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CALLI VERKAMP PORTFOLIO


COVER PAGE “Repetition + Anomaly” Graphite on Arches Hot Press 24” X 36” LEFT Interior Rendering of a Bookshop Graphite on Arches Hot Press 12” X 15”

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RIGHT “Prayer Room” - Interior Rendering for a Mausoleum Project Graphite on Arches Hot Press 20” X 24”


CONTENTS PROJECTS 4 18

CREATIVE CORRIDOR ARTS BUILDING

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HIGHLINE INTERVENTION

DRIVE-THRU MUSEUM

INTERNATIONAL 46 GATEWAY TO SANTO QUATTRO CORONARI 54

TRAVEL DRAWINGS

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CREATIVE CORRIDOR ARTS BUILDING

LITTLE ROCK, ARKANSAS FALL 2011


CONTEXT There is a cultural expansion taking place in Little Rock. This once thriving southern capital has experienced a decline, mostly due to urban sprawl. However, city leaders and the community are recognizing that a lively creative cultural and arts environment is essential to bringing the community back to the downtown area. The idea of the ‘Creative Corridor’ is to establish Main Street as a new arts and entertainment district in Little Rock. The Corridor, which runs along Main Street from the river and through the downtown area, will contribute to the civic life of the community by offering opportunities for gathering, expressing, creating and sharing. Historically, Main Street has been a social and commerical destination for the people of Little Rock. The Creative Corridor project aims to reestablish this district by placing important arts and entertainment destinations along Main Street.

CAPITOL AVENUE, 1957

This project develops one site along this corridor, at the corner of Main Street and Capitol Avenue.

CAPITOL AVENUE, 2011 6


N Main Street

Capitol Avenue

LITTLE ROCK, ARKANSAS - DOWNTOWN

MAIN STREET, FACING THE PROJECT SITE 7


CORE

USABLE SPACE

PLAZA

RESPONSE

MASSING DIAGRAMS

INITIAL SKETCH

MASSING ITERATIONS 8


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OďŹƒce Space

Level 2

Level 2

Theater Studios Retail East-West Section

BLACK BOX THEATER Section looking North

MAIN STREET 10


Level 3 Black Box Level

Level 4

Level 3

Levels 5-9

Level 4

Levels 5-9

PROPOSAL: This proposal is a new arts + oďŹƒce building to be located on a currently empty site at the heart of this focused art and entertainment district. It contains art studios, galleries, and shops, and the main attraction is a black-box theater. The upper levels of the building hold speculative oďŹƒce space to help fund the art program expenses. This project also features a large outdoor space that could be used for public demonstrations or exhibitions, helping to reactivate the street in this potentially prosperous downtown neighborhood. North-South Section

Axon showing the Ground Floor and a Typical Upper-Level Floor 11


FACADE STUDIES

Typical Mechanical System Layout

Structural System

East Facade Skin System

SYSTEMS DIAGRAM: MECHANICAL, STRUCTURAL, AND SKIN 12


EAST ELEVATION - MAIN STREET 13


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(13)

(12)

(6) (5) (15)

(11)

(3)

(10) (14) (4)

(2)

(9) (13)

(1)

(7) (4) (8)

(16) (5) (6)

Skin Details (5) (6)

(8)

(11)

(12)

(13) (13) (14)

(1) Wide Flange Section (2) Metel Deck (3) Concrete Floor Slab (4) Steel Angle Bracket (5) Aluminum Mullion (6) Double Paned Glass (7) Thermal Insulation (8) Aluminum Sheet

WALL SECTION

Section of South-facing Wall 3/8” = 1’

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(9) Thermal Break (10) Extruded Aluminum Frame (11) Maintenance Access Deck (12) Cable Support (13) Glass Panel (14) Clamp Bracket (15) Interior Floor Finish (16) Interior Ceiling Finish


