Christine Eichhorn Portfolio

her otherworldly designs

A COLLECTION OF WOR K BY CHR ISTINE EICHHOR N M ASTER OF A RCHITECTUR E U N I V E R S I T Y O F P E N N S Y LVA N I A

Work Experience: 2021

Research Assistant

2021

Graduate Teaching Assistant

Polyhedral Structures Laboratory - Advanced Research and Innovation Lab Venice Biennale exhibition animation, rendering and video production for Saltatur the Dancer; a prefab, spatial composite structure.

Stuart Weitzman School of Design - University of Pennsylvania Graduate assistant for ARCH-634 Environmental Systems II.

CHRISTINE EICHHORN

2012 - 2020

Ballet Choreographer

2019

Architectural Design Intern

2018

Architecture Surveyor

2017 - 2018

Architectural Designer

4322 Spruce Street Philadelphia, PA 19104 W: christineeichhorn.com T: 732 865 3864 E: ceic@design.upenn.edu Portfolio: https://issuu.com/christineeichhorn/docs/christine_eichhorn_portfolio_2021 LinkedIn: http://www.linkedin.com/in/ christine-eichhorn-71a53aa3/

Esty Blum - New Jersey Educate students on the techniques of ballet and contemporary dance, organize shows and choreograph multiple dances annually.

Bobby Redd - New York City Collaborated with design team to develop concept driven designs. Designed layout, cabinetry and display fixtures for cannabis dispensary. Designed and developed a material archive. Produced presentations and visual storyboards for client meetings.

Mt. Lykaion Excavation and Survey Project - Ancient Sanctuary of Zeus, Greece Recorded ruins, determined architectural significance and structural purpose of blocks uncovered during archaeological excavations. Worked with topographical team, trench supervisors and museum staff to identify, catalog and map findings.

Jeffrey Barton A.I.A. - New Jersey Coordinated space management with real estate agents and created iterative spatial plans. Designed layouts of office and healthcare facilities. Drafted construction drawings and documented pre-existing building conditions.

Education: 2018 - Present

University of Pennsylvania

2014 - 2017

Temple University

2008 - 2012

The Performing Arts Academy

Master of Architecture Expected Graduation: 2021

Bachelor of Science in Architecture & Bachelor of Science in Historic Preservation Graduated August 2017 Honors: cum laude

Study: Dance Graduated June 2012

Achievements: E. Lewis Dales Travel Fellowship Walter R. Leach II Fellowship

Pressing Matters 8, 9 Nomination 1st Place Architectural Preservation Capstone Award PennDesign Merit Scholarship Tyler School of Art Portfolio Scholarship

Software Proficencies : Rhinocerus 6 - Grasshopper - VRay Autodesk : Cad - Revit - Maya Adobe Suite : Photoshop - Illustrator After Effects - Lightroom - ReCap - InDesign Premiere Pro, KeyShot, SoftPlan, ZBrush SketchUp, Mandelbulb, Runway ML

Technical Skills : Hand Rendering, 3D Printing, CNC Milling, Wedding Photography, Woodworking, Fashion Design, Furniture Refurbishment, Painting, Choreography, Logo and Brand Design

Ta b le o f Co nten ts

Hi nterl and

B eyond the B l ack S tu m p

Mou nt L yk ai on

A rachni d a

(u n) N atu ral

S ynt heti c Meat Market

Work s of Fabri c ati on

B u d ’s G ood s & Prov i s i ons

S eq u enti al Cham bers

1

HINTERLAND

H I N T E R L A N D Critic: Simon Kim Collaborator : Rober t Schaffer hin·ter·land / hin(t) r land/ noun: hinterland; plural noun: hinterlands 1. an area lying beyond what is visible or known. “in the hinterland of his mind these things rose, dark and ominous”

I. We a the re d Hom u n c ul u s II. Hom u n c ul u s G ra ss E a rl y S ta g e

2. the often unchar ted areas beyond a coastal district or a river’s banks.

Similar : the back of beyond the middle of nowhere the backwoods the wilds the tall timbers the bush remote areas a backwater the outback the backblocks the backveld the sticks the boondocks the boonies woop woop Opposite: civilization

I I I . Hom u n u l u s G row th

HINTERLAND

ho·mun·cu·lus noun plural noun: homunculi 1.

a supposed microscopic but fully for med planet

2.

a microcosm

T he homunculus is a hybrid between org anism and micro-planet .

