Lilly Saniel-Banrey 2019 Architecture Portfolio - Knowlton School of Architecture

LILLIAN LILLIAN SA N I E L SANIELBANREY BANREY ARCHITECTURE PORTFOLIO

e l t it l o “Make no little n e k a M “ o ave nno hey hhave lans; tthey pplans; en’s tir m magic men’s o sstir agic tto m robably nd pprobably lood aand bblood l il w s e themselves will v l e s m e th realized. not be realized. not be plans; Make big plans; Make big hope in hope aim high in aim high and work.” andwork.”

- Daniel Burnham

CONTENTS 04

RESUME

STUDIO WORK 05 - 18

B L E A K + E X T R AV A G A N T

19 - 24

(SUB)URBAN HOUSE

25 - 32

JESSE OWENS NORTH RECREATION CENTER

33 - 44

FIBONNACI MEDICAL “LIBRARY”

45 - 52

DOMUS LOCUS

53 - 62

ARETHA FRANKLIN PERFORMING ARTS HIGH SCHOOL

SEMINAR 63 - 66

OSU INTERROTTA

67 - 68

UNROLLING THE TEMPIETTO

RESEARCH 69 - 70

T H E P L AY F U L C I T Y: R O T T E R D A M , N E T H E R L A N D S A S A M O D E L F O R C H I L D - C E N T R I C U R B A N I N N O VAT I O N

71 - 74

THE UGLY + INTERESTING

LILLIAN SANIEL­ BANREY C 614.579.2476

EDUCATION

SKILLS

The Ohio State University, Expected May 2019 Knowlton School of Architecture. Columbus. OH Bachelor of Science in Architecture. Honors with Research Distinction Minor in Real Estate & Urban Analysis GPA 3.60 of 4.00

E saniel-banrey.3@osu.edu W issuu.com/lill iansanielbanrey

Conceptual and realization skills in print. Ability to tackle problems from diverse perspectives and with an open-mind. Service­ oriented leadership approach.

Self-directed and disciplined worker. Highly adept in balancing multiple responsibilities.

SOFTWARES Revit Rhino Sketch-up Auto CAD Grasshopper Lumion

Illustrator lnDesign Photoshop Excel Access

ASSOCIATIONS Ohio State Track & Field

Columbus. OH August 2015 - Present

Ohio State Cross Country

Columbus. OH August 2015 - Present

AIAS

Columbus. OH September 2015 - Present

REFERENCES Jonathan Rieke

Schidlowski Fellow. Kent State University Visiting Professor. Ohio State University jonrieke6@gmail.com

Kay Bea Jones

Professor. Ohio State University kaybeajones@gmail.com

INVOLVEMENT Knowlton School Honors Program Student Coordinator August 2018 - Present

Design curriculum for second-year honors research class Coordinate faculty mentorship relationships with honors students Lead monthly meetings with honors students Organize panel discussions ith professionals and local firm visits Knowlton School Student Outreach Team June 2016 - Present

Provide tours of Knowlton Hall Implement outreach initiatives- including luncheons. career fairs. and market events

EXPERIENCE Sales Associate, April 2018 - Present

Columbus Running Company. Columbus. OH Create profitable store atmosphere. Assist in construction and installation of store displays. Direct summer youth running programs and camps.

Freelance, December 2017

Gifts of Running Blog Logo, Columbus. OH Designed logo using Photoshop, Illustrator, and Adobe Typekit. Directed design meetings with client. Self-directed workflow.

ACCOLADES Architectural Research Travel Awards Grant Winner Febuary 2019 Donald E. and Ann E. Fender Scholarship December 2017.2018 Richard & Esther Rabe Yarrington Scholarship January 2017 Dean's List December 2015. 2016. 2017. 2018 All Big-Ten Academic Honors November 2016. 2017 Big Ten Cross Country Championship Runner October 2015. 2016. 2017 Distinguished Scholar-Athlete Award December 2015, 2016, 2017 Big Ten Outdoor Track Championship Runner May 2015

Bleak + Extravagant Critic // Kay Bea Jones Project Duration // March 2018 Site // Albiquiu, New Mexico

Exploring an arrangement of both vast space and close relationships, this New Mexico dwelling and yoga studio studies theextremities in the built environment.

