Lori North - Portfolio Spring 2019

L O R I A. NO R TH Selected Works 2016 - 2019

L O R I A . N O R TH Selected Works B.A. Architecture | Clemson University 2016 - 2019

01 | Contents

I N T R O DUCT I ON Through my architectual education, I’ve found that I tend to gravitate toward simple, elegant designs and often challenge myself to conform to a strict argument for design operations. I enjoy this challenge because the end result is a project filled with conviction. Conviction is something I always strive for in my work because that is where I find the passion to propel the development of a design. Passion and conviction are the foundation

of my aspiration to become an architect. These lead to excitement for design which leads me to push the boundaries of my abilities with each new project.

I love the process of conceptual, abstract design and enjoy the translation of these explorations to technical, practical representations.

This portfolio demonstrates my ability to design through both of these lenses.

CO N T E X T S 03

United States Embassy to Brazil: Chancery and Consulate

15

Montepulciano Cantina

27

Museum of Architecture

35

Urban Form

T E C T O N I CS 41

Tectonic Explorations

47

Where Sky Meets Earth

CO MP E T I TI O N S 53

The Barn

61

Devoiler

03

41

53

F RE E H A N D DR AWI N G

69

RESUME

77

03 | United States Embassy to Brazil

U N I T E D STAT E S E M BA SSY TO B RAZIL: C HA N CE RY A N D CONSULATE ARCH 351 | Precast Concrete Morphologies Fall 2018 Clemson University Dr. Michael C. Kleiss

The two major themes of the studio were using precast concrete as a main building material, and representing the United States to another country via chancery and consulate design.

The most interesting challenge was creating an interesting, appealing, and well representative design while confined to strict security constraints.

05 | United States Embassy to Brazil

M O D E L E X P LO R AT I ON Massing & Facade After creating a series of study models, I determined two themes to guide the project. First, there would be intersecting volumes to represent two countries embracing one another and partaking in a reciprocal relationship. Second, there would be fluid gestures to

further symbolize the AmericanBrazilian relationship, to mirror gestures in Brazilian works of architecture such as the Cathedral of Brasilia, and to evoke the sense of the American flag blowing in the wind.

06

07 | United States Embassy to Brazil

FINISHED FLOOR MATERIAL GROUT & REINFORCEMENT MESH 4’ HOLLOW CORE SLABS HSS STEEL GIRDER SUSPENDED CEILING

WIDE FLANGE STEEL COLUMN ALUMINUM CURTAIN WALL FRAME, EXTERIOR EXTERIOR GLAZING INTERIOR, BLAST RESISTANT GLAZING HSS STEEL COLUMN ALUMINUM CURTAIN WALL FRAME, INTERIOR

08

F

G

H

I

UP

A

J

DN

B

K C

D L

E 8 7 6 5 1

2

GROUND LEVEL 01 & 02

3

4

S

0m

5

10

N

09 | United States Embassy to Brazil

N

S

RESPONSE TO SOLAR CONDITIONS GFRC Ribbon Facade Fluidity is manifested in the facade design in the form of a ribbon-like GFRC skin.

To give these ribbons practical meaning, I designed them so that they would be rotated at different angles depending on which side

of the building in order to provide most efficient sun shading. The twisting motion produced by this decision also adds a subtle layer of fluidity and elegance to the facade.

10

1.1 GFRC RIBBON STEEL ANGLES, CAST INTO LOUVRES ANCHOR BOLT STEEL ANGLE, WELDED TO WIDE FLANGE COLUMN STEEL WIDE FLANGE COLUMN STEEL HSS SECTION GIRDER

1.1 GFRC Panel Connection

11 | United States Embassy to Brazil

1.1

C O N T E X T & SI T E The U.S. Embassy in Brasilia is situated on the Avenue of Nations, surrounded by the Portuguese, Russian, and French embassies.

Placement of the controlled access compounds (CACs), is based on a circulation analysis provided by KCCT architects in Washinton, D.C. 1.1 Figure Ground Map of Brasilia

The consular CAC at point A is the public, pedestrian-only entrance.

There is a Burle Marx Garden at this corner of the site that must be preserved. The main CAC at point C is the entrance for staff and dignitaries and must be located across the site from the service CAC (point F) for an escape route.

