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elizabeth fischer undergraduate portfolio austin e. knowlton school of architecture bachelor of science architecture
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elizabeth fischer 3824 Robertann Dr. Kettering, Ohio 45420 efische531@gmail.com
2013 Bachelor of Science of Architecture Knowlton School of Architecture The Ohio State University
ef academic dynamic duplication works taxonomy of the house university_pockets
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aalto university
crystal cavity
13-16
performing arts center
useful extrusions
17-20
shoe store facade
customized convenience
21-22
food fort_north market
re-unification
23-28
publiCITY 2012
foldahut
29-34
installation in motion
additional photography works personal art and travel sketches graphic designs and publications furniture fashion schau GS Gold Award
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academic works
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dynamic duplication taxonomy of the house | housing typology spring 2013 sandhya kochar 14 weeks The genesis of the project resulted from the study of the Manhattan Transcripts. From this basis resulted a study in the architectural narrative. The architectural narrative approach to design allows for the production of new connections within the housing typology. Instead of following the contemporary house format, our house begins to take a new approach to what cohabitated living suggests. The suggestion of contemporary housing allows for a mine-not-yours mentality. The mass production of a standardized home does not afford flexibility within one’s new home. To allow for this flexibility, our design encourages the physical movement of components of the house which are generated through a narrative process. Our narrative consists of two characters that explore the street. Their exploration of the street was translated into the narrative of the house. Through the investigation of the housing typology, the narrative became translated into a critique on past theories and concepts of houses, as well as a critique on the contemporary house. The design of the narrative household is based off of the mapping study of two singular narratives that eventually cross paths before continuing again in separate directions. The crossing of paths generated the concept of the grand space. The grand spaces that evolved came from the clients personal interests. The creation of the grand is exposed more fully in the movement of the parts. There are two conditions: open and condensed. The condensed condition allows for Bart to explore his passion for cooking and encourages the families to interact through the cullinary. The open condition is designed to bring out the architect in each of the home owners. The grand studio is designed to bring each architect together in a community environment within their own home. Also in the open condition, Dow gets to experiment with films when the exposed roof top becomes a theatre. In both conditions, the landscape and patio relationship is changing. The condensed home puts the landscape into tension and creates an interactive space for the children. The open home stretched the landscape as a response to the movement of the housing pieces. The seam is a crucial condition between each house. It is both a barrier and an intertwining mechanism for the home. The seam reveals parts of the home while also allowing the duplex to be private for each family. Also at times the seam opens up and allows for light and community space. Through the tracing of the narrative, one begins to understand historical components enacting within the house. Simultaneously, the narrative explains the critique on the contemporary house and gives a projection for the future typology of housing.
historical components
1960’s
archigram. plug in city. walking city
condensed grand space: grand studio (each studio space and exterior patio between) landscape is in its most compressed condition all exterior walls are white to appear seamless for safety armatures are fully exposed as a result of lack of use; armatures are also exposed in order to create grand spaces
1995-1997
mvrdv. double house. utrecht, the netherlands
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1792-1808
john soane. john soane’s house. london
open grand space: grand eatery (dining, kitchen, and exterior patio spaces) grand landscape is at its fullest; landscape is directly affected by the movement of the piece: the landscape is stretched in unison with the movement of the pieces only in the open condition is the colored seam exposed as a result of movement exterior patios and courtyards are created also as a result of moving pieces
1998
un studio. mobius house. the netherlands
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entry
condensed
grand eatery-closed
grand studio
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seam-community space
open
grand eatery-open
exterior theater
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massing
break into levels
splitting into duplex
seam logic
columbus transcripts | street narrative
distribution of space per duplex 1/3 :2/3
division into programatic spaces (vertical)
division into programatic spaces (horizontal)
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university_pockets aalto university | campus 2015 autumn 2012 isabela gould knowlton gui competition 14 weeks The Aalto University design objective of the Campus 2015 architectural competition was to create a lively and interactive environment for research and learning activities for the whole Otaniemi science and research community. The campus communicates an orientation towards the future as well as incorporating novel technical and ecologically sustainable solutions. The new buildings create an urban landscape solution in which the new urban structures engage in a dialogue with the existing buildings through the buildings’ dematerialization of forms. The floor area located on campus is between 48,000-52,000 square meters. The concept of pockets throughout campus allows for relationships to be created between the urban landscape and the urban structures as well as creating both personal and public spaces for program. Through the dematerialization of campus into two interlocking parts, a central campus is created. With the addition of the different types of pocketed areas, the spaces yield an atmosphere specific to the program required. The application of the triangulated skin allows for new types of pockets to form as well as unifying the separated structures.