The environment explores seemingly opposite conditions: the landscape and the house, the built and the unbuilt, the serious and the playful, the aimless and the directed, the individual and the collective. Through the careful study of color, changes in the landscape are reflected clearly through the passing seasons. In the designing of the spaces, representation became the main means of exploration and provided an opportunity to ask more questions rather than solve problems. In turn, the desert landscape and built architectures expand into a larger dialogue of the intersection of art and architecture.

Diagram The desert landscape acts as an expanded field for the built environment within the natural environment. Progressing through the site, the built environment encounters new realms, programmatic concerns, and possibilities for space making.

Site Plan_Spring

Site Plan_Summer

Site Plan_Autumn

Site Plan_Winter

(Sub)Urban House Critic // Dow Kimbrell Project Duration // Fall 2016

This single-family, all-season vacation house explores the dwelling as it relates directly to its environment. Located on the frigid shores of Lake Superior in Tofte, Minnesota, the dwelling must address extreme changes in temperature, varied seasonal weather patterns, and address shifting sunlight through the seasons. In addition to the mere environmental concerns, the dwelling becomes an almost meta experiment in “shelter making.� Questions quickly arise: How does the occupant arrive? In what ways are spaces used throughout the year? Is this relationship static or dynamic?

How can a designer use the existing troupes of 19th and 20th century residential architecture to stretch the limits of residential designs? The answers found came in the forms of three devices: lines of sight, methods of containment, and interventions of existing landscape conditions. Together, these elements string together a historic problem of making a place for a specific place- bridging shelter and wilderness with meticulous specificity.

displacing the hearth A main focus of the project was creating two units from a single form. These units are centered on the “hearths” which expand to become occupiable roof gardens. Around these roof gardens, the space was split into two, one for each of the two separate residential spaces. These spaces criss cross in section through a single stairwell. At the front, the space compresses at

the impact of a “front yard”. Both reacting and interacting with the usual house conventions, occupants find unusual and familiar spaces within both units. An interaction that would usually take place at the common place of heat is unnecessary. Air-conditioning provides the freedom to move through space without the constraint of comfort.

Jesse Owens North Recreation Center Critic // Ryan Keener Project Duration // August - October 2017 Site // Columbus, Ohio

It is an interesting problem to design a gym on a campus in which there are already three gyms, one of which is amongst the largest in the country, one a staple of the Southern campus residential system, and the other a mere 600 meters down the road. Jesse Owens North, it was to be argued, must offer something more, something different.

This shift in programmatic requirements opened up new possibilities for defining the space of a gym, how it interacts with its surroundings, how its users move through the space, how the building interacts with its surroundings.

By this measure, the new conception of the space offers the “classic gym” typology an update with a much wider spectrum of users and a clearer delineation of serious athletes and casual gym goer/ avoiders/loungers. By providing strong multi-program corridors, an exclusiveaccess ramp system, and the campus’s first roof garden, the new Jesse Owens North Recreation Center step towards a new definition of the modern-day gym.

step one

step two

step three

An homage to the pathways that criss cross the campus and also an introduction of an interior “terrarium” space, the perpandicular axes create the main means of passage way whilst zoning out particular programs throughout the building. These zones also pay mind to the existing site conditions- the top left top quadrant to service space, the bottom-left quadrant informal gathering space and alternative entrance, the bottom-right quadrant for exercise space, and the top right for the single multi-use gymnasium.

The spaces quickly took on their own personalities- taking clues from their position in the site and their programmatic DNA. Their relationships to the building as the whole drove further decisions for articulated form, views across spaces, and dimensionality related to one another and the whole. The gym, in an attempt to “escape” the hard urban edge to the north, hugs tightly to the intersecting interior corridor. The quadrant to the left (now to be referenced as the racquet ball courts) faces the same dilemna while stretching towards the east and west boundaries.

The terrarium was woven back into the form of each unit as both interior and exterior “courtyard” conditions. The duplicity of the move: a penatration of the form (hello entrance) and debunkering of the form towards a light-filled, spacious datum of space.