12

A B F

C D E

0m

Circulation & Approach

Points of Interest

vehicle - west vehicle - east pedestrian

A. CCAC B. Public Entry & Burle

Marx Garder C. MCAC

50

100

D. Parking E. MSGR F. SCAC

250

13 | United States Embassy to Brazil

GALLERY & FULL HEIGHT ATRIUM EXTENDING THROUGH INTERSECTION OF MASSES

L2-02

EXECUTIVE OFFICES L2-01

MANAGEMENT SERVICES OFFICES

L1-02

L1-01

GENERAL SERVICES OFFICES CONSULAR PUBLIC ENTRANCE & WAITING

G-02

CONSULAR SERVICES OFFICES MAIN ENTRANCE

G-01

LESS SECURE

MORE SECURE

14

1.2

1.3

1.2 Atrium 1.3 Consular Entrance

15 | Montepulciano Cantina

MON T E P ULCI A N O C ANTINA ARCH 350 | Introduction to Urban Contexts Fall 2017 Clemson University Profesor Julie Wilkerson

A small infill project in an Italian hilltown. The client is a fictional couple looking to open a cantina for wine tastings and wine cellar tours. The couple also wished to have a small dwelling space for anything from weekend to extended

stays. The project presented challenges of how to respond to the rich history of the town and how to create a villa-like feel in a dense and compact setting.

17 | Montepulciano Cantina

M O N T E P U L C I A N O , I TA LY

0’

1000’

500’

NORTH

1.1

0’

100’ 200’

NORTH

1.2

K E Y M A P : CI T Y E X T E N T S Montepulciano, Italy Montepulciano, Italy is a medieval hilltown known worldwide for its wine. Its narrow, windy streets, Italian piazzi, and unique topography create a rich backdrop for a small cantina.

The site, marked in red, has been

vacant since the 19th century, when an earthquake caused the previously existing building to fall. The site is located along Via Ricci, one of the major veins of the city. It is at the highest elevation of the city and provides a view to the vineyards and mountains beyond.

1.1 Key Map, Montepulciano, Italy 1.2 Figer Ground Map, Montepulciano, Italy

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1. Figure ground of city with Piazza Grande and site highlighted.

2. Piazza Grande perimeter figures with outline.

3. Outline isolated as a character.

4. Character applied to building facade.

DWELLING DWELLING RETAIL & SMALL TASTING ROOM LARGE TASTING ROOM

CELLAR

5. Character adjusted for walls and floor plates.

6. Floor plates determined by character.

19 | Montepulciano Cantina

1.3

1.3 Massing Model 1.4 - 1.5 Parti Model

1.4

1.5

1.6

1.7

1.6 - 1.7 Spatial Model

20

DWELLING LEVELS 3 & 4 46’ - 0”

BATHROOMS, ELEVATOR, & EGRESS STAIR SERVICES

RETAIL & SMALL TASTING LEVEL 2 24’ - 0”

LARGE TASTING LEVEL 1 20’ - 0”

CELLAR GROUND LEVEL 0’ - 0”

21 | United States Embassy to Brazil

DWELLING LEVEL 4 | 58’ - 0” DWELLING LEVEL 3 | 46’ - 0” RETAIL & SMALL TASTING LEVEL 2 | 24’ - 0” LARGE TASTING LEVEL 1 | 20’ - 0” CELLAR GROUND LEVEL | 0’ - 0”

22

SS V IA SA O

R EST.

VIA RIC CI

S T RE E T ACCESS

C ELLAR

G R O U ND FLOOR : CEL L A R 0ʼ

5ʼ

20ʼ

SS V IA SA O

R EST. O.T.B. O.T.B.

O.T.B.

O.T.B.

VIA RIC CI

LAR G E TASTI N G R OOM

FIRST FLOOR: LARGE TASTING 0ʼ

5ʼ

20ʼ

23 | Montepulciano Cantina

ASSO V IA S

R E S T. STREET ACCESS (ENTRY )

O.T.B.

O.T.B.

VI A RI CC I

O.T.B.

