Emilija Landsbergis Portfolio by Mia Landsbergis

TABLE OF CONTENTS

IMPENTUS Fashion shot

Acanthodii on the runway at the Wharton Charity Fashion Show 2017. Designed and fabricated with Lara Steiner.

EMILIJA KAIA LANDSBERGIS

01/ Pixel Park

01- 08

02/ Acid Tower

09- 18

i_Active Inlay

19- 20

03/ Visera Sera

21- 30

iii_Ruffed Vestment

31- 32

iv_Deployable Bustier

33- 34

04/ Shifting Hybrids

35- 44

v_The Impentus

45- 46

iv_Figure Drawing

47- 48

05/ Fray House

49- 52

vi_Allegro Cuff

53- 54

06/ Parti Wall

55- 62

vii_Algorithmic Drawing

63- 64

07/ Kenosha High Res

65- 70

PIXEL PARK/ PennDesign / ARCH 701 / instructor: Florencia Pita

PIXEL PARK Water Color on the LA River

Starting with studies of water tower typol-

ing. The splatter techniques become three-di-

are only recognizable in the topography of

ogies, the new water tower is a hybrid

mensionalized to create a pedestrian path

the site as the transition of the water-color

that employs the carved figures of tradi-

along the site and reflecting ponds within the

to the digital abstracts the images through

tional typologies to create recognizable

landscape. The path runs through the 3 sets of

bitmaps and voxels. The bitmap and voxels

shapes and a graphic while also shaping

quadrants, that are guided by a “quilted” pat-

take the color palette of the watercolor, but

the figuration of light and shadow on the

terning to create a set of relations among differ-

the interpretation of the images abstracts all

tower.

ent programed elements of the site.

but the specific hues. The bitmap and voxels become architecturalized into three-dimen-

The water-color landscape borrows from

The carving of the water-color figures creates

sional landscape elements - “bitmap forest”

the “carving” technique of the tower with

traditional romantic landscape elements such

and “voxel cliffs”. However, along the path

figures traced from water-color splatter

as ha-ha’s and hedges within the synthetic na-

of the walkway the voxels and bitmaps re-

techniques such as blotting and stream-

ture of the site. The figures of the water-color

main graphics within their quadrants.

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ACID TOWER

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Model Photos #01. Feild Condition #02. Voxel Rocks #03. Water Tower #04. Synthetic Hedges

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Water Tower Studies #01. Elevation #02. Elevation #03. Elevation #04. Elevation #05. Water Filtration Unit

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PIXEL PARK

EMILIJA KAIA LANDSBERGIS

ACID TOWER / PennDesign / ARCH 701 / instructor: Ferda Kolatan / partner: Miguel Abaunza

ACID TOWER

HYBRID VENTILATION AND RESIDENTIAL TOWER AT THE BATTERY TUNNEL At the entrance to the Brooklyn Battery

into a false facade that sits at the existing park-

of the tower, the extruded profiles house the

Tunnel, on the Manhattan side, a mixed-

ing structure. The ground is then opened up and

mechanical functions and the circulation to

use tower is proposed that hybridizes the

becomes retopologized in order to create a

the residential units. The residential portion

existing program of the tunnel ventilation

platform on which the curved geometry of the

of the tower then gets carved through bool-

and residential units. The tunnel ventila-

base object can sit. The tunnels are released

ean difference operations to create unique

tion composes the bottom floors of the

from the base tower object that holds the con-

spatial experiences within the tower and

tower and combines with the mechanical

nections to the tunnels and their ventilation units.

a distinct graphic pattern displayed to the

and ventilation systems of the residential

The tower is based off of hybridized extruded

downtown skyline.

section of the tower. On the ground, the

aluminum profiles as tower typologies are gen-

traffic is reorganized into tubes that exit

erally characterized by extrusion. At the base

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ACID TOWER

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#05 Hybrid Object Studies #01. Combined bicycle parts. #02. Combined bicycle parts. #03. Cutaway of interior. #04. Combined boat parts with organic gel. #05. Combined boat parts with skin. #06. Plan at base of tower with ventiltion shafts and direct circulation to residential units.

