KARINA ENCARNACIÓN BA in Architecture Columbia University 2021 Architecture / Furniture / Objects / Graphics
TA B L E O F C O N T E N T S
Statement
00
Screens for Chinatown
01
Four-Panel Chair
02
PARAPLY Lamp
03
Hallet’s Cove: Kayak Launch
04
Hallet’s Cove: Climate Lab
05
Lina Bo Bardi Chair Analysis
06
Morningside Park Intervention
07
Modular Construction: The Subway
08
Multigenerational Apartment
09
Café at Sank t Jørgens Sø
10
Pavilion for the Ny Carlsberg Glyptotek
11
Artificial Tree for Barnard College
12
Augmented Reality: The House of the Future
13
Augmented Reality: The Oculus
14
Design Work for Kohn Pedersen Fox Associates
15
Postcards + Posters
16
Collage Analysis: Sans Soleil
17
1:12 Scale Miniatures
18
Wheel-Thrown Pottery
19
KAR IN A EN C AR N AC I Ó N
S TAT E M E N T
As both an architecture student and dancer, I am fascinated with exploring design at various scales: ranging from that of an entire community, to a family unit, to the individual body, and to the hand. While I study architecture primarily, my work spans many media. I aim to always explore new methods of representation, particularly those that can be experienced spatially. John Ruskin noted that "no person who is not a great sculptor or painter can be an architect." While representational skills such as drawing and painting are intrinsic to the study of architecture, an architect can draw or paint endlessly and still have no true understanding of what she aims to create. For one to be a successful architect, she must be familiar with the feeling of the material in the hand. In other words, she must be a sculptor. Sculpture – or form-making – is architecture at its simplest form, and architecture is an extension and continuation of sculpture. Architecture has great potential to provide spaces of education, innovation, protection, and community. However, I have become increasingly aware of my field’s environmental and political implications and the impact of large-scale urbanization. While I remain hopeful and optimistic about new design solutions, my recent interest in furniture and object design – two forms of “sculpture”-making – was sparked by a desire to create work with a minimized environmental impact that is accessible to all people. I am fascinated by the intersection of architecture and object that can be grasped and fully experienced by the individual, regardless of his or her social or physical status. I desire to be the “sculptor” Ruskin speaks of – someone whose work is informed by the human body and inspired by phenomena and ideas outside formal architecture. Regardless of the scale of my work, I will always strive to retain an awareness of its environmental and political impact and to strive for a richness of human experience.
0 0 / STATEM EN T Mod el fo r Clim at e Lab in As t or ia, Q ueens Profe ssors M ic hael Sc his s el + Kar en Fair b a n k s Fa ll 20 19
KAR IN A EN C AR N AC I Ă“ N
S C R E E N S F O R C H I N AT O W N : S E AT I N G F O R R E S TA U R A N T S I N R E S P O N S E T O T H E C O V I D - 1 9 PA N D E M I C New York, New York Professor Ignacio GalĂĄn, Independent Study, Fall 2020 The restaurant industry suffered great hardship as a result of the 2020 COVID-19 pandemic, but Chinese restaurants were hit the hardest. Dealing with xenophobia, income cuts, and learning curves for new CDC guidelines and food delivery services, many restaurants were forced to close their doors permanently. By designing a new alternative for Chinatown restaurant seating, I aim to help revitalize the restaurant industry, to provide a solution more appealing, environmentally-friendly, and weatherflexible than those currently being implemented, and to create a space that is both CDC-approved for the current pandemic, but also relevant to a post-COVID-19 world. "Screens for Chinatown" is a seating configuration which uses scaffolding (for easy assembly in a variety of configurations for different site sizes) paired with plastic scaffolding sheeting as protection from the elements, and unique screens made of processed vegetable and plant material from nearby farms. The resulting design maximizes tight site allotments by building upward instead of outward, while still abiding by CDC guidelines. While functional, the configuration is also beautiful and educational.
0 1 / SC R EEN S FOR C H IN ATOWN Elevation (facing restaurant side)
While America's food production industry spans the country, there are specific farms along the East Coast that specialize in ingredients for America's Chinese restaurants. These farms are typically owned and operated by immigrants often live in communal housing and who carpool to work, putting workers at risk of COVID-19 infection. In order to keep produce fresh, frequent shipments to Chinatown are made, increasing risk of exposure.
