame Showing Volumes Carving 3.9 Roof Plan Wire Frame Showing Volumes Carving

3.10 Collage Rendering of Elevation

3.10

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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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4.1 Hand Drawn Figure Ground of Accra, Ghana

4.2 Key Map (City Extents Map)

ACCRA, GHANA LORI NORTH & NIKI ANTUNEZ

SCALE: 1” = 1 MI

4.2

FIGURE GROUND A cc ra , G ha n a 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.

4.1

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4.3

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4.3 Pathway Through Typologies Diagram 4.4 Diagram Marking Core of City as What is Bounded by Ring Road 4.5 Diagram Documenting all Figures

Along Shorelines 4.6 Diagram Showing Grid System Redirecting After Ring Road 4.7 Diagram Showing Competing Grid Systems

SCALE: 1” = 1 MI

4.4

SCALE: 1” = 1 MI

4.6

SCALE: 1” = 1 MI

4.5

SCALE: 1” = 1 MI

4.7

P A T H W AY T H R O U G H T Y P O L O G I E S 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.

SCALE: 1” = 1 MI

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MOMENTS To the east of the gridiron, a large portion of Accra lacks a recognizable order. The first moment identifies a major transitional portion between the strictly ordered and the lack of order.

In the center of the oldest part of the city lies a cosmic ordering system. The second moment identifies the heart of its intricate pattern.

The river creates an industrial strip and in the north west, this strip creates a stark edge between its typology and a much finer grained residential typology.

The fourth moment objectifies the transition between ordering systems at the beginning of the industrial stip and the end of the cosmic grid. This transition is not stark but instead is a mingling of the two typologies as one seeps into another.

SCALE: 1� = 0.8 MI

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4.8 Breakdown of Recognizable Order & Heart of Ancient Cosmic Order

4.9 Industrial Edge & Seepage

Breakdown of Recognizable Order Industrial Edge

Heart of Ancient Cosmic Order

Seepage: Pre-modern Into Modern

4.8

4.9

SCALE: 1� = 0.8 MI

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T O W N R E PA I R ARCH 350 | Urban Contexts Fall 2017 Clemson University Senior Lecturer Julie Wilkerson

Drawing on analysis done of Accra, we took those analytical techniques and applied them to a small town: Pendleton, SC. The goal was to develop a densification strategy based on the analysis. Project collaboration with Niki Antunez, Rikki Park, and Kylie Walker. All components of the project were completed with mutual effort.

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1 in = 500 ft

5.1

5.2

1 in = 500 ft

O R D E R A N D D I S I N T E G R AT I O N F i g ure G rou n d A n a l y s i s o f Pe nd le ton, S C In the Pendleton city fabric, there are two main forces of disintegration: state highway 28 on the west and the railroad on the east. Between these components, a gridded order is maintained. Outside, the order breaks down into a radial grid in the northeast corner and a new grid is suggested, oriented parallel with the railroad, in the southeast corner.

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5.1 Figure Ground of Pendleton, SC 5.2 Diagram Showing Disintegration of Grid and Order

5.3 Anthropomorphic Representation of the Town Showing the Relationship Between Different Pieces

5.3

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S te p 1: E x i s t in g F i g ure G round

1 in = 500 ft

S te p 2: R o a d s

T O W N R E PA I R : A De n s i f i ca t ion S t ra te g y fo r Pe nd le ton, S C The strategy for densifying Pendleton was to first strengthen and expand the linear grid pattern of the town. Then, we extended the radial arms to continue through the city, creating nodes at transitional points. These are designated as green spaces and are meant to mimic the original town square.

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1 in = 500 ft

S te p 3: G r i d E x p a n s ion

n

1 in = 500 ft

S te p 4: De s i g n a ted G ree n S p a ce

1 in = 500 ft

S te p 5: In f il l

1 in = 500 ft

1 in = 500 ft

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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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MONTEPULC

KEY MAP C i t y E x te n t s 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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C I A N O , I TA LY 1.1 Colum Crease Pattern 1.2 Colum Study Models 1.3 Final Colum Model 1.4 Curved Crease Pattern 1.5 Curved Crease Study Models

1.6 Final Curved Crease Model 1.7 Hexagonal Hyperbolic Parabaloid Crease Pattern 1.8 Hexagonal Model Detail Shot 1.9 Final Hexagonal Model

0’ NORTH

500’

1000’

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FIGURE GROUND Mon te p u lc i a n o, I ta l y 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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34 0’

100’ 200’

NORTH

1. Figure ground of city with Piazza Grande and site called out.

2. Piazza Grande perimeter figures with outline.

C I T Y PA R T I

Piaz z 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. 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.

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ELEVATION FACING VIA RICCI SCALE: 1/8 in. = 1 ft.

6.1

GROUND LEVEL: CELLAR

SCALE: 1/8 in. = 1 ft.

SCALE: 1/8 in. = 1 ft.

6.3

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LEVEL 2: RETAIL & SMALL TASTING

LEVEL 1: LARGE TASTING

SCALE: 1/8 in. = 1 ft.

6.4

6.1 Elevation Facing Via Ricci 6.2 Elevation Facing Via Sasso 6.3 Ground Floor Plan 6.4 First Floor Plan

6.5 Second Floor Plan 6.6 Third Floor Plan 6.7 Fourth Floor Plan

ELEVATION FACING VIA SASSO SCALE: 1/8 in. = 1 ft.

6.2

LEVEL 3: DWELLING

LEVEL 4: DWELLING

SCALE: 1/8 in. = 1 ft.

6.5

SCALE: 1/8 in. = 1 ft.

6.6

6.7

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6.8

6.10

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6.11

6.8 Transverse Section 6.9 Longitudinal Section 6.10 Spatial Model 6.11 Spatial Model 6.12 Final Model with Front Facade Removed

6.13 Final Model from Via Sasso Elevation 6.14 Structural Model

6.9

6.12

6.13

6.14

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C ONTAC T EDU CATI ON E X PE RI E N CE AF F 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 3.83 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 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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