R E TA I L

SECOND FLOOR: RETAIL & SMALL TASTING 0ʼ

5ʼ

20ʼ

SMALL TA S T I N G ROOM

24

SS V IA SA O

O.T.B.

VIA RIC CI

O.T.B.

PR I VATE K I TC HEN

PR I VATE LI VI N G AR EA

PR I VAT E G AR DE N

THIRD FLOOR: DWELLING 0ʼ

5ʼ

20ʼ

SS V IA SA O

VIA RIC CI

B ED R OOM LOFT

EN SUI TE

FOURTH FLOOR: DWELLING 0ʼ

5ʼ

20ʼ

25 | Montepulciano Cantina

26

27 | Museum of Architecture

M USE UM OF A R CH I TECTURE ARCH 252 | Architectural Foundations II

Spring 2017 Clemson University Professor and President Emeritus James F. Barker

Conceptual exploration to answer the question, “what should a museum of architecture look like?” The

project focuses on daylighting strategy and a novel form to create a unique user experience.

29 | Museum of Architecture

1.1

V E S S E L F OR LI GHT Formal Exploration The form was driven by a desire to have a central oculus which would fill the museum with light. The fluidity of the form represents the

fluidity of architecture over time through the evolution of ideas and innovation.

1.1 3D printed section of core of form (oculus)

30

Frame of curves for lofting operation

Form generated by a closed loft, rebuilt with ten control points

3D print of form

Laser cut wood model; 1/8� contours

31 | Museum of Architecture

Slice

Twist

OU T S I D E & I N SI D E Slicing and Twisting to Create Indoor/Outdoor Interactions Splitting the orginal form into stories allowed for manipulation of floor plates. To create interactions between the inside and outside, the floor plates are twisted to create exterior shelves which function as terraces. One

of these is located on every floor, letting in natural light, allowing the user constant framed views of city, and allowing the user to move inside and outside as they navigate the galleries.

32

Wood model for exploring floorplate twisting & stacking

33 | Museum of Architecture

34

35 | Urban Form

UR BA N F O R M ARCH 350 |Introduction to Urban Contexts Fall 2017 Clemson University Professor Julie Wilkerson Project Partner: Niki Antunez

Examining the city fabric of Accra, Ghana through the lens of figure ground.

37 | Urban Form

ACCRA, GHANA LORI NORTH & NIKI ANTUNEZ

SCALE: 1” = 1 MI

1.1

KE Y MA P : CI T Y E X T E N T S Accra, Ghana Accra, the capital of Ghana, is a vast and densely populated city—24,836 people per square mile—making it difficult to identify the city’s edge in an aerial view. The topography is made up

1.1 Key Map, Accra, Ghana

of dry plains, sloping gently from the coast, and a waterway that winds north through the western side of the city.

38

1.2

1.2 Figure Ground Map, Accra, Ghana

39 | Urban Form

1.3

PAT H WAY T H R O UGH T Y P OLO GIES Accra, Ghana A pathway is identified along which various ordering systems exist. This pathway can be understood as both typological and chronological. It begins in the heart of a cosmic grid in the oldest part of the city, transitions

1.3 Pathway Through Typologies

into an industrial strip and after crossing the river, passes into a section of residential ordering of both grids and winding streets; pre-modern, modern, postmodern.

40

1.4

1.5

SCALE: 1” = 1 MI

SCALE: 1” = 1 MI

1.6

1.7

Ring Road winds around the center of the city and creates a clear boundary between “inside” and “outside”. This road is a piece of modern infrastructure, however it resembles the medival plan of a walled city. Over time, a series of ordering systems have been imposed over one another

in Accra. In blue, the cosmic grid springs from the original city center. One of its fingers extends north and becomes a defining edge for the major gridiron portion of the city. Binding these and offering access inside the center is a radial order, defined most prominently by Ring Road.

1.4 Core of City 1.5 The Water’s Edge

1.6 Redirection of Order 1.7 Competing Ordering Systems

41 | Tectonic Explorations

T E CT O N I C E X P LOR ATIONS ARCH 251 | Architectural Foundations I Fall 2016 Clemson University Professor Dave Lee

A series of models exploring two types of tectonics: folding and carving. Through this exercise, I experimented with creating space with 2D media, testing patterns

and configurations of the design operations, and setting rules for making design decisions.