Restaurant owners, many of whom are older, are faced with the learning curve of adapting to new CDC guidelines, delivery services in lieu of indoor dining, and rules enforced by the NYC DOT regarding use of sidewalk dining space. Some New Yorkers are frustrated with Chinatown's sidewalk clutter paired their with storefront markets. Many COVID-19 outdoor seating solutions are unsuitable for bad weather or defeat the purpose of "outdoor" dining.
KAR IN A EN C AR N AC I Ă“ N S c a l e m o d e l : S e a t i n g p o d s b e c o m e g l o w i n g l a n te r n s a t n i g h t.
Ma teria l Stud ies
The Chinese restaurant and production industry have been hit on both ends. As farm working and living conditions pose virus exposure risks, workers have chosen to stay home, harming the farming industry. On the other end, restaurants are struggling with COVID-19's impacts, and many have laid off workers. While addressing the effect of COVID-19 is a multi-faceted process, I decided that, by using materials that generate profit for Chinese American workers, my Chinatown seating arrangements can help provide solutions to both the new CDC guidelines as well as helping the industry as a whole. After a series of material studies, I determined that I can create screens or dividers by mixing dried plant material and dried vegetable material from the farms, pulverized cardboard from the surplus of ingredient shipments, and adhesive. The mixture is then processed and laminated to be weather-resistant. The frame of the configuration is constructed with scaffolding, and the platforms are plywood sheets from the local Chinatown Lumber Company. The materials and production of these screens will provide new sources of income and jobs for East Coast farm workers and other workers who have lost their positions during the pandemic.
D r i e d Pl a n t M a te r i a l
Dr i e d Ve g e ta b l e M a te r i a l
Pu l ve r i ze d Cardboard
Ad h e si ve
L a m i n a ti o n
中文
The screens, while functional, also act as educational devices to engage with while dining. Seeing the ingredients in the screens (especially visible when illuminated) will help discourage xenophobic notions of hyper-exotic cuisine, and will instead attract visiors to dine and experience the space. It was important that this background information be easy accessible to diners and pedestrians – both English-speaking and Chinese-speaking. This set of posters encourages diners to learn more about the origins of their meal and the systems of food production.
Concept Elevation
0 1 / SC R EEN S FOR C H IN ATOWN
S p e c i a l t h a n k s t o M a cki n l e y Wa n g - Xu f o r t r a n sl a t i o n
ENGLISH
The "Screens for Chinatown" configuration can serve as outdoor seating, storefront sites of exchange, and storage space. Building upward decreases street congestion and allows ample room for social distancing as well as useable street space. The semi-open-air structure prevents the virus from being trapped in while still protecting from the elements. Restaurant owners can illuminate these pods with different colored lights for various events.
The scaffolding structure can be modified for different site sizes and can be adapted for indoor dining. By constructing a street block-wide shared seating configuration, community is built between restaurants and different community members. Although the COVID-19 pandemic will not last forever, arrangements like these can be implemented during flu season and other health crises while still retaining a sense of optimism and community.
KAR IN A EN C AR N AC I Ó N
D AY
NIGHT 0 1 / SC R EEN S FOR C H IN ATOWN
KAR IN A EN C AR N AC I Ó N
0 2 / FOU R - PAN EL C H AIR
F O U R - PA N E L C H A I R Copenhagen, Denmark Instructor Natalie Jeffers-Hansen, Spring 2020 The 4-Panel Chair is a simple, yet elegant, lounge chair for the home. Inspired by Hans Wegner’s “Peter’s Chair” and comprised of only four panels and two support bars, the chair is easy to assemble and can be disassembled for quick storage and packing. The chair’s geometry is easy on the eye, but there is still an evident attention to detail.
KAR IN A EN C AR N AC I Ó N
The pieces of the Four-Panel Chair are cut from 1” thick maple plywood using a CNC machine. Once cut, each piece is sanded and rubbed with Danish oil. The edges of each piece are painted with white enamel paint to hide the plywood cross section. The chair can be assembled quickly and easily without hardware. The completed 4-Panel Chair is honest in its materials and finishes, allowing the natural marble of the maple to be showcased. The chair’s color palette is simple, like its construction, but elegant and high-quality.
