LORI A. NORTH Selected Works Clemson University 2015 - 2017
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 g ravi tate t o wa rd s i m pl e , e l e ga n t desi g ns 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 th e e n d re s u l t i s a pro j e ct fi l l ed wi 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 w ork bec au se t h a t i s wh e re I fi n d t h e passi on to pro pe l t h e de v e l o pm e n t o f a desi gn. 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 spi 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 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 w i th eac h ne w pro j e ct .
A B O U T
M E
C O N T E N T S
1
Folded Plate Structures
5
Carving
23
Town Repair
9
Where Sky Meets Earth
29
Montepulciano Cantina
15
Urban Form
1
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.
2
1.1
1.2
MODELS G e om e t r i c Colu m n, C u r ved C rea s e, a nd Hex a g on a l H y p e rb oli c Pa ra ba loi d For the column model, I experimented with diagonal pleated folds. Although made with four sets of pleats, the final iteration is a three-sided structure which appears strong and elegant due to the underlying structure of triangles.
3
1.1 Colum Crease Pattern 1.2 Final Colum Model 1.3 Curved Crease Pattern 1.4 Final Curved Crease Model
1.5 Hexagonal Hyperbolic Parabaloid Crease Pattern 1.6 Final Hexagonal Model
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 impossible without it. It also allows for a spatial quality to be created 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. I chose a hexagon for the spatial quality present when it rests on three legs.
4
5
CARVING ARCH 251| Architectural Foundations 1 Fall 2016 Clemson University Professor Dave Lee
This was an exercise in learning how to set restraints and work within them. The art of creating a “recipe� to follow results in a piece based on reason accompanied by a strong argument. The beauty is the idea of recreating this recipe could yield various unexpected results which still follow the same argument.
6
2.1
THE BOOLEAN DIFFERENCE S ol i d a n d Voi d 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 on one axis, rotated the second on two axes, and rotates 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.
7
2.1 Final Solid-Void Model 2.2 Wireframe Showing Prisms Carving 2.3 Wireframe Showing Prisms Carving 2.4 Wireframe Showing Solid Remaining
2.5 Wireframe Showing Solid Remaining 2.6 Final Solid-Void Model 2.7 Final Solid-Void Model
2.2
2.3
2.4
2.5
2.6
2.7
8
9
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.
10
WHERE SKY MEETS EARTH
3.1
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.
11
2.1 Final Solid-Void Model 2.2 Wireframe Showing Prisms Carving 2.3 Wireframe Showing Prisms Carving 2.4 Wireframe Showing Solid Remaining
2.5 Wireframe Showing Solid Remaining 2.6 Final Solid-Void Model 2.7 Final Solid-Void Model
3.2
3.3
3.4
3.5
3.6
3.7
12
A
3.8
B
3.9
13
3.8 Elevation 3.9 Site Plan
3.10 Section Cut B 3.11 Cut Plan A
A
3.10
B
3.11
14
15
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.
16
ACCR A, GHANA LORI NORTH & NIKI ANTUNEZ
SCALE: 1� = 1 MI
KEY MAP: CITY EXTENTS
4.1
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.
17
4.1 Key Map (City Extents Map)
4.2 Hand Drawn Figure Ground of Accra, Ghana
4.2
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.
18
P A T H W AY T H R O U G H T Y P O L O G I E S
4.3
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.
19
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
SCALE: 1” = 1 MI
Along Shorelines 4.6 Diagram Showing Grid System Redirecting Outside Ring Road 4.7 Diagram Showing Competing Grid Systems
SCALE: 1” = 1 MI
4.4
4.5
5.4
4.7
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.
20
Breakdown of Recognizable Order
Heart of Ancient Cosmic Order
SCALE: 1� = 0.8 MI
MOMENTS
4.8
A cc ra , G ha n a 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.
21
4.8 Breakdown of Recognizable Order & Heart of Ancient Cosmic Order
4.9 Industrial Edge & Seepage
Industrial Edge
Seepage: Pre-modern Into Modern
SCALE: 1� = 0.8 MI
4.9
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.
22
23
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.
24
5.1
O R D E R A N D D I S I N T E G R AT I O N
5.2 1 in = 500 ft
F i g u re G rou nd 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.
25
5.1 Key Map: City Extents 5.2 Figure Ground Map 5.3 Diagram Showing Disintegration of Grid and Order
5.4 Anthropomorphic Representation of the Town Showing the Relationship Between Different Pieces
5.3
1 in = 500 ft
5.4
26
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
1 in = 500 ft
S te p 3: G r i d E x p a n s ion
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
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 n d 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.
27
S te p 5: In f il l
1 in = 500 ft
1 in = 500 ft
28
29
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.
30
M O N T E P U L C I A N O , I TA LY
0’
500’
1000’
NORTH
KEY MAP: CITY EXTENTS
6.1
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.
31
6.1 Key Map: City Extents
6.2 Figure Ground Map
0’
100’ 200’
NORTH
6.2
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.
32
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.
33
6.3 Massing Model
6.4 Parti Model
6.3
6.4
34
MODELS
6.5
6.6
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.
35
6.5 Massing Model 6.6 Spatial Model 6.7 Spatial Model 6.8 Final Model with the Front Facade
Removed 6.9 Final Model from Via Sasso Elevation 6.10 Structural Model
6.7
6.8
6.9
6.10
36
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”
6.11
37
6.11 Front Elevation: Facing Via Ricci
6.12 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”
6.12
38
ASSO VIA S
REST.
V IA R IC C I
STREET ACCESS
CELLAR
GROUND FLOOR: CELLAR SCALE: 1/8” =1’
6.13
39
6.13 Ground Floor Plan
6.14 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’
6.14
40
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’
6.15
41
6.15 Second Floor Plan
6.16 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’
6.16
42
ASSO VIA S
V IA R IC C I
BEDROOM LOFT
ENSUITE
FOURTH FLOOR: DWELLING SCALE: 1/8” =1’
6.17
43
6.17 Fourth Floor Plan
6.18 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
6.18
44
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’
6.19
45
6.19 Longitudinal Section: Cut A
6.20 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’
6.20
46
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
48