Selected pieces unplugged to create these forms and their traces were left in a glass facade.

step four

and a half

step five

Once a system of space, entrance, and dualing interior and exterior courtyards was achieved, the beginnings of a main vertical circulation system were put into place. This system played with the porosity of the building as a means of guarding from the city surrounding it while also becoming an incubator for smaller spaces to flourish within its own walls. The ramp system wraps around the main gym, giving not only multiple new pathways for different users: for those going straight to the roof, a “non-entrance� to the building; for members looking to spectate, a system

of balconies lining the ramp; and for those feeling extraordinarily elitist, a private access to various studio rooms at each floor level. The encompassing ramp not only provides secondary means of circulation but also provides a more stable contract between an inward-facing gym and an outward-facing city condition. The two meet at this middle ground as neighbors who respect the other but would rather never talk to each other, for the sake of having not much in common.

At this point, the building succumbs to its diagrammatic nature in the way of making enclosure. A fine shell is traceed around the entire exterior and spaces sink into a grid.

The trust of the system goes towards the relationships of the parts to each other and to their whole within the container. Views are almost never set to one plane and multiple layers create a playful approach to working out, lounging, eating, or just meandering in a space with so many different types of user.

Fibonacci Medical “Library�

Critic // Stephen Turk Project Duration // October - December 2017 Site // Cleveland, Ohio

This project is about books. Books as they fill shelves, which are hoisted in the vertical arms of bookcases, which sit row upon row, which are grouped by planes, in which those books are stacked, misplaced, and hopefully, read. The book, however, begins as the single unit in an infinite micro-macro architectural relationship that resides on a spectrum of the smallest organizer of volumetric space towards the most vast, and how that is manifested in a college medical library. It is the journey from bolt to the largest building to the densest city, state, nation, and beyond. The concept lends itself curiously to the precepts of the Fibonacci sequence, a naturally-occurring mathematical principle centered on the relationship of the micro to the macro.

This concept was the basis of space-making decisions for this abstract look at what the single book has to do with the entire universe of learning,

Plan L_01

Plan L_02 detail

Plan L_02

1. OUTDOOR SCULPTURE GARDEN 2. MUSEUM 3. LIGHT WELLS 4. JOINT READING”BLOB” 5. STACKS 6. COLLABORATION ZONE 7. SILENT STUDY AREA 8. OFFICE 9. AUDITORIUM 10. EVENT SPACE 11. RESERVE STACKS

1. OUTDOOR SCULPTURE GARDEN 2. MUSEUM 3. LIGHT WELLS 4. JOINT READING”BLOB” 5. STACKS 6. COLLABORATION ZONE 7. SILENT STUDY AREA 8. OFFICE

Domus Locus Critic // Kay Bea Jones Project Duration // January 2018 Site // Tofte, Minnesota

This single-family, all-season vacation house explores the dwelling as it relates directly to its environment. Located on the frigid shores of Lake Superior in Tofte, Minnesota, the dwelling must address extreme changes in temperature, varied seasonal weather patterns, and address shifting sunlight through the seasons.

In addition to the mere environmental concerns, the dwelling becomes an almost meta experiment in “shelter making.� Questions quickly arise: How does the occupant arrive? In what ways are spaces used throughout the year? Is this relationship static or dynamic?

How can a designer use the existing troupes of 19th and 20th century residential architecture to stretch the limits of residential designs? The answers found came in the forms of three devices: lines of sight, methods of containment, and interventions of existing landscape conditions. Together, these elements string together a historic problem of making a place for a specific place- bridging shelter and wilderness with meticulous specificity.

TREE DIAGRAMS Trees for the expanisve lawn were chosen to present u n i q u e s e a so na l e xp e r ie nce s . The Gridded t rees, a conif erous Blue Spruce native to the area, remain a constant.

C onve r s el y, the Ung r id d e d trees, a mix of deciduous Paper Birch and Black Ash trees- also natives- provide a display of changing conditions through the seasons and illuminate e s pe c i a ll y in a u tum n with b r ight shades of yellow and red.

tree intervention Critical to the initial analysis of the site was a look at the differing tree species and their unique life cycles throughout the year. These trees could be manipulated (with mind to an impact of clearing so many trees in regards to building a dwelling) as a means to further connect the built envrionment of the site with the natural environment. This system was further explored as guide for view and a genesis of particular

spaces that corrolate to the seasons. The gridded tree, a coniferous Blue Spruce creates allĂŠes across the site and set up a “front lawn condition that remains constant through the seasons. The ungridded trees, a mix of various decidous trees, draw the architecture towards the power of an unclaimed, untamed nature, and do not move necessarily to make view or interject space. Instead, these trees bend to the will of

the seasons and provide a continuum of experience as they change across the datum of the gridded trees. Each season the occupant retreats to the dwellling, they are offered a whole new world in the exact same location.

views Creating and denying lines of sight through the dwelling towards the lake works in part of the trifold strategy of place-making. Yellow bands, All Season Views, denote a continuous view. Blue bands, Winter Weather Views, denote spaces in which removable walls contract and expand views depending on the seasion.