Original concept sketch
0 2 / FOU R - PAN EL C H AIR
KAR IN A EN C AR N AC I Ó N
0 3 / PAR APLY L AM P
PA R A P LY L A M P Winner of the 2020 DesignMilk + LAMP the Competition Student category popular vote, Fall 2020 In collaboration with Krista Lebovitz During a time when uncertainty is inevitable and the lives we were once accustomed to seem distant, we return to the simple geometry of household lamps as the inspiration for PARAPLY (Danish for “umbrella�). By rotating the dome either clockwise or counterclockwise atop the fixed base, the paper shade of PARAPLY can be opened and closed like an umbrella.
KAR IN A EN C AR N AC I Ă“ N
PARAPLY’s geometric shapes are a nod to comfort and stability. By using the triangle, circle, and square, which are derived traditional lamp forms, PARAPLY offers a new and exciting yet approachable take on the everyday desk lamp.
0 3 / PAR APLY L AM P
The range of shade positions provides an infinite number of ways to illuminate a space. When the shade is cylindrical, the light is concentrated at the base (for reading at night), and the wider it opens — either upward or downward — the more diffused and broad the light becomes (for ambient lighting). PARAPLY attempts to capture the zeitgeist of today with its flamboyant colors and sustainable materials while acknowledging the fervent necessity for design to be well-crafted, accessible, and flexible.
KAR IN A EN C AR N AC I Ó N
0 3 / PAR APLY L AM P Paper shade
LED bulb Frame Central tube
Glass dome
Weighted base
PARAPLY is comprised of a recycled paper shade (length = 14 cm), a translucent hollow mouth-blown glass dome (radius = 7.5 cm), an opaque weighted base (thickness = 3 cm), a central glass tube (width = 2 cm) which houses the electrical wiring, an LED bulb, and a screw-and-gear system attached to a circular frame which holds and adjusts the shade’s position as the dome is rotated. PARAPLY comes in three colorways and is battery-operated.
Taro / Red-Orange
Navy / Teal
Carrot / Mint
Site Plan
KAR IN A EN C AR N AC I Ó N
H A L L E T ’ S C O V E : K AYA K L A U N C H Astoria, New York Professor Karen Fairbanks, Fall 2019 This project aims to create a transitional experience between land / water and tight spaces / open spaces as visitors cross various boundaries. Paths, branching from the existing sidewalk, interrupt the project and remain fixed as the “lily pads” rise and fall with the tide. As a result, pedestrians can view and experience the tide as it changes below them. At high tide, pedestrians can travel between the branching paths and the lily pads, but at low tide, lily pads are only accessible from the shoreline. A section on the north side of the project creates a permeable shelter and the hill extending to the south side of the project creates a permeable pathway for pedestrians and a hidden shelter for swimmers and kayakers. Both shelters, because of their permeability, allow bits of light in to create an ethereal experience between the physical structures and the water.
Preliminary buoyancy study on spherical objects and their radii of depression as they sink In collaboration with Hanna Donovan
Elevation (North)
The lily pads facilitate kayak docking by decreasing rock friction and— because some are mechanized—can help raise and lower kayaks into the water. The shelter on the north side of the project is entered through a low opening on the north, east, and south sides. When visitors enter, they must cross an uncomfortably tight boundary that soon opens up into a spacious area.
0 4 / H AL L ET’ S C OVE: KAYAK L AU N C H Left: Pedestrians atop illuminated “lilypads” Right: Kayakers and pedestrians occupying various levels of the structure
KAR IN A EN C AR N AC I Ă“ N 1:100 scale model of the Climate Lab Fabricated using lasercut acrylic and wood, 3D printing, and handcut paper
Lilypads
Tree Canopy
Design Development: Kayak Launch to Climate Lab
Astoria, New York Professor Michael Schissel, Fall 2019 The Hallet’s Cove Climate Lab is a continuation of the program and design language of the Kayak Launch. Occupying the site of the former WLIB radio tower, the Climate Lab is a site for the broadcasting of ideas through art and science. The form of the building resembles a tree canopy, reminding its occupants that we can use the built environment to address issues in our natural environment.