EMILIJA KAIA LANDSBERGIS

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ACID TOWER

#02

#03 3D Printed and Concrete Cast Model Process #01. Detail of concrete tower base and tower. #02.3D printed negative cast of base with greebles. #03. Powder printed tower connection pieces. #04. Photo montage of tower, base and tunnels on the site, Brooklyn Battery Tunnel.

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ACID TOWER

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Building Ventilation Shaft Objects #01. Axon 1 #02. Axon 2 #03. Axon 3

Building Cutaway #04. View of residential units #05. View of tower connection

EMILIJA KAIA LANDSBERGIS

MIA_MIGUEL/False Facade #01

#02 False Facade View #04. View of tunnel exit #05. View of facade and platform

ACID TOWER

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ACTIVE INLAY / Oyler Wu Collaborative / design directors: Jenny Wu and Duane Oyler

EMILIJA KAIA LANDSBERGIS

ACTIVE INLAY RECTANGULAR VOLUME FOR A SERIES OF NESTED OBJECT MODELS

VICERA- SERA / PennDesign / ARCH 602 / instructor: Simon Kim / partner: Miguel Abaunza

VICERA -SERA THEATRE AND GALLERIES AT SOCRATES SCULPTURE PARK Beginning with exploratory physical

would be postured to understand their range

studying programs such as theatre and gal-

material studies, Vicera -Sera explores

and qualities of movement. Then back in the

leries as organs and the skin as the exterior

a relationship from digital to physical to

digital, using inverse kinematic joints, the move-

object, the idea of flesh and connective tis-

digital. The study began with digitally de-

ment and posturing of the creature was studied

sue that sat between the organs became a

signing a new genus of creatures, Ruberi-

to see how they moved and how that would

guide for Vicera©, a raw biological material

da, that cuddle and nest together using

cause folding and stretching of the skin.

that encases the primary human spaces and

dynamic modeling software. The negative

Translating to an architectural language, we

provides structural strength and thermody-

of the creatures were printed and cast in

created programmatic creatures such as “gal-

namic and acoustic insulation. Vicera allows

various materials such as resin, concrete

lery creature” and “theatre creature”, to see

the building to have an organic encasing

and rubber. The dissolving of the cast, we

how the two programs could interact, cud-

and houses the shared mechanical features

referred to as the birthing process. Once

dle and nest to creature new programmatic,

that the various programs supply each other.

the creatures were fully hatched, they

mechanical and formal arrangements. When

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VICERA- SERA

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DIGITAL / PHYS C IAL / DIGITA L Bio-Synthetic Taxonomy Kingdom: Animal Phylum: Molluscus Order: Clophopora Family: Klondopda Genus: Wampaskepia Species: Ruberida

Joint manus

Joint tertius, R&L

Joint secunda, R&L

Joint minora, R&L

Ruberida birth through 3D printed casting #01. 00:06:00 #02. 00:09:30 #03. 00:12:45 #04. 00:18:15 #05: 00:22:50 #06: 01:00:45 #07. Ruberida posturing at 00:12:45 #08. Ruberida posturing at 01:00:45 #09. Digital inverse kinematic joint movement based of physical posturing. #10. Elevation veiw.

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Chained connections for collision avoidance

#10

VICERA- SERA

#01

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“The future worth designing is probably one that exceeds human phenomenology — intuitive scales of anatomically embedded spatial navigation or our sense of how far or how big something is in a vitruvian man ergonomic sense and/or the temporality of an organism’s life span.” -Benjamin Bratton, Master Class 2, SCI-Arc, Feb. 25 2016 #01. Transverse Section #02. Theatre Perspective #03. Theatre Plan Detail #03

VICERA- SERA

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#03 Wall Details of facade and VICERA© #01. Walll section #02. Detail wall model #03. Detail of VICERA© Caverns #04. DuPontTM VICERA© spec sheet

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VICERA- SERA

EMILIJA KAIA LANDSBERGIS

RUFFED VESTMENT / PennDesign / PennDesign Looks 2015 /

team: Jessilyn Brown, Benita Trink, Olga Karabinech, Kevin Chan, Pingle Li, Roni Gerner, Elizabeth Bland and Tanuja Manohar

EMILIJA KAIA LANDSBERGIS

RUFFED VESTMENT ON The runway at wharton charity fashion show 2015

DEPLOYABLE BUSTIER / PennDesign / PennDesign Looks 2016 /

team: Cynthia Anastasiou, Danielle Dong, Esther Hah and Lara Steiner

EMILIJA KAIA LANDSBERGIS

DEPLOYABLE BUSTIER PennDesign Looks for Wharton Charity Fashion Show 2016 Structure is derived from information learned in Technology Elective, Deployable Structures, taught by Mohamad Al Khayer.