Prior to fer tilization, the homunculus exists as a soft skull embedded within a thin cr ust of humus encapsulated by a porous membrane.

Homunculi fall under the classification of dwarf planets due their capability of harboring lifefor ms on the surface and the ability to g enerate their own atmosphere.

Similar to the way that humans have tried to control the wilder ness in the world in which we live, mankind continues the mission to tame homunculi behavior. behavior 2

HINTERLAND With the site’s location found on the East River, the concer t hall car ves down into the water and submerg es its belly into the rock y shores that rest there. Rather than fight ag ainst the f low of the river, the stag e and sur rounding box seats tilt and bob with the rising and falling of the river’s tidal seasons.

To enter the coffered belly of this space buried dee p in the g round, visitors must first descend through a series of e pisodic moments, removing any ties to the land above in order to lose themselves in the g round beneath. As if from a ritual, the descent follows the stream of water and moves through a caver nous cister n before opening up into the amphitheater beyond. T his pr oject doesn’t look to create a building, but rather a foreign realm buried beneath us - a world within worlds.

I V. S i te M a p V. E x p l o ded A xon om e tr i c

3

HINTERLAND

VI . S tr u ctu ra l a n d Te ch n i ca l De ta il s VI I . S e q u e n t ia l R e n d e rs

4

HINTERLAND V III . S e ct ion D ra w in g

5

6

B EYON D T HE B L ACK S T UMP

B E Y O N D T H E BLACK STUMP Collaborator : Rober t Schaffer Footag e : 24.5 m Location : Mobile In 2020, we’ve had to rethink our notion of home, a space where we slee p, work, eat and socialize.

With millions of people working remotely due to the coronavir us pandemic, the microhome ser ves as both office and slee ping quar ters. Our proposal seeks spatial f lexibility through a minimal and off-g rid design that fosters adventure. Made from pre-fabricated CNC plywood, the home can pivot and unfold thro ugh a series of crafted hing es to create various living configurations. T he house can be relocated, allowing its inhabitants to work, slee p and travel in the comfor t of their own home.

I .S ol a r S h in g l e R o o f a n d Un fol ded B a l cony I I . P ul l e y S y s te m R o ta t i n g G a rden Wa l l

7

B EYON D T HE B L ACK S T UMP

III. M i c rohom e S ta t ion ed a t De s t i n a t ion

B EYON D T HE B L ACK S T UMP 8

I V. S e ct ion D ra w in g V. K i tchen R e n d e r VI . L iv in g R o om & O f f i ce R e n d e r

V II. Hi n g e Con f i g u ra t ion D ia g ra m V III. Pla n Con f i g u ra t ion s I X . B ui l din g S y s te ms A xon ome tr i c

9

MOUNT LYKAION

MOUNT LYKAION Buried beneath hills of dir t and ash in the souther n Peloponnesos of Arcadia, Greece lies remains of the earliest Olympic g ames and sites of mysterious rituals. T he Mount Lykaion Excavation and Sur vey Project is a multi-disciplinar y archeological dig uncovering one of the most impor tant Zeus sanctuaries of the ancient world. T he investig ation involved working with the topog raphical team, trench super visors, and conser vators to identify, catalog and map findings. T he work in the field beg an with or thog raphic hand-drafted drawings of blocks in-situ, later translated into digital for mats to create the first stone-for-stone, actual state drawing of the entire sanctuar y, where ever y stone is precisely mapped with an electronic total station.

T he work involved deter mining the architectural significance, str uctural pur pose, and mater ials of architectural blocks.

A360

PLAN ELEVATION TRENCH PP MT. LYKAION 2018 CHRISTINE EICHHORN

I . M a rbl e re m a in s fou nd a t th e Hem i c y cl e S to a l o ca t ion I I . S a mp l e oA360 f ha n d - d ra fted el e va t ion o f m a rbl e C o r n i ce PLAN I I I . D i g i t i z eELEVATION d tra n sl a t ion o f C o f fer C ei l i n g B l o ck s TRENCH PP