Voronoi Tiling
Green Roof
Lilypads: Upper Level
Open Space Lilypads: Interior Space
Kayak Launch Tree Canopy
0 5 / H AL L ET’ S C OVE: C L IM ATE L AB
HALLET’S COVE: C L I M AT E L A B
3
Classrooms
2 Labs + Workshops
SECOND FLOOR
Administration
1
3
Plaza
FIRST FLOOR
2
1
Outdoor Gallery
Indoor Gallery
Event Space
2
1
REFLECTED CEILING PLAN
3
Section Details + Design Features
Strategically-oriented windows
Illuminated lilypads
1 Columns reach to sea floor
Platform rises and falls with the water
Kayak Launch
2
Flexible dock ramps
3
Illuminated Column Detail
Concrete columns Offset timber strips Backlighting
0 5 / H AL L ET’ S C OVE: C L IM ATE L AB
Climate Lab
KAR IN A EN C AR N AC I Ó N
L I N A B O B A R D I C H A I R A N A LY S I S Arch Apropos Art Design Seminar at GSAPP Professors Stephen Holl and Dimitra Tsachrelia, Fall 2020
Italian-born Brazilian architect and furniture designer Lina Bo Bardi believed that a human presence is crucial for bringing a space to life. She noted that “until a person enters a building, climbs steps and takes possession of the space in a ‘human adventure,’ architecture does not exist.”
Casa de Vidro, Brazil (1950)
Chair with Brass Balls (1950)
São Paulo Museum of Art "MASP", Brazil (1968)
MASP Auditorium Chair (1947)
SESC Pompeia, Brazil (1986)
SESC Pompeia Chair (1980)
By analyzing the geometry and design elements of her buildings Casa de Vidro (1950), the São Paulo Museum of Art (1968), and SESC Pompeia (1986), I determined that each of her chairs made specifically for these spaces are representations of the building as a whole — an interpretation of the architecture that can be grasped and experienced at the human scale.
0 6 / L I N A BO BAR D I C H AIR STU D Y Casa de Vidro and the Chair with Brass Balls both use a fabric "skin" stretched over a thin, black, metal skeleton.
The MASP gallery stairs resemble the scissor-like elevation of the chair.
SESC Pompeia, much like its chair, is formed by connecting horizontal and vertical masses.
Geometry from the building's elevation is extracted to form an abstraction of the chair.
The stacked and interlocking stairway mimics the stacking quality of the chairs.
KAR IN A EN C AR N AC I Ă“ N
Bo Bardi's design language is consistent across her body of work. Many of her buildings and chairs feature a juxtaposition between organic forms framed by orthogonal forms.
SESC Pompeia Plan
After browsing her chairs, I noticed that many of them were defined by strong, geometric side panels which resembled shapes used in her buildings.
I then extracted these shapes from the chairs, abstracting them into geometries that are divorced from scale, function, and location.
SESC Pompeia Elevation
Chair with Brass Balls
Extracted Geometry
Modified Geometry
Original Chair
SESC Pompeia Plan
SESC Pompeia Plan
SESC Pompeia Elevation
SESC Pompeia Elevation
Casa de Vidro Elevation
Casa de Vidro Plan
After attributing the geometries and colors I found in the chairs to their respective buildings and noticing consistencies in her design language, I decided to extend my analysis by working backward. I extracted shapes from her plans and elevations, then designed original chairs using these shapes. The resulting chairs use Bo Bardi’s language of geometry to serve as new interpretations of her spaces.
0 6 / L I N A BO BAR D I C H AIR STU D Y
Highlighted Geometry
KAR IN A EN C AR N AC I Ó N
New York, New York Professor Ignacio Galรกn, Spring 2019 This utopian architectural intervention in Morningside Park aims to unite the students and faculty of Columbia University, located on the upper level of the park, and the residents of Harlem, located on the lower level of the park, through the creation of art and a richness of textures and materials.
0 7 / M O R N I N G SI D E PAR K IN TERVEN TION
M O R N I N G S I D E PA R K I N T E R V E N T I O N
This space allows for members of both sides of the park to inhabit the otherwise empty transitional area between the two neighborhoods, mixing cultures and cultivating discussion and creativity. Each image superimposed on the model is an existing work of art from the streets of Harlem.