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massing | site
massing | interlocking parts
dematerialization | pocket formation
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dematerialization | filling the site
distortion | pushing and pulling for program
distortion | connection to aalto buildings
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crystal cavity performing arts center | cincinnati, ohio winter 2012 kristy balliet 10 weeks Located in downtown Cincinnati, Ohio, the performing arts center reaches out of its urban fabric to pull in the passerbys. The design of the building aims to pull in city goers, even if they are not going to a show within the building. Rather than establishing the theater as an object strictly within the building, the exterior of the building creates a performance space that is open to the urban environment. The “Crystal Cavity� challenges the boundaries of the site and relationship between the structure and its visitors. Triangulation is employed to create spaces through the movement and articulation of folded planes. The triangulation in plan begins to shift the movement throughout each level. In section, triangulation begins to break the vertical plane to create three different types of spaces: a room, pockets, and fold-away viewports. The rectangular massing is sliced into in order to direct the visitors towards the entry and also to match the triangulated forms of the exterior cavity space. On the exterior and on the interior of the upperlip of the massing, media will be projected as a part of the gallery spaces. The upper lip of the massing also serves to pull in the people just passing by so they are able to experience the building without having to stop for a show.
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useful extrusions shoe store facade | columbus, ohio autumn 2010 dow kimbrell 5 weeks In an urban infill site in downtown Columbus, Ohio, an existing building is renovated to become a shoe store, specializing in boot sales. With two important walls, the west facing High Street wall and the south facing alley wall, the focus of the design becomes directed towards these walls. The intent of the design is to be both functional and formal. Since the alley is a typically abandoned space, the shoe store design creates a more appealing atmosphere between buildings. The stacking of the south facing wall reflects the way shoe boxes are similarly stacked. The extrusions along the wall are manipulated in order to create functional modules for the interior and the exterior. While acting as different displays for boots, the modules also provide spaces to sit or places to view the life inside and outside of the store. The glass entry wall facing High Street is designed to allow passing traffic to see the south wall extrusions. The way the modules light up in the alley creates an aesthetic appeal both at night and during the day that is intended to draw in customers.
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customized convenience north market food fort | columbus, ohio autumn 2011 brandon clifford 5 weeks The typical food truck, although quite portable and mobile, is limited to the streets and parking lots. The design of this food fort is aimed at the possibilities that are created by freeing the food truck from the streets. In the same way a dress can be customized, the food fort has the ability to be adjusted to its site. Through customization, the food fort’s site possibilities become infinite. Triangulation is employed because of the structural strength of its design and the range of possibilities of its design. Although the design itself is not definite, the terms in which it is designed are. There are two skins that define the food fort. The interior skinning of the fort is aimed at design according to the function of the space. The exterior of the fort forms according to the site. While it is both highly portable and diverse, it is mostly convenient in that it can be shipped and rebuilt anywhere.
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potential sites
freeing the food fort from the streets
north market site
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re-unification publiCITY 2012 | rome, italy spring 2012 kay bea jones 7 weeks collaboration with patrick vokaty and azzalee gethers A villa is a country house for the elite, surrounded by gardens and vineyards to highlight its wealth and importance. Across the centuries, villa gardens, once located in the suburbs of Rome, have become public parks for recreation and fresh air for its citizens. In the same way a villa becomes a sublime creation in an elaborate landscape, the new Art Center becomes the new precious artifact within the pre-existing Villa Borghese landscape. The design of the art center pays tribute to the landscape that surrounds the building both directly at its feet and also on the city skyline. The views that are accessible by design, St. Peter’s, MAXXI, Piazza del Popolo, Termini Station, and the Colossuem, are highlighted for their role in the fabric of the city comprised of monuments. St. Peter ’s Dome rises above the datum of modern Rome, the one building that is almost always visible at any point in the city , the one building that controls the heights of every other building. MAXXI is the first national museum of architecture in Italy, the main museum that houses and promotes the art and architecture of the 21st century. Piazza del Popolo is the piazza for the people, tip of the trident, and link between the Pinchian hills and the gardens of Villa Borghese. Termini Station is the main train station of Rome that provides access to and from the major cities of Italy. The Colossuem is the most iconic symbol of Imperial Rome, withstanding years of damage to remain standing today as a tourist attraction for the Roman economy. All viewports come together to form a 5-headed complex uniting a series of contemporary media. Each tube houses a different artist, with space for a workshop and a place to exhibit each artist’s work. Structure and circulation respond to the dynamic form that results from the intersectionthe collaboration-of each artist’s domain. The division of public and private zones is also acknowledged through the East and West wings of the design center and within the circulation through the tubes. The old Cosenza entry is also recycled in our design, emphasized by the inverted tube entry, drawing attention to the public entrance. The secondary tubes act in a similar way to the primary tubes except that the program in inverted. However, every tube reunites at one public level.