SCALE 1:5

A387

PLAN 0 2.5 ELEVATION TRENCH EEW HEMICYCLE - STOA EXT. MT. LYKAION 2018 CHRISTINE EICHHORN

5

10

20cm

PLAN

PLAN

MT. LYKAION 2018 CHRISTINE EICHHORN

00 Original Drawing 00 Text and Dimensions 01 Outline Edge 02 Buried 03 Secondary Edge 04 Vein

SCALE 1:5

05 Deep Crack/Fissure 0 2.5

5

10

20cm

06 Medium Crack

SCALE 1:5

07 Light Crack 00 Original Drawing 00 Text and Dimensions 01 Outline Edge 02 Buried 03 Secondary Edge 04 Vein 05 Deep Crack/Fissure 06 Medium Crack 07 Light Crack 08 Obstruction 09 Ground Line 10 Section 11 Rubble 12 Earth Hatch (Background) 13 Earth Hatch (Crack Infill) 14 Earth Hatch (Foreground) 15 Sky

08 Obstruction 09 Ground Line 10 Section 11 Rubble

0 2.5

ELEVATION

12 Earth Hatch (Background) 13 Earth Hatch (Crack Infill) 14 Earth Hatch (Foreground) 15 Sky

5

10

20cm

ELEVATION

PLAN

00 Original Drawing 00 Text and Dimensions 01 Outline Edge 02 Buried 03 Secondary Edge 04 Vein 05 Deep Crack/Fissure 06 Medium Crack 07 Light Crack 08 Obstruction 09 Ground Line 10 Section 11 Rubble 12 Earth Hatch (Background) 13 Earth Hatch (Crack Infill)

ELEVATION

10

MOUNT LYKAION

679.2685

76.8750 CO 087

CO 080

84.0646

118.9647

80.8859

53.8748

43.1459

CO 088

CO 090

CO 089 CO 082

0cm

CO 054 CO 070

CO 091

CO 053 CO 058

CO 067 CO 055

CO 056 CO 068 CO 056

CO 092

10

N

20

PLAN ALTAR MT. LYKAION 2018 CHRISTINE EICHHORN

5

FEAT 606

0

SCALE 1:10

CO 084 CO 081 CO 085

CORRIDOR WEST WALL CO 069

40cm

00 Text and Dimensions

01 Outline Edge

02 Buried

03 Secondary Edge

04 Vein

05 Deep Crack/Fissure

06 Medium Crack

07 Light Crack

08 Obstruction

09 Ground Line

10 Section

11 Rubble

12 Earth Hatch (Background)

13 Earth Hatch (Crack Infill)

14 Earth Hatch (Foreground)

15 Sky

16 Stone Shading

CO 083

CO 093

CO 094 CO 086

CO 071 CO 072

A364

ELEVATION ADJACENT TO ARCH COLYKAION 073 MT. 2018 SYDNEY HIBSHMAN DRAFTED BY SMH, KK, & CE, LR 2016-18)

PLAN ELEVATION TRENCH PP MT. LYKAION 2018 CHRISTINE EICHHORN CO 090

SCALE 1:20

N

0 10

20

40

80cm

34.3841 40cm

CO 092

00 Text and Dimensions 23.2569

CO 090

01 Outline Edge

42.3486

02 Buried 03 Secondary Edge 04 Vein 05 Deep Crack/Fissure 06 Medium Crack 07 Light Crack

00 Text and Dimensions

WEST WALL ELEVATION CORRIDOR MT. LYKAION 2018 SYDNEY HIBSHMAN

01 Outline Edge 02 Buried

43.5453

CO 091

10 Section 74.2921

ELEVATION

11 Rubble 12 Earth Hatch (Background)

04 Vein

05 Deep Crack/Fissure 06 Medium Crack 08 Obstruction

SCALE 1:10

09 Ground Line

15 Sky 16 Stone Shading

03 Secondary Edge

07 Light Crack

13 Earth Hatch (Crack Infill) 14 Earth Hatch (Foreground)

T he selected drawings are examples of the digitized ancient r uins drawn in-situ. T he drawings highlight evidence of hand tools and notate vein variation of material. T he plan is a for mation of marble rocks uncovered beneath the human burial at the center of the altar of Zeus, located 1382 m above sea level. T he elevation (above) is the cor ridor dating back to the first Lykaion Olympic g ames.