Elevation (East)
Elevation (North)
0 7 / M O R N I N G SI D E PAR K IN TERVEN TION
This faรงade promotes art making but encourages visitors to create art on a variety of surfaces that are not necessarily conducive to making art (including rough concrete and fur). The artificial faรงade imitates the existing dramatic topography of the park yet also is observably manmade in its form and materiality.
KAR IN A EN C AR N AC I Ó N
M O D U L A R C O N S T R U C T I O N : T H E S U B W AY New York, New York Professor Madeline Schwartzman, Fall 2018
In this project, I studied the flexibility of the stick as a module and the increasing flexibility of the piece as a whole as more modules are added, aiming to make the singular straight stick “unstraight.” The resulting project intends to capture passengers’ attention on the subway and forces them to interact with and look at each other, making their lines of vision similarly “unstraight.”
0 8 / M O D U L AR C O N STR U C TION : TH E SU BWAY
The making of a single module begins with a single straight stick of basswood which, when bent, will create half of the module. The modules are joined together in varying sizes with tape to form a flexible fabric-like structure.
Hand-drawn elevation
Formation of the “fabric� structure
Hand-drawn section
KAR IN A EN C AR N AC I Ă“ N
M U L T I G E N E R A T I O N A L A P A R T M E N T: 2 7 4 E A S T 3 RD S T R E E T New York, New York TKTNK Undergraduate Architecture Publication, Spring 2019 In collaboration with Calvin Liang, Anika Tsapatsaris, and Hanna Donovan
The staff members of TKTNK worked together in four teams to construct an apartment at 274 East 3 rd Street (currently an empty lot). Each team was given a floor and challenged to reimagine the limits of the physically tight space.
Our team, using the second floor of the apartment, constructed a home for multigenerational living. The floor plan is open so that family members can move around the space together, yet still accessible and private for all ages and abilities. The open floor plan allows for the flexibility of the space as generations grow and require different functions. Other team concepts for the apartment included a bi-level apartment for partner co-living, a library- or museum-like space in which to display objects based on function, and a futuristic air tunnel.
All four team projects on site. Our project is highlighted in purple.
0 9 / M U LTI G EN ER ATION AL APARTM EN T From top to bottom: Bedroom / Living Room / Bathroom
First Floor Plan
Sectional Perspective
Second Floor Plan
KAR IN A EN C AR N AC I Ó N Side Perspective
Front Elevation
Elevation (North)
Section (North)
Elevation (West) Interior
Section (West)
Textures left to right: Cement / Walnut / Carpet Marble / Glass / Bamboo Plan
1 0 / C AFÉ AT ST. JØR GEN S SØ
C A F É AT SANKT JØRGENS SØ Copenhagen, Denmark Professor Søren Amsnæs, Spring 2020
The Café at The Lakes is an extension of the existing landscape. A path deviating from, then reconnecting to the bike lane creates the roof for a new enclosure. This U-shaped space is accessible from both street level and lake level. Floor-to-ceiling glass window panels make the space feel open and light, while shielding guests from raucous traffic noises. The café integrates itself into The Lakes seamlessly by drawing in elements of the environment: bikers on its roof, greenery on its staircase descending into the café, and visitors — both natives and tourists — stopping in for a cup of coffee.
PAV I L I O N F O R T H E N Y C A R L S B E R G G LY P T O T E K Copenhagen, Denmark Professor Søren Amsnæs, Spring 2020 A 6 x 6 x 6 meter cube space located on the Glyptotek’s outdoor lawn houses a number of the collection’s Ancient Greek and Roman statues. The cube is comprised of 900 vertical walnut posts which hang and end at various heights from a frame of the same material. Differences in height create openings and clearings for sculptures that can be discovered as visitors move through the space. The collective result is a box which appears solid from afar, but is light and delicate upon approach. Changes in lighting throughout the day cast linear shadows on the art and the site. The dark walnut wood posts create a forest of trees which offset the the light-colored marble. While forests are organic and spontaneous in nature, this pavilion imagines the forest as a mathematical and planned structure. Similarly, when moving bodies and organic fabric take form in marble, they must be planned and sculpted strategically.
Walnut posts create clearings for semi-hidden sculptures.