SHIFTING HYBRIDS / PennDesign / ARCH 601 / instrutor: Hina Jamelle

SHIFTING HYBRIDS TRANSFORMATIONS FOR A NEW HOTEL & RESIDENTIAL BUILDING IN TRIBECA Differential curvature guides an ag-

The buildingâ&#x20AC;&#x2122;s unique form begins with an anal-

Inter-relationships of units ameliorate dense

gregation of units and creates sys-

ysis of barchan sand dunes. The parameter

spatial concerns while also allowing for

tems of furnishing, lighting and ap-

of curvature is studied in the single dune and

expanded amenities for visitors and occu-

ertures that flow from the exterior through

informs the design of the unit. The interrela-

pants. The flux of the parameters of curva-

the interior of the building. The gradual

tionships are discovered by the way the dunes

ture and light and shadow render each unit

shifts of the curvature provide a gradient

move and alter over time. The inter-relation-

unique and allows hotel guests and residents

between the public and private spaces.

ships of the units allow them the shift as they

to optimize their needs and experience of

The shifting hybrids of the spa/hotel/res-

move in different direction so that no two units

the space.

idence allows for shared spaces.

are the same.

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SHIFTING HYBRIDS

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#01. Feild Condition

* Barchan Sand Dune Analysis

Curvature #02. Leeward Interpolation #03. Windward Interpolation #04. Leeward Deflection #05. Windward Deflection #06. Leeward Differential Tranformation #07. Windward Differential Differential

* Sand Dune Research done in collaboration with Lara Steiner. 38

SHIFTING HYBRIDS

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#05 Barchan Sand Dune Analysis Interrelationships #01. Absorbing Dunes #02. Derivating Dunes #03. Morphing Dunes #04. Passing Dunes #05. Joining Dunes

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#02 #01. Interior View of Private Bathtubs in Hotel Units #02. Interior View of Public Baths

SHIFTING HYBRIDS

Ground Floor Plan 1. Apartment Entrance 2. Spa Shop and Check-In 3. Mail Rooms and Storage

Typical Floor Plan 1. Apartment Entrance 2. Laundry 3. Hotel Units 4. Service Room 5. Housekeeping

1 5

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Units join together and morph through inter-relationships rendering each unit unique. Interrelationships of units ameliorate dense spatial concerns while also allowing for expanded amenities for visitors and occupants. Interrealationship Plans #01 Absorbing #02 Derviving #03 Morphing #02

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SHIFTING HYBRIDS

EMILIJA KAIA LANDSBERGIS

“At night the building transforms as it inverts itself to the public and displays the hierarchy of spaces though the size of the glowing apertures “

THE IMPENTUS/ PennDesign / Parafictional Objects / instructor: Kutan Ayata / partner: Lara Stenier

EMILIJA KAIA LANDSBERGIS

THE IMPENTUS Mask and Adjoining Shoulder Accessory

FIGURE DRAWING / Art Students League of New York / instructor; Wendy Shalen

EMILIJA KAIA LANDSBERGIS

FIGURE DRAWING PASTEL DRAWING STUDY OF SEATED MODEL Model Drapped in Blue New York, New York Pastel on mid-tone Paper Summer 2012 Featured in: Student Concours, Phyllis Harriman Mason Gallery Art Students League of New York March 2013

FRAY HOUSE/ Akte_01 / principals: Lasha Brown and Sandra Arndt

FRAY HOUSE A CONTEMPORARY DWELLING FOR TWO IN SAG HARBOR, NY

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FRAY HOUSE

#01

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#04 #01. Tranverse Section #02. Longitudinal Section #03. Geode Studies #04. Floor Plan

ALLEGRO CUFF / Oyler Wu Collaborative/ LACE by Jenny Wu / design director; Jenny Wu

EMILIJA KAIA LANDSBERGIS

ALLEGRO CUFF 3D PRINTED JEWELRY FOR LACE BY JENNY WU Sterling Sliver Cast 2.5” x 2.1” x 0.7” Photograph by Hans Koesters.