In addition, the gridded and nongridded trees offer changing views throughout the

containers seasons and can controls at differing heights. Controlling the view can offer both an inward and outwardly focus depending on the time of the year and further explores the dynamic relationship of the use of spaces depending on the season.

The dwelling uses a movement between the indoors and outdoors to express its thorough commitment to the outdoor experience. The occupant, moving through the different spatial elements, is constantly facing their position within the environmenteither by the sensations of visual connections, warmth, openness, or enclosurewhich can change seasonally to best capture the changing

L_ 00

L _ 01

L_02

L_03

Summer View

Winter View

Aretha Franklin Performing Arts High School Critic // Stephen Turk Project Duration // Autumn 2018 Site // Detroit, MI

This project looks at the state of educatoin and the state of the city of Detroit as forward-thinking and saturated with potential. This school design focuses on this potential through the opening up of the system of education and expanding upon existing methods of learning.

In this model, learning occurs through open exploration, inquiry, and problem solving. The project works in combination with precedents from the work of Rem Koolhaas, looking specifically at his work within OMA through the 1909 Theorem and the translation of this as an illustrative tool for the project. The

Parc de la Villette competition entrance was used as a precedent for the open configuration of program within the school and as a graphic tool. The school explores the definition of “program� within the academic setting as intentionally fluid and borderless. Learning happens between the seams of the classrooms, and the open concept of the school promotes this through seemingly unlimited open spaces.

Both students and community members melt together as one through the continuous ramp system winding its way through the floors from the entrance level to the top balcony levels of the auditorium. Between the starting point and the destination, the ramp melts and reforms within the floors as an avtive participant in space making. As the circulatory system expands, it allows for spaces of impromptu performance, or break out spaces. As it condenses, the system works in a utilitrian fashion and provides views to larger gathering spaces.

Library

Open Classrooms

South Elevation

Classrooms East Elevation

Elevation Fenestration Details // Windows shrink and expand due to programmatic shifts within the building.

Larger gathering spaces and benefitted by light, such as the cafeteria and open classroom spaces recieve more windows while more light senstive spaces, as the library and the

Library

Auditorium North Elevation

auditorium, recieve less. In addition, fenestration becomes more frenetic and smaller scaled in spaces which emphasize individual exploration, such as the open classroom spaces.

Auditorium

Auditorium

Circulatory Space

West Elevation

Open Classrooms

Lab Classrooms

L_01 Entrance Level

L_02 Open Classrooms, Library, Cafeteria

L_03 Open Classrooms, Library, Lab Rooms, Auditorium Balcony

OSU Interrotta Critics // Emily Mohr, Jon Rieke Project Duration // Spring 2018

This semester-long seminar focused on the high density drawings as a close reading of technique and history of the high-density drawing. Precedents ranged from earlier works of John Soane and Giovanni Alberti Piranesi to contemporary examples from designers such as Jimenez Lai and Jennifer Bonner. The seminar culminated in a reconsideration of the 1978 Rome Interrotta, which brought together 12 international arhictects to re-imagine the 1748 Nolli Map through a perculiar prompt of designs in which the space was non-existant (or no longer existant). The answers to the prompt addressed not only the question of the appropriation of designs, but also the boundaries of techniques such asprojection and collage. Our OSU Interrotta played with the same notions of the Rome Interrotta, tasking each student to re-image a portion of 1970’s campus map of Ohio State. The result casted a larger than life projection of the campus 100 years in the future.

20’-0”x20’-0” Full seminar installation hung on the North-facing wall of OSU’s Knowlton Hall

Unrolling the Tempietto Critic // Sandhya Kochar Project Duration // Fall 2018

This project re-examined the tempietto as it has famously been represented and re-represented through history.