00 Original Drawing

CO-067

08 Obstruction 47.8437 09 Ground Line

CO 091

PLAN

40cm

20

20

10

10

5

FEAT 606

5

0

CO 080

PLAN ALTAR MT. LYKAION 2018 CHRISTINE EICHHORN

SCALE 1:10

0

SCALE 1:10

00 Text and Dimensions

01 Outline Edge

02 Buried

03 Secondary Edge

04 Vein

05 Deep Crack/Fissure

06 Medium Crack

07 Light Crack

nd)

08 Obstruction

ill)

09 Ground Line

10 Section

und)

35.3537

0

5

10

20

40cm

71.5847

10 Section 11 Rubble

CO 092

33.0160

12 Earth Hatch (Background)

00 Text and Dimensions

13 Earth Hatch (Crack Infill)

01 Outline Edge 02 Buried

14 Earth Hatch (Foreground)

03 Secondary Edge 04 Vein

15 Sky

05 Deep Crack/Fissure 06 Medium Crack 07 Light Crack 08 Obstruction 09 Ground Line

PARTIAL WEST WALL ELEVATION 10 Section 11 Rubble

12 Earth Hatch (Background) 13 Earth Hatch (Crack Infill) 14 Earth Hatch (Foreground) 15 Sky 16 Stone Shading

WEST WALL ELEVATION

11

ARACHNIDA

A R A C H N I D A Critic: Gisela Baur mann Arachnida bring s to light the coexistence of an ever-present org anism that lives with humans ever y day. It is estimated that within the averag e human household there resides 61 spiders. In fact, there is most likely a spider within reach of this piece of paper right now. Arachnida is a symbiotic residential project that moves beyond the human home and elevates the typical dwelling of the spider.

T he mass and units are inspired by an in-de pth plant study and g enerative remodeling of the orchid. T he orchid family has thousands of species that have each evolved to attract different species for polliwnation, the nooks and crannies for med in the labellum are what infor med the design of the residential units. T he juxtaposition of small enclosed spaces with slivers of light ag ainst air y high ceilings with suspended fur niture offer the human a variety of living conditions, similar to the spider, within their own home. T he unit ag g reg ation can be read from the undulating façade that gives way to pockets of outdoor space.

I . G re e n w i ch S tre e t R en der I I . E l e va t ion M a s s in g R en der I I I . O rch i d M o d el D ra w i n g s

12

ARACHNIDA

VI . R e s i de n t ia l U n i t R e n d e r V. In ter io r R e n d e r in g s

ARACHNIDA

XI . B r i s tol Pa p e r a n d Vel um M o d el XI I . 3D P r in te d S e ct ion M o d el XI I I . M a s s in g M o d el s

13

ARACHNIDA

T he site-specific residential block consists of residential towers that are connected by a series of bridg es that occur only where the crossroads meet the site. T hese bridg es house the ar thropod dwellings and obser vatories where silk can be har vested for scientific, medical and material research.

T he design reference to the g othic is a means of offering comfor t that can be felt and experienced in a psychological manner. A level of em otional comfor t can be evoked through nostalgia and the way in which we feel when we associate places or things to our childhood, memories and places of the past.

VI I I . S i te E x p l o d e d A xon ome tr i c D ia g ra m I X . G roun d L e vel Fl o o r Pl a n X . R e s i d e n t ia l Towe r Fl o o r Pl a n

14

15

(un) NATURAL

(un) NATURAL PA R T : I Critic : K arel Klein and Patrick Danahy Collaborator : Rober t Schaffer (Un)natural is an investig ation into the par tnership between ar tificial intellig ence and the human decision maker. We view this selection of works, not as the final deter minate ending, but rather the culmination of experiments conducted with the collaboration of AI. Utilizing convolutional neural networks and g enerative adversarial networks, each outcome is carefully positioned, iterated, and re-positioned until a successful, molded output is achieved. Moving through time, all scales of elements are examined, from the minute workings of seams, joints, par ts, and texture within a catalogue of specimens; to the larg er relationships of tectonics, erosion, or nament, and materiality within an architectural scale. T hese experiments examine architecture through the lens of Georg e Canguilhem’s text, “T he Nor mal and the Pathological”. In it, he defines Pathog ens as specific causative ag ents of disease or disr uptions of nor mative systems. Fur ther, he defines nor mal, not always through the lens of patholog y, but also as constantly being re-defined and re-made as a result of the disr uptive presence of pathog ens.