PARTI WALL / PennDesign / ARCH 502 / instructor: Eduardo Rega

PARTI WALL A NEW ARTS AND AQUATIC COMMUNITY CENTER AT FESTIVAL PIER, PHILADELPHIA Using the tactic of The Big Wall, the de-

the arts or aquatic center. The site includes can-

site is composed of three main elements: the

sign strategically orients and filters the

tilevering arts program, galleries and theatres,

structural truss wall, the poche service wall

the wind coming from the northwest in the

above the adjacent city blocks in order to en-

and the series of adaptable partition walls

winter and the southwest in the summer,

gage the community. The secondary program-

that assume different roles based on loca-

in order to to accommodate program, es-

ming is placed on a diagonal to all the primary

tion, season and event.

pecially much of the outdoor venues for

programing that it serves. The Big Wall on the

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PARTI WALL

#01

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#04 Wind Mappings #01. Mapping Overlay #02. Wind Simulation on Site #03. Wind Circumvention on Site #04. Microclimates on Site

PARTI WALL

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EMILIJA KAIA LANDSBERGIS

#01 Program Bars -The Gallery Bar that extends out into the surrouding community in order to provide access to the arts. -10 galleries -3,500.00 sm #02 Light Filtering Ceiling Strategically oriented skylights in the roofing system that captures southern sulight and directs it along the northern gallery wall. #03 Partiwall - Structural Truss Wall -The structural truss wall allows program to span at higher elevations in order to endow the existing urban context with arts and aquautic programing in addition to remaining intact. -The wall preforms a vertical operation by activating spaces underneath it and provides access, cognizance and a relationship between elevated and ground level programming. -The wall does not provide shelter from the sun or wind; yet, it allows for visual and auditory overlap between spaces on either side. - The truss can span 75 ft. #04 Partiwall -Auxiliary Wall -The auxiliary provides servicing or auxiliary to the primary program of the site. -The auxiliary wall provides horizontal and vertical operation on the programs above and below in addition to left and right. -The auxiliary wall holds the mechanical factor (31, 758 sf), the storage space (2,960 sf), the truck loading (4,305 sf),the back of house(10,763 sf). The auxiliary wall also adapts to provide the servicing program for specific primary programing, such as the chaning rooms (8,341 sf) and the concessions (38,747 sf) for entertainment program.

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#05 Adaptable Partition Walls -The adaptable partition walls allow for varying modules to be placed on the site. The adaptability of the wall allows for the type of wall to change based on season, events and time of day. #05b Adaptable Partition Walls- Green Wall -The green wall can provide ventilation and air filtration on the site. Based of wind flow and CO2 emissions, green walls can provide better air and temperature quality to much of the outdoor arts and aquatic programming on the site. - Moreover, the green wall can allow for programs such as farmer’s markets and smaller-scale parks to develop on the site and in the community that is underserved.

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#06 Adaptable Partition WallsMedia Wall -The media wall allows for almost any wall typology to become actived by the arts. The goal of Creative Philadelphia is to provide arts to underserved areas. The “mural program” can be reimagined as digital and versatile. - The wall also can be strategically placed along the path of travel of “arts” patrons.

Spatial Syntax: Catalog of Wall Conditions #01. Cafe Wall Section #02. Gallery Wall Section

PARTI WALL

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#05 Urban Compostion: Narrative Research Studies #01. Act 1 #02. Act 2 #03. Theatre Vignette #04. Wetlands Vignette #05. Detail Section

ALGORITHMIC DRAWING / PennDesign / Visual Studies / instructor: Danielle Willems

EMILIJA KAIA LANDSBERGIS

ALGORITHMIC DRAWING ILLUSTRATION OF WATER & OIL MATERIAL EXPERIMENT

KENOSHA HIGH RES / Akte_01 / team: Lasha Brown & Sandra Arndt (principals), Dave Harrop and Robert Hon