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primary program
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foldahut installation in motion | knowlton hall spring 2011 tracy perry 10 weeks collaboration with drew grandjean and dylan rossetti The concept of the Foldahut resulted from a study of the movements of breakdancers at the International Battle of the Year competition of 2007. Patterns in how the stage was occupied by both teams emerged from this study, and among them was the concept of “flanking” or surrounding. The concept of surrounding was realized by the enclosure project Foldahut. Beginning with an exploration of using folding to create structure, we came across a particular fold which, due to its uniformity and shape lent rigidity to otherwise nonrigid paper. To create private spaces in a very unprivate building, the Foldahut project attempts to provide relief through enclosure. The beauty of the folds is obvious, but even more elegant is the capacity of the folds to do just what they look like they ought to do: collapse like an accordian. Using the same device that suspends the enclosure from any light fixture in Knowlton Hall (except for the ones higher than 12 feet from the ground), the enclosure can be transported to new sites within the building. Users can collapse the folded structure using the drawstring reels at the sides, then attach them to the back of the device itself (via velcro), which becomes a “backpack”. The tail end of the “backpack” also folds to a comfortable position for transport.
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rules:
the angle of the arc is directly tied to the proportions of the rectangles that compose the folds
the angle created is determined by the length to width ratio of each v-shaped fold
the thickness of the paper and the tightness of the folds determine the integrity of the structure
holes do not detract from the structures rigidity when cut at the vertices of the triangles
when completely closed, heat builds up in enclosure and vents can be made via rules
when changing the direction of the folds, an arc forms at the “x� joint that is created
the larger the number of v-shapes and folds, the more the unfixed end can expand
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additional works
rome, italy | colosseum
photography 2012 international photography competition
the ohio state university honorable mention rome, italy | pentecost celebration
rome, italy | pantheon
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florence, italy
florence, italy | duomo cathedral
genoa, italy | portofino bay
vatican city, italy | st. peter’s basilica
alberobello, italy | trulli houses
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matera, italy
rome, italy | spanish steps
barcelona, spain | park guell
personal art and travel sketches
matera, italy | contour sketch
matera, italy | hostel sassi
monochromatic acryllic
alberobello, italy | trulli houses
ascoli piceno, italy | piazza del popolo
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pentecost celebration rome, italy | pantheon
rome, italy | pantheon
ascoli piceno, italy | piazza del popolo
rome, italy | st. peter’s basilica dome
s. sebastiano rome, italy | via appia
rome, italy | piazza di santa maria in trastevere
ksa data visualization challenge
d isease n’ dots 2012 top global diseases
H1N1
SWINE FLU
SALMONELLA
EBOLA
DENGUE
CHOLERA
ANTHRAX
visualizing global marathon | challeneg 1
july *dot size = intensity of outbreak/number of cases 1-100
august
september
october
november
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100-500
500+
2012 Data Visualization Marathon first place | Patrick Vokaty and Elizabeth Fischer November 9-11 Challenge:Disease Alerts “disease n’ dots”
JURORS: Deb Georg, KSA Landscape Architecture Doug Graf, KSA Architecture Lisl Kotheimer, KSA Landscape Architecture Karen Lewis, KSA Architecture Matt Lewis, ACAD Rachel Kleit, KSA City and Regional Planning
Book Designers Elizabeth Fischer Patrick Vokaty
worms in our furniture “Soil” by Ann Silverman Introduction to Vermicomposting
“Worms in our Furniture” Produced by: Elizabeth Fischer and Patrick Vokaty Publication introducing vermicomposting and presenting the furniture of students from Vermiculture Furniture seminar at The Ohio State University taught by Kay Bea Jones and Amy Youngs
http://issuu.com/wormsinourfurniture/docs/vermibook#
2-3 4-13
Vermiculture Furniture
14-55
Events
56-77
recipes starters
1-16
first date
3-4 5-6 7-8
Grama Rolls Mary Jones Wild Rice Soup Mary Jones Yegomen Kitfo Ann Silverman Green Chile Stew Green Chile Meatballs Cathie Zacher Roasted Root Vegetable Mélange Kay Bea Jones Genoese Pesto Kay Bea Jones Aunt Cathie’s Salad Dressing Cathie Zacher
entrées
9-10 11-12 13-14 15-16
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falling in love
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Sausage and Broccoli Pasta Donna Swete Mexican Chicken and Rice Salad Donna Swete Glazed Chicken and Szechuan Noodle Salad Donna Swete Chicken Tostada Salad Kit Cameron New Mexican Green Chile Chicken Enchiladas Cathie Zacher
29-46
Desserts
dinner a love story