11 / PAVI L I O N FO R TH E N Y C AR L SBER G GLYPTOTEK Concept A
Concept B
Final Concept
Site plan (pavilion highlighted in red)
Plan
Sketches Left to Right: Elevation
I. “Wind Goddess / Hermione in the Argolid” II. Face fragment from the Nasothek collection III. Doric column
KAR IN A EN C AR N AC I Ó N
Rendered image
1 2 / ARTI FI C I AL TR EE FO R BAR N AR D C OL L EGE Photograph of experimental model
Rendered detail image
ARTIFICIAL TREE FOR BARNARD COLLEGE New York, New York Professor Ignacio Galán, Spring 2019 The artificial tree acts as a replacement for the lost magnolia tree on Barnard College’s campus. After beginning with a general study on the interactions between the built environment and natural phenomena, I aimed to capture the effects of sunlight on glass in an artificial forest.
Interaction diagram between the three types of “trees.” Dark grey denotes the areas of overlap / interference, forcing the “trees” to push and spin each other.
By interacting with sunlight to create intricate reflections and shadow, the artificial tree creates an unexpected tension between order in the structure itself and chaos in the shadows that it produces.
Ordered Grid + Ethereal Chaos
Elevation
Plan
Perspective
KAR IN A EN C AR N AC I Ó N
ER SMITHSON’S HOUSE OF THE FUTURE
carnación
Peter and Alison Smithson’s House of the Future (Plan)
ALISON + PETER SMITHSON’S HOUSE OF THE FUTUR Joey Houslanger + Karina Encarnación
f luid / Top: m o d uAxonometric l a r / o r g a n i cdrawing / e p h e mbye r a l / c onf inPeter ed / m l l e a b l eSmithson / r e p e t i t(1956) ive / + aAlison Bottom: hum an /Cell o r ddrawing e r e d / i mby p eE.B. r m a nWilson e n t (1900)
Malleability
malleability
Fluidity
fluidity ma l l e a b i l i t y
Order + Confinement
o r d e r + conf i nement fluidity
o rd e r + co n f in e m e
Professor Jason Kim, Fall 2019
1 3 / AU G M EN TED R EAL I TY: H O U SE OF TH E FU TU R E
A U G M E N T E D R E A L I T Y: THE HOUSE OF THE FUTURE
ER SMITHSON’S HOUSE OF THE FUTURE
carnación
In collaboration with Joey Houslanger
Using Unity, augmented reality, and simple diagramming as a method of analysis, we explored and desconstructed Peter and Alison Smithson’s 1956 House of the Future into a series of parts. By comparing the House of the Future to a cell-like body, we analyzed each room’s malleabilty, fluidity, order, and confinement, as well as its historical significance and impact in the context of World War II and consumerist culture.
3D model reconstruction for augmented reality
malleabi l i ty
fl uidi ty
order + confinement
THE
KAR IN A EN C AR N AC I Ó N
OCULUS OCULUS
Eno Chen + Karina Encarnación + Otto Saymeh
“The advice that I would give to people today . . . is to go about a normal day. Take the day as an opportunity to go SHOPPING SHOPPING, SHOPPING be with your children. Do things. Get out. Don’t feel locked in.” - Mayor Rudolph W. Giuliani
“Phoenix with a pricetag”
“People’s Cathedral” “Grand to grandiose”
“Boondoggle”
Hudson Terminal 1.0 H&M Railroad
WTC Station PATH
2001 2001
1961 1909
1971 Hudson Terminal 2.0 Port Authority of New York and New Jersey
Oculus WTC Hub
Temporary Station
2008 2003
September 11, 11, 2001 2001 September
2016 Permanent station commenced
3D printed model with computer-programmed AR animation. When the user opens the AR software, an animated blue sky and bright pink designer brands are superimposed on the physical model.
1 4 / AU G M EN TED R EAL ITY: TH E OC U L U S
A U G M E N T E D R E A L I T Y: THE OCULUS New York, New York Professor Jason Kim, Fall 2019 In collaboration with Eno Chen + Otto Saymeh After researching the historical timeline leading up to the September 11, 2001 attack in New York and the development of the Oculus Transportation Hub, we analyzed and illustrated Santiago Calatrava’s Oculus as a symbol of consumerist culture that distracts from a dark and sacred past. Through the use of diagramming, collaging, physical model making, and augmented reality, we interrogated the Oculus’ presence and connotation in modern society.