I . Fl ui d - P re s e r ve d S p e c i m en I I . G A N L a te n t S p a ce O u t p u t s

(un) NATURAL

I I I . De ta il R e n d e r in g s

16

17

(un) NATURAL

VI . G e o ch ron ol o g i ca l M a p p in g C a ta l o g V. A nn o ta te d S p e cime n

18

(un) NATURAL

(un) NATURAL PA R T : I I Critic : K arel Klein and Patrick Danahy Collaborator : Rober t Schaffer T he methods developed through the continued collaboration between ar tificial intellig ence and human ag ency led to the close examination of materiality, interlocking joiner y, and connecting par ts of the previous studies. T hese techniques were then applied to the larg er scale of Gover nor’s Island in New York. Using AI networks as a causative ag ent, the experiments of the site allowed us to discover new expressions and relationships between landscape and architecture.

T he pathological shift emerg es from the coastline, eroding and shifting the g round into new g eological for mations. T he inter vention poses new natural wonders of cenotes, g roves, and meadows; a dichotomy of gilded, crenellated for mations and ar ticulated architectural conditions.conditions.

VI . M in e ra l i z e d Wo o d De ta i l VI I . L a n d s ca p e S i te Pl a n

19

(un) NATURAL

Having a long histor y of native wood, Gover nor’s Island, or Pag g anuck meaning “Nut Island” inspired a dee per investig ation into wood and the myriad possibilities related there. T he juxtaposition of such a primitive building material paired with the new possibilities of AI led to an enchanting re-creation of our (un)natural world.

VI I I . A xon om e tr i c R e n d e r I X . De ta il R end e rs

20

(un) NATURAL

X . S i te S e ct ion

21

SYNTHETIC MEAT MARKET

the SYNTHETIC MEAT MARKET Critic: Andrew Lucia T he project is the creation of a spectacle, with a focus on the notion of how trag edy sells.

T he conce ption of the market beg an with the exploration of how humans are morbidly curious of tragic events over the ordinar y. T he nature of the design psychologically plays your assumption of what it is. T he heavy metal that meanders through the pastureland induces the premonition of a slaughterhouse, yet the cattle on site are not being har med.

T he market is a synthetic meat production plant, a laborator y for alter native ways of producing meat through the process of cloning cattle for stem-cell g eneration. T he prog rammatic masses that are suspended from the metal framework are glass, allowing humans to experience the synthetic meat labs and to have a visual of how their food is being made, from the petri dish to their plate. T he market challeng es the traditional ways of eating meat and acts to preser ve the ar t of butcher y in the synthetic ag e.

I . A xon ome tr i c R e n d er a nd D ra w i n g I I . M e ta l Tra ck De ta i l

22

SYNTHETIC MEAT MARKET

III. F ro s te d A c r yl i c M o del I V. E a rl y C a rb on D iox i de S tu d ie s

SYNTHETIC MEAT MARKET A series of infrastr uctural hypercollections inspired by elements of the site were designed to facilitate movement across the site. T he striated framework becomes an urban skeleton that consumes the site’s entirety, ex tending out onto the viaduct following the residual remains of Manayunk’s industrial past.

V. S e ct ion Pe rs p e ct ive D ra w in g V I. Pl a n D ra w in g

23

V III . B io rea cto r L a b o ra to r y

T he revival of the ar t of butcher y through the synthetic meat process begins with cells that are obtained from small muscle samples taken from the live cattle. T he cells underg o transfor mation within bioreactors before they are introduced to a scaffold that provides the fibers nutrients and exercise, increasing size and protein content. T he tissue is then har vested, sculpted, and car ved for consumption.

24

I X . S tem C el l L a b o ra to r y

X . B u tch e r S ho p

25

the PINECUBE

the PINECUBE T he design of the Pinecube chair beg an with the shifting of surfaces within a cuboid and resulted in interlocked pinewood planes that are angled to meet a comfor table slope for sitting. T he cushion is held to the backrest by a removable dowel designed so that the cushion can be easily reversed. Below the seat is a nook to store belongings, such as books.