This drawing was part of a seminar modelled after the recent Cooper Union gallery opening of “Drawing Codes: Experimental Protocols of Architectural Representation” in which each participant was tasked with re-representing the Villa Rotunda. In my study of the Tempietto, I carefully mapped the varying depths of circles dound within the Tempietto’s plan.

These depths were set as ratios which determined the length of each segment.

This explores the effect of the poche in a new way, combining the traditionally experience volumetric effects with the traditionally experienced poche effects of the structure in sectional drawings.

The two effects combine to make a playful statement on the Tempietto’s traditional modes of representation. The drawing also set the stage for an acrylic model.

The Playful City: Rotterdam, Netherlands as a Model for Childcentric Urban Innovation Status // 2019 Architectural Research Travel Award Grant-Winning Proposal Project Duration // January 2019 - Ongoing

Rotterdam’s child-centric urban design offers a dynamic and repeatable model for a more sustainable, equitable approach to urban design. The design model also works against many of the unhealthy effects of post World War II modernisation, working to make the neighborhoods of Rotterdam and beyond more sustainable, connected, and safe for all. Rotterdam does not stand as simply a successful case study. In its multi-scalar, multi-step initiatives is a crucial framework, of which I propose the close reading of its effects in both the child-scapes and adult-scapes.

In both cases, I will catalogue initial and latent space-making strategies.

I will conduct my research primarily in the neighborhood of Oude Noorden, but I am also proposing time allotted in Amsterdam for research of the culture at-large. By narrowing my scope to Oude Noorden as a principal study and greatly broadening my scope in Amsterdam, I am able to capture not only the intricacies of the initiatives at the neighborhood scale but also the greater cultural landscape. Allowing time within each will allow me to fully research the effects present and allow for matriculation of potential discoveries to inspire new avenues of investigation.

My investigation within Oude Noorden will contain an intimate look at the neighborhood’s child-centric strategies through transportation, play-scapes (varying in degrees of permanence, scale, intervention), and housing models (looking at relative position of the housing to busy streets/ efforts to mitigate these safety hazards, efforts to promote community, interventions used to make housing more child-friendly, and distance from playscapes).

My time spent in Amsterdam will be used to evaluate the larger child-centric design strategies and the trends of contemporary design within housing, play-scapes, and the urban context in general. I am primarily interested in the designs of Aldo Van Eyck, an early advocate and revolutionary

child-centric Dutch designer. I will also look at contemporary works by MVRDV, West 8, and NL Architects, among others.

Together, I will study the polycentric nature of child-friendly spaces within the city at large as it relates to new models of design, transportation, and scales of safety/equity measures used to evaluate the effectiveness of the playful city model at a larger scale.

Documentation will occur through the collection of play-scape sites as well as the diagrams of these sites, mapped along with their permanence, scale of intervention, and ultimately their relative connections to each other within the neighborhood. This method will create a comprehensive report on the state of the current initiatives. In addition, it will allow for the synthesis of adaptable models of individual space-making strategies and strategies for equitable forms of transportation between these spaces.

This model is proposed to be deployable across various other cities. The success of child-centric design lies in a multiscaled network, beginning with effective individual interventions (safe, quality play, accessable, cost effective) and ultimately promoting larger networks focused on a multitude of differentiated models of play-scapes; safe, community-centered housing; and access between these sites.

In regards to the adult-scape, the latent effects of child-centric design will be investigated in traditionally adult-centric sites, such as industrial, commercial, and workspaces. Areas of intervention found reflecting the principles of child-centric design will be catalogued, diagrammed, and mapped in the same method as the child-scape sites. This part of the research will be bolstered by my time spent in Amsterdam, as I will have access to a much vaster sample size of spaces and interventions in which I am able to diagram as effective models for deployment in other cities. My mapping of adult-centric spaces in Rotterdam will remain separate from Amsterdam to effectively compare the initial and latent effects in Rotterdam without potential outliers present in Amsterdam. Conclusions about the models of design will be drawn from the mapping and diagramming to produce a final position upon completing the travel time.