PERSPECTIVE FROM THE PLAZA LOOKING EAST 16


VIEW FROM CORNER (CAPITOL AND MAIN) 17


SITE


CANTILEVER + DRIVE-THRU MUSEUM BONNEVILLE SALT FLATS, UTAH FALL 2010


CANTILEVER This series of projects was included in the structural studio sequence as a part of the third year curriculum. The first exercise was to design and build a cantilever using a tessellating structural strategy. The cantilever was built at full scale, 2’ by 6’, and tested in class for durability and strength relative to weight. The subsequent exercise was to apply the structural strategy used in the first project in the design of a large cantilevering roof that would cover a drive-thru car museum at the Bonneville Salt Flats. The original strategy had to be modified to span a much larger distance as well as protect the vehicles from the harsh sun.

STUDY MODELS - CHIP BOARD - 1’ 6” x 6”

Work done in collaboration with: Austin Ward

FINAL MODEL - WOOD - 6’ x 2’ 20


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MUSEUM

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DEFINITION

CANTILEVER

DIAGRAM

PLAN

Member 2.5

Member 1.4

11"

411 16"

3 16"

3 16"

75 8"

11" 3 8"

511 16" 1 4"

413 16"

11"

1 4"

11"

75 8"

1 4"

1 8"

3 8"

1011 16"

The cantilever will consist of thick ribs spanned by tesellating members. The system is adjustable and flexible.

UNFOLDED TESSELLATED STRUCTURE

75 8"

X-2

1 416"

311 16" 1 8"

1 8"

45 16"

1 8"

39 16"

1 416"

1 8"

1 8"

X-3

41 8"

4"

X-5

313 16" 1 8"

1 8"

41 2"

X-4

1 8"

43 8"

413 16"

53 8"

3’

1 8"

1 8"

3 16"

73 8"

1’ 39 16"

1 8"

413 16"

511 16"

511 16"

1 4"

1 8"

1 416" 1 8"

45 16" 1 8"

3 16"

3 8"

311 16" 1 8"

45 16"

1 8"

413 16" 3 16"

Member 1.1 11"

35 8" 1 8"

1 416"

45 16"

413 16" 1 8"

511 16"

75 8"

5 16"

1 8"

41 8" 1 8"

1 8"

511 16" 3 16"

1 4"

6’

39 16" 1 8"

43 8" 1 8"

3 16"

75 8"

1015 16"

Member 1.2

Member 7.7

37 8" 1 8"

413 16" 1 8"

Member 1.3

Member 6.7

43 16" 1 8"

511 16"

75 8" 1 4"

Member 5.7

Member 4.7

59 16" 1 4"

1015 16"

X-1

MUSEUM

Member 3.6

75 8"

5 16"

SECTION

1 8"

33 4"

X-6

31 2"

X-7

X-8

The structure is made up of diagonal members and cross-bracing members. Diagonal members are labeled by the bay that they start in and the bay that they end in, starting on the left. Each member is to be cut twice and the 2 pieces are to be labeled 'A' and 'B'. 'A' members run in one direction, with the notches facing down. 'B' members run opposite, and have notches facing upwards. Cross-Bracing components are labeled left to right.

Grasshopper definition used to determine ultimate density and rib spacing for a lightweight, structurally sound cantilever.

Density is determined exclusively by the structural needs of the cantilever. Density increases as it reaches out from the support. The dimensions of each member was determined using the parametric design program.

The cantilever has the most depth at the supported section, and becomes thinner as it reaches out. The members were cut and assembeled in the woodshop, then tested.

The Grasshopper definition was adjusted, and the elements of depth and angle were added as a parametric variable.

For the museum roof structure, depth and density of the members is determined based on sunlight and the location of the cars beneath to give the display the ultimate amount of shade throughout the day.

The museum roof overhangs and slightly angles down towards the south, and is more open towards the north. This gives the cars maximum protection from the elements.