KENOSHA HIGH RES A RESPONSIVE DESIGN INTERVENTION IN KENOSHA, WISCONSIN UD4u: The Rust Belt Comeptiton; first place High Res is a responsive urban design

navigation. This reaction resulted in a localized

is reactive and proactive. It’s resolution of

intervention to grow a more sustainable

scalar distortion of infrastructure, buildings,

scale is derived from Kenosha’s existing

city for Kenosha. Rather than trying to

parks and streetscapes around the site and be-

urban fabric. The site strategy is responsive

create or control the existing conditions,

yond. 108 years later the departing auto-mak-

and gradually builds up density from water-

High Res takes on the role of a reactive

ing industry created another disturbance by

front to the new core. This creates a second

catalyst. It adapts to the site’s conditions

leaving behind a series of peripheral conditions

landmark and activates the downtown area

and triggers opportunities for future ur-

that took decades to evolve and remain intact

in between. The western border of the cis-

ban growth. Urban Life is nurtured in the

to date despite being rendered obsolete, creat-

tern park is flanked by accessory structures

presence of diverse spatial relationships.

ing large scale urban voids within the city. High

that serve urban farming and public infra-

With the establishment of the engine plant

Res proposes to fill these voids with a fine tuned

structure with athletic fields. The potential to

in 1902, Kenosha’s urban fabric has ex-

city scale. There are three elements, a topo-

expand beyond the site is inherited in the

perienced a disturbance. The building in-

graphic hydro-cultural landscape, an adap-

new city scale, designed to trigger a more

troduced an unprecedented scale to the

tive infrastructural promenade and topological

sustainable trajectory for the urban life of

city. The adjacent city blocks absorbed

mixed use multi unit housing blocks. High Res

Kenosha and to heal its disturbances of the

this shock by adapting scale, use and

is not a prescriptive urban design proposal; it

recent past.

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KENOSHA HIGH RES

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#01 Existing Site Condition The site housed Kenosha Engine, an automobile and engine factory, until it closed in 2010. #02 Pedestrian Promenade The main central north-south axis becomes a pedestrian promenade. The promenade is enclosed by the urban wetlands and the mixed-used buildings with restaurants, cafes, shopping and entertainment. Along the promenade there are figures that create various paths. The figures take on different programs such as water collection ponds and gardens, playgrounds, amphitheatres and parks.

#03 Automobile Access The east-west axis lines provide automobile access onto and through the site. The Kenosha Engine factory blocked both pedestrian and automobile access through the site. #04 Recreational and Aquatic Program The park provides recreational facilities for the new and current residents. The water collected and purified along the pedestrian promenade and the urban wetlands is routed to hydroponic greenhouses and fish farming units. #05 Axon of Downtown Kenosha.

The pavement patterning also provides flood control by creating openings for additional water collection ponds and gardens when needed. The water collected along the pedestrian promenade is then routed to the adjacent larger urban wetlands to be purified.

EMILIJA KAIA LANDSBERGIS

KENOSHA HIGH RES

#01 Promonade Scene 01 Ground pits used as public gathering spaces

#02 Promonade Scene 02 Native Grasses (Big Blue Stem, Indian Grass, Wild Rye) used for recreation and water runoff.

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1. The Promonade INFRASTRUCTURE Pedestrian Walkway Bicycle Path PARK Greens Play Structures Dog Run Bicycle Racks Recycling Areas BBQ Area Aviaries 2. Housing HOUSING Stacked Townhouses Mixed Use Residences Apartment Units Asissted Living Units

ATHLETIC FIELDS Tennis Courts Basketball Courts Roller Skate Rink Public Restrooms 4. Kenosha Cistern PARK Botanic Garden Playgrounds Ice Skating Area Bicycle Station Outdoor Stage CULTURE Engine Museum Cultural Center Research Facility Environmental Center Kidâ&#x20AC;&#x2122;s Museum

RETAIL Department Stores Specialty Stores Supermarkets COMMERCIAL Small Manufacturing Service Providers Non Profit Organisations 3. Edge Park URBAN FARM Greenhouses Educational Fields Fish Nursery Fish Farms Western Honey Bee Farm Educational Center Classrooms Activities Center Accessory Buildings

emilija@design.upenn.edu _347.586.3975