I . V ie w o f In te rl o ck in g P i n e wo o d B a ck re s t I I . R e mova bl e Dowel De ta i l

26

GLASSWING

G L A S S W I N G Critic: Danielle Willems Collaborator : Glenn Godfrey T he diaphanous nature of the Glasswing emerg es from 3D printed, laser cut and casted components to create an eth ereal g ar ment, combining aesthetics of both the cr yptic and dang erous. T he faux leather and silicone hybrid dress is a distant memor y of 19th Centur y willowing techniques and the Late Edwardian corset, coming tog ether to for m a new, contemporar y expression of traditional methods.

T he expansion of the boning fragments translated architecturally into a de ployable str ucture that mor phs into various for ms as the kinetic skeleton car ries and puts strain on the translucent membrane.

I . C e n te r D re s s Pa n el s I I . S il i con e Tra n s p a ren c y De ta i l I I I .Fa ux L e a th e r, R ive t a nd L a ce De ta i l I V. 3D P r in te d Fra g m en t s w i th Ink

27

BUD’S GOODS & PROVISIONS

BUD’S GOODS &PROVISIONS Location: Worchester, MA Fir m: Bobby Redd T he identity branding and retail design for Bud’s Goods & Provisions aimed to de-stigmatize cannabis through a premium shopping experience.

T he design had to navig ate medical regulations and historic codes to transfor m the existing space into a welcoming, intimate dispensar y. Moder n elements paired with vintag e inf luences accentuate the historical aspects of the building. T he cedar built in shelves and glass in-lay counter displays foster a high level of product curation throughout the store.

My contribution to the pr oject rang ed from overall design conce pts to space planning to designing details and material selections.

I . M a rq ue e L i g ht S i g n a g e I I . G l a s s In l a y S e r v i n g S ta t ion I I I . Hex a g on T il e Fl o o r Pa tter n I V. C u s tom B uil t- in S h el f

28

SEQUENTIAL CHAMBERS

SEQUENTIAL C H A M B E R S Critic: Andrew Saunders T he Stoner Cour tyard of the Penn Museum of Archeolog y and Anthropolog y sets up a g rid condition through an assembly of cuboids, that is challeng ed by the caver nous figures that spill out of their constraints and dance with those who walk within. W hile the sun is up, humans experience the space through a series of rhythmic spatial interactions as the body navig ates itself through the paths and pockets of open space. Transparency cree ps in as the sun g oes down and the figures shapeshift into freestanding sculptural for ms that breath heavily throughout the site.

W hat was once buried in the basement and locked up in rooms, is brought to the forefront of the museum. T he org anization of the archive is reinvented with the implementation of a robotic retrieval system, allowing the ar tifacts to be stacked effectively within the towers. Researchers will be able to access h istoric objects to examine more conveniently with the help of the symbiotic robots.

I . C hoi s e D ra w in g I I . Wo o d Pl a n D ia g ra m R en der

SEQUENTIAL CHAMBERS

I I I . S u b te r ra n e a n L e vel R e n d e r I V. S tree t L e vel R e n d e r

29

V. R ob o t i c A rchive L a b o ra to r y a n d E l e va te d Wa l k wa y S e ct ion D ra w i n g

SEQUENTIAL CHAMBERS V I. S tre e t L e vel Pl a n D ra w in g

30

T he fabrication project [ 5’ x 4’ x 3’ ] constr ucted entirely of birch plywood and wood veneer, is a curated container to hou se ar tifacts. T he fabrication project beg an with photog rammetr y of historic pieces from the Penn Museum of Archaeolog y and Anthropolog y archives. A series of abstractions transfor med the objects into relics of ‘alien archeolog y.’ Using Euclidean g eometries of the ar tifact profiles, network surfaces were designed to car ve away at the mass, finely tailored with veneer. T he ar tifacts themselves bor row into the mass and live within it in a way that is unique to their individual for m and char acter.

SEQUENTIAL CHAMBERS

Collaborators: Glenn Godfrey, Rober t Schaffer, Xinyi Huang

31

V I I . A r t i fa ct Pho to g ra m m e t r y V I I I . Wo o d Ven eer D i a g ra m I X . E x pl o ded S e ct ion C u t s

X . Wo o d Ven e e r XI . D r ip De ta il XI I . M i tere d C o r n e r C on d i t ion

A COLLECTION OF WOR K BY CHR ISTINE EICHHOR N M ASTER OF A RCHITECTUR E U N I V E R S I T Y O F P E N N S Y LVA N I A M A RCH 2021