RESULTING ROOF PLAN

The structural idea of the cantilever adjusts to fit the museum site. The system folds over to become wall and roof.

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GROUND PLAN

STRUCTURAL PLAN

ROOF PLAN

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Map showing the Highline, adjacent buildings, and entry/exit points.


HIGHLINE INTERVENTION NEW YORK, NEW YORK FALL 2012


CONTEXT VISITING PROFESSORS: VINCENT JAMES AND JENNIFER YOOS, VJAA

The highline in New York City is just one example of the new typology of an elevated walkway. Because the highline exists within the fabric of the strict New York City grid, there are opportunities for adjacent buidings to connect to the Highline, negotiating between the ground level and the Highline level, and also to connect to each other in a new way. There are also opportunities for the Highline itself to connect to a larger network of transportation routes in the city at large.

Hudson River Greenway

Highline Elevated Walkway

This project is two fold - the first phase is is an overall site strategy that deals with the highline in the context of the city, and considers the sustainability of the Highline as a tourist attraction. The second phase zooms in and makes an intervention along the Highline at a smaller scale, considering how the building should connect both to the Highline and the ground while forming a mutually beneficial relationship between the two public spaces.

View of Hudson River from the Highline 28


N

MANHATTAN - MEAT PACKING DISTRICT

Connection to the city fabric 29

Connection to the ground

Connection to adjacent buildings


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N

ART ON THE HIGHLINE The leisurely nature of the Highline supports arts and entertainment programs, and has been a catalyst for the public art, private galleries and performance. These art installations and performances are both commissioned and spontaneous. The dots on the Highline below mark locations of art installations in 2012.

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RESPONSE

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PROJECT INTERVENTION HUDSON YARDS SITE CHELSEA PIERS CONNECTION POINT / PARK FUTURE WHITNEY MUSEUM

MAJOR NODES

CONNECTION POINTS

RESULTING “LOOP”

The site strategy strategically connects the Highline and the Hudson River Greenway in two locations, creating a contiuous loop. This “Green Loop” both connects the Highline to a much larger system of greenways in the city, and also makes it more useful as a walking trail by eliminating awkward dead ends. Secondly, the strategy locates existing and proposed cultural hubs along this loop, to give the Highline a more sustainable way to funciton.

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INTERVENTION

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The second phase of this project is a further development of one node along the loop. The strategy at the highline level is a “flooding” stragegy (see diagram), in which the space of the Highline level spills out and overlaps with the buiding intevention. The location for this intervention is at a significant bend in the Highline between Section 2 and 3. This intervention houses a sculpture instution, and will include spaces for classrooms, large and small scale studios and warehouses, commercial space, and office space. The intervention also provides a major point of entry and exit that connects the Highline and the ground level. EXISTING CONDITION

PROPOSED EXPANSION

“Flooding Strategy” Diagram

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10TH AVENUE

HIGHLINE

GROUND LEVEL: PRIVILEGES THE STREET SECOND LEVEL: PRIVILEGES THE HIGHLINE

BECAUSE OF ITS POSITION, THE HIGHLINE CUTS OFF A SEGMENT FROM EACH BLOCK

THE BUILDING ITSELF CAN BE USED TO NEGOTIATE THE SPACE BETWEEN THE GROUND AND THE HIGHLINE

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THE SPACE OF THE HIGLINE EXTENDS INTO THE SITE 37


10TH AVENUE

ACCESS FROM STREET TO HIGHLINE

STUDIO TOWER - SMALL SCALE STUDIOS 38

EXISTING PORTION OF THE HIGHLINE

LECTURE HALL / CLASSROOM


Highline level plan of project intervention

LARGE SCALE STUDIO / WAREHOUSE 39

The tower would be visible from 9 blocks away

Strategy employed at multiple nodes


10TH A

VIEW DOWN THE HIGHLINE FROM AN UPPER LEVEL OF THE STUDIO TOWER

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AVENUE

ACCESS TO HUDSON RIVER GREENWAY

HUDSON RIVER

HIGHLINE

10th AVENUE

PROJECT INTERVENTION ACCESS TO HUDSON RIVER GREENWAY 41


APPLICATION: The “flooding� concept can be applied to other empty sites along the highline. Extending the space of the Highline into the privately owned sites is mutually beneficial for the Highline and the private institution. Consequently, the intervention designed in this project is just one part of a larger system of connected public space in the city. 42