tying the knot Berry Crisp Kay Kolderie White Chocolate Toffee Bars Mary Jones Ginger Cheesecake Ann Silverman Healthiest Cookies Kay Bea Jones Red Velvet Cake Mihir and Jessica Pandya Rhubarb Muffins Marcia Alberts Chocolate Truffles Sam Zacher Ginger Pumpkin Bread Kit Cameron
“Dinner: A Love Story” Produced by: Elizabeth Fischer Cullinary publication produced for Associate Professor of The Ohio State University, Kay Bea Jones
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genoesekayPesto bea jones ingredients 2 cups packed fresh basil leaves 1/4 cup pine nuts 2/3 cup extra virgin olive oil, divided kosher salt, to taste 1/2 cup freshly grated Parmigiano cheese, aged 2-3 years
preparation Combine the basil and pine nuts in a food processor and pulse until coarsely chopped. Add 1/2 cup of the oil and process until fully incorporated and smooth. Season with salt. If using immediately, add all the remaining oil and pulse until smooth. Transfer the pesto to a large serving bowl and mix in the cheese. If, freezing, transfer to an air-tight container and drizzle remaining oil over the top. Freeze for up to 3 months. Thaw and stir in cheese. Read more at: http://www.foodnetwork.com/recipes/food-network-kitchens/ basil-pesto-recipe2/index.html?oc=linkback
Compilation of recipes and photos 14
living table elizabeth fischer
herb garden prep table
sliding compost door lights for plants
elizabeth fischer
Is nature’s cycle revived by bringing the garden inside?
4’ composting zone
eat
reu se
As a designer, I play a specific role in the creation of the objects and spaces we surround compost ourselves with. I was taught to use my skills to create seductive architecture with a function. Quickly I discovered that I could apply those same design skills to thinking outside of architecture. Thinking outside of architecture led me to thinking about problems that, if recycle solved, could have a bigger impact on the world.
aeration ornamentation
tray for leachate
scale: 1’=1.5”
For me, I was less interested in seeing the worms at work and more interested in the mystery of the process within. The coffee table was a piece of furniture that is often talked around, but rarely brought up in conversation. I wanted to refocus the attention of the coffee table within a space, allowing it and (specifically) its contents to become a topic of conversation. And since plants were in direct effect of the nutritious benefits of the composted soil, I wanted to include them in the design as part of a complete cycle. I wanted what was used up top to be fed and created at the bottom. However, this design is not strictly limited to being used for only herbs. It is a design that could inspire the mind to think about the complete cycle and direct benefits of composting.
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Living Tab
Is nature’s cyc the garden ins Elizabeth Fisc
As a designer, I creation of the o surround oursel use my skills to ture with a funct that I could appl to thinking outsi outside of archit about problems could have a big
For me, I was le the worms at wo in the mystery o coffee table was is often talked a up in conversati attention of the allowing it and ( become a topic plants were in d benefits of the c to include them complete cycle. up top to be fed However, this de to being used fo that should insp the complete cy composting.
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spring 2013 produced in Vermiculture Furniture seminar at The Ohio State University professors: kay bea jones and amy youngs
sliding compost door lights for plants
aeration ornamentation
4’ composting zone
tray for leachate
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AIAS fashion schau
knowlton school of architecture the ohio state university model: Kayle Langford location: KSA main space march 2013 The design inspiration for “Food to Go� was a desire to make something that was as flexible as a to-go container yet was just as easily recycled. The dress was intended to be recycled in a way that inspires the concept of recycling food, in other words, composting. Its clean appearance is relatable the desire for a clean planet. The added articulation towards the bottom is inspired by lace and relating to the beauty of nature.
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GS Gold Award Glen at St. Joseph Dayton, Ohio
2009 natural playground Elizabeth Fischer and Katrina Staker The Girl Scout Gold Award is the highest honor a Girl Scout can recieve (equivalent to the Boy Scout Eagle Scout). The Gold Award incorporates leadership and service to the community. The requirements include 30 hours of leadership, 40 hours of career exploration, and 65 hours of service. Katrina and I decided to add musical elements to a playground at the Glen in St. Joseph, which helps single mothers get back on their feet, in an effort to create something that would be fun, educational, and help kids to be creative. The natural playground that already exists is designed to promote healthy play skills amongst the children and to discourage violence from the addition of hierarchy. We added a triangle, drum, xylophone and rattle wheel to the playground, which will encourage the children at the Glen to appreciate the natural music they can create as well as comply with the terms already employed within the natrual playground at the Glen.
elizabeth fischer efische531@gmail.com