The Ugly + The Interesting Status // Honors Research Thesis Project Duration // January 2019 - Ongoing

The ugly holds attention through its manipulation of expectation. In its formal irregularity, the ugly underscores the fragility of sameness. Difference is the basis for capturing and sustaining attention. Furthermore, the ugly object’s tight grip on attention often costs the subject a good deal of understanding and from this lack of understanding, a loss of assumed authority. Today, attention is currency, and stock in the ugly is not cheap.

As an architectural device, the ugly can topple unification as the premier method of design. As cultural critic Mark Cousin states in his three-fold article, The Ugly, “ugliness, by complicating beauty, achieves an ambiguous status utterly excluded from beauty.” Ambiguity tangles consensus, convention, history,

and the unexpected to capture attention.

As objects become more destabilized (and stand farther from convention) they also become more powerful. The object explores the aggregation of its parts as a method for disguising its familiarity.

Familiar objects are often the basis of the ugly, as they help to guise the ugly as the familiar and the comfortable. The distortion of these pieces into unfamiliar representations, undermines their comfortability. In its place, the ugly inserts the uncomfortable.

As a means of production, the ugly challenges conventions of understanding of what is often referred to as “the beautiful”. The ugly is not the opposite of the beautiful. Instead, it is an alternative to the beautiful as that which has the ability to hold attention. The ugly disregards the question of inherent “goodness” (or lack thereof) held within any particular object.

This investigation takes into consideration the objects othernessthrough the foreign body-object quality, the tactical confusion of the sensory, and the excess of form.

Although not limited, the ugly uses these tactics to control understanding and attention surrounding itself.

The Bad Fit

The Categories

The Bad Fit intends to conform, but intrudes in every way it can. It smooshes, twists, buckles, and droops in hopes of finding harmony with other objects. Instead, it produces an off-putting wedge between expectations and reality. It brings to focus the underlying, unnoticed structure of objects among objects. It calls to attention the obscene in hopes of rethinking the normal. The Bad Fit snapshots the unresolved in a moment of possible resolution. It effixes its own reality to the fantasy of its possibility as a captivating, although sometimes comical, reaction to the impossible.

The Slightly Awkward The Slightly Awkward almost passes off as normal. It is almost acceptable, almost generic, almost unnoticeable. It shows up with all the right parts, slightly askew. It is unbalanced and haphazard. Its form does not appear the consequence of some catastrophic event but is evidence of a hidden mutation- one small enough to allow survival but large enough to effect offspring. It wears simplicity a careful guise, attempting to conceal its any irregularities, but ultimately it has a hard time finding friends in its surroundings.

The Foreign BodyObject

The Right & the Wrong at the Same Time

The Foreign Body-Object corrupts an object from the inside, retrofitting itself onto the object. It is inherently intrusive, violating, and unexpected. It upsets the balance of the system. It can be inert or irritating. It obstructs the will of its host by irritating it to submission. It protrudes, outscales, and overwhelms its context. The Foreign BodyObject is sneaky. It is often unknown from where the foreign body came, but it enters and leaves with force. It is an unwelcome guest, but wears its context to attempt going unnoticed.

The Right and the Wrong at the Same Time is decidedly indecisive. It is believable & fantastic, justifiable & defenseless, casual & corrupting. It is both a single whole and a disjointed multiplicity. It remains in a state of in-between. It attempts to resolve this chaotic identity by relying on uberfamiliar objects and their various operable representations. Its form often appears natural, familiar, even mundane, but is ultimately foreign. It is an imposter.

The Excess of Form

The Tactical Confusion

The Excess of Form hoards ugly parts to create a not-so-ugly whole. Upon first glance, the conglomeration is captivating although chaotic. It relies on assemblage to distract from its obscene makeup. Its pieces come together from far, but zoomed in they are unresolved and individual. At points in its whole, The Excess of Form can fake a system or rationale. It escapes part to-whole relationships by only relating part-to-part. It striates, stacks, and piles in hopes of being recognized as something else all together; nevertheless, it remains devoid of discernable order.

The Tactical Confusion manipulates material to confuse the senses. Expectation and reality start to misalign. It makes slippery the grounds of consensus. It trumps history, importing novelty through flipping the familiar on its head. It relies on its thingness. When it should be hard, it is soft. When it should be smooth, it is coarse.

When it should be hard to carry, it is light as a feather. It is intelligently defiant and appalling in its boldness. It employs the senses to build its case and overpower the expected.