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44


45


INTERNATIONAL TRAVEL

TRAVEL DRAWINGS + DESIGN PROJECTS ROME, SPRING 2012 PERU, SUMMER 2012


GATEWAY TO SANTI QUATTRO CORONARI

INTERNATIONAL STUDY IN ROME, ITALY SPRING 2012


CONTEXT This project is a gateway intervention that provides much needed access to an important religious monument. Founded in the 4th century, the Basilica of Santi Quattro Coronari is a historically significant church located on the north side of the Coelian hill in Rome. Because of its close proximity to the Basilica of St. John the Lateran, the church was rebuilt as a stronghold and served to protect the pope in case of an attack until the 14th Century, when the Papal seat was moved from St. John to the Vatican. This project aims to restore the attention and significance that this beautiful historic and religious landmark deserves. Taking lessons from the existing urban fabric of Rome, the proposal reestablishes the significance of the church by placing it at the end of an axial path as well as creating a public outdoor space in front of it. This proposal interjects an urban space that will connect new developments of the neighborhood with the historic church, adding a new layer to the already rich stratification of the city of Rome.

Section through Via San Giovanni Laterano showing the South elevation 50

ROME, ITALY


COLOSSEUM

VIA PAPALIS (ORIGINAL)

VIA PAPALIS (TODAY)

PROJECT SITE SANTO QUATTRO CORONARI

EXISTING STREET ON AXIS WITH SANTO QUATTRO CORONARI

site

ST. JOHN THE LATERAN

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RESPONSE

AXIAL ALIGNMENT TO SIGNIFY IMPORTANCE

OUTDOOR STEPS AS PUBLIC SEATING

INTERSECTION OF MULTIPLE CITY GRIDS / FABRICS

EXISTING SITE CONDITIONS

Precedents: Spanish Steps, Campidoglio, typical fountian

SERIES OF WALLS BLOCKING ACCESS TO THE CHURCH

SANTI QUATTRO CORONARI

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VIA SAN GIOVANNI LATERANO - MOST HEAVILY USED STREET

UNUSED LOT (UNACCESSABLE)


RESPONSE: USE THE SITE TO ALLOW ACCESS FROM VIA SAN GIOVANNI LATERANO TO SANTI QUATTRO CORONARI, AND CONNECT THE CHURCH TO THE LARGER NETWORK OF CITY FABRIC 53


PROPOSAL:

SANTI QUATTRO CORONARI

AXIAL APPROACH FROM VIA LUIGI

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RAMPS PROVIDE ALTERNATIVE ACCESS

AN EXTENSION OF THE STREET CONNECTS THE CHURCH TO THE CITY


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TRAVEL DRAWINGS

INTERNATIONAL STUDY IN PERU SUMMER 2012


TRAVEL DRAWING -LIMA -TRUJILLO -AREQUIPA -AYACUCHO -CHICLAYO -CUZCO -MACHU PICCHU

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CONTACT


Calli M. Verkamp

3407 W Chevaux Dr, Fayetteville, AR 72704 cmverkamp@gmail.com 479-965-5244 Bachelor of Architecture, with Honors Fay Jones School of Architecture, University of Arkansas Expected Date of Graduation: May 11, 2013

LEFT Exercise from Peruvian Design Studio Watercolor and Graphite on Fabriano 48” x 108” (6 sheets: 24” X 36”)


Calli Verkamp Portfolio  

Calli Verkamp Portfolio

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