KAR IN A EN C AR N AC I Ó N
S U S TA I N A B I L I T Y T R A D I N G C A R D S F O R K O H N P E D E R S E N F O X A S S O C I AT E S New York, New York Summer 2019 In collaboration with Carlos Cerezo Davila, María Fernanda Treviño, and Piotr Jankowski, and the KPF Sustainbility Board As part of their green initiative, KPF's Sustainability Board asked me to design "trading cards" displaying energy use and emissions information for 15 of their buildings.
* EUI rating changed to "000" for privacy reasons.
INCLUCITY IncluCity an interdisciplinary panel discussion on what it means to design universally, to aspire to be a more inclusive design profession, and to identify opportunities to achieve these goals.
Final design
Final design
Thursday, June 20 6 MAIN
INCLUCITY
INCLU
IncluCity an interdisciplinary panel discussion on what it means to design universally, to aspire to be a more inclusive design profession, and to identify opportunities to achieve these goals.
Accessibility Inclu-City is an interdisciplinary panel discussion questioning what it means to design inclusively, to aspire towards a more responsive practice, and to identify opportunities to achieve these goals. This is the second event of an ongoing series presented by KPF Pride.
Tuesday, December 3, 2019 Refreshments at 4:45 pm Panel at 5:00 pm 6 Main
Gregory Mell Senior Associate Principal, KPF
Aurelia Fleury Director, Tactile Studio Montreal
Joel Peterson (Moderator) Associate Director of Human Resources KPF
POSTERS FOR K O H N P E D E R S E N F O X A S S O C I AT E S New York, New York Summer 2019 Left: Poster designs for KPF’s Principals Pecha Kucha series Right: Poster designs for KPF’s IncluCITY Evening Sessions series In collaboration with Pedro Câmara
1 5 / G R APH I C WO R K FO R KO H N PED ER SEN FOX ASSOC IATES
Thursday, June 20 6 MAIN
KAR IN A EN C AR N AC I Ó N
POSTCARDS + POSTERS Summer + Fall 2020
1. It’s Been Awhile postcard 2. Hello postcard 3. Thank You postcard 4. You + Me postcard 5. Hey There, What’s Up? postcard 6. See You Soon, OK? postcard 7. Program Planning Meeting poster for the Barnard + Columbia Architecture Department 8. Senior Architecture Majors Meeting poster for the Barnard + Columbia Architecture Department
2
1 3
4 6
5
7
8 1 6 / PO STC AR D S + POSTER S
Still frames from Chris Marker’s film Sans Soleil (1983)
KAR IN A EN C AR N AC I Ó N
1 7 / C O L L AG E AN ALYSIS: SAN S SOL EIL
C O L L A G E A N A LY S I S : SANS SOLEIL Professor Jason Kim, Fall 2019
This collage study spatially and conceptually analyzes Chris Marker’s 1983 film Sans Soleil as a foggy collection of memories, letters, stories, and photographs.
KAR IN A EN C AR N AC I Ó N
2016 – 2019
I began sculpting miniatures from polymer clay in 2011 as both a hobby and a business. I managed a YouTube channel with tutorials as well as an online store to sell my work. Although this hobby of mine is no longer a business, I believe it complements my architectural studies seamlessly, as it challenges me to think in various scales, allows me to practice attention to detail, and keeps my non-technical artistic skills sharp.
1 8 / 1 : 1 2 SC AL E M IN IATU R ES
1 : 1 2 S C A L E M I N I AT U R E S
KAR IN A EN C AR N AC I Ó N Thrown at the Craft Alliance Center of Art and Design in St. Louis, Missouri (2016)
1 9 / WH EEL - TH R OWN POTTERY
WHEEL-THROWN POTTERY 2016 – 2018 Pottery thrown at the Craft Alliance Center of Art and Design in St. Louis, Missouri and a studio in Brooklyn, New York.
PHONE: (314) 943.5768 E-MAIL: kpe2104@columbia.edu PERMANENT ADDRESS: 19 Cedarbrook Lane, St. Louis, Missouri 63122