43 | Tectonic Explorations

1.1

1.2

F O L D E D P LAT E Geometric Column, Curved Crease, and Hexagonal Parabaloid For the column model, I experimented with diagonal pleated folds. Although made with four sets of pleats, the final iteration is a

1.1 Column Crease Pattern 1.2 Column Sculpture

three-sided structure which appears strong and elegant due to the underlying structure of triangles.

44

1.3

1.4

1.5

1.6

When designing my curved crease model, I also experimented with adding a cut in the pattern. This diagonal cut across the center of the paper allows the form to take a new shape which would have been otherwise impossible. It also allows for a spatial quality to be created 1.3 Curved Crease Pattern 1.4 Curved Crease Sculpture

under or inside the structure.

The crease pattern for the hexagonal structure is based on the idea of pleats following a series of concentric shapes. It could be made from a circle, square, pentagon, etc.

1.5 Concentric Hexagonal Crease Pattern 1.6 Hexagonal Parabolic Sculpture

45 | Tectonic Explorations

1.7

C A RVI N G Exploring Subtraction through Boolean Difference Logic When carving, I worked within specific restraints and set “rules� for myself. I began with a solid 12 inch by 12 in cube and carved only with rectangular prisms which were four inches by four inches by eighteen inches. I used three of these prisms.

To carve, I tilted the first prism 1.7 Solid Void Model

on one axis, rotated the second on two axes, and rotated the third on three axes. Working within these boundaries created a clean and elegant final product with a balance of silence and tension on its faces.

46

1.8

1.9

1.10

1.11

1.12

1.13

1.8 - 1.9 Wire Frame of Prisms Carving 1.10 - 1.11 Wire Frame with Remaining Solid Shaded

1.12 - 1.13 Solid Void Model

47 | Where Sky Meets Earth

WH E R E SKY M E E T S EAR TH ARCH 251 | Architectural Foundations I Fall 2016 Clemson University Professor Dave Lee

A pavilion nestled into the side of a slope in a mountainous, forested region. The process of carving is meant to form a new relationship between earth and sky. The mass carves into the earth and the sky carves into the mass through voids left by the boolean operation.

Through these voids, light is filtered in from above into the depths of the mountainside, and inhabitable spaces for experiencing the exchange between the two worlds are created.

49 | Where Sky Meets Earth

1.1

E A R T H , S K Y : SOLI D, VO I D The Process of Carving Through the process of carving, spaces are created to capture both the vastness and the ephemeral qualities of the surrounding landscape. Carving into the mass creates strict pathways for circulation through the pavilion.

Pedestrians can access three distinct 1.1 Final Model

areas: one small, meditative space which frames a view of the sky; one large space overlooking mountain vistas to the east; one above the other two, accessed by the ramp on the south side, which allows one to experience the eastern vistas and the vastness of sky simultaneously.

50

1.2

1.3

1.4

1.5

1.6

1.7

1.2 - 1.3 Wire Frame of Prisms Carving 1.4 - 1.5 Wire Frame with Remaining Solid Shaded

1.6 - 1.7 Final Model

51 | Where Sky Meets Earth

A

1.8

B

0’

6’

12’ 1.10

1.8 East Elevation 1.9 Site Plan

52

A

1.10

B

1.11

1.10 Section 1.11 Cut Plan

53 | The Barn

T HE BA R N Project Precast 2019 Spring 2019 Sponsored by the Precast Concrete Institute Project Partners: Kinga Pabjan & Fernanda Fraijo

The winning entry for the inaugural Project Precast, a 24 hour design competition sponsored by the Precast Concrete Institute. I was selected along with Kinga Pabjan from Washington University St. Louis and Fernanda Fraijo from the University of Arizona to represent

the Tindall Corporation. The task was to design a horse barn out of precast concrete, and deliver a proposal complete with drawings, renderings, structural details, and a construction schedule.

55 | The Barn

1.1

C O N T E M P O R A RY I N T E R P R E TATION A New Gambrel Roof Our design was based on the idea of simplifying a traditional gambrel roof to a single curve. The curves are then offset vertically to create a clerestory which provides the opportunity for daylighting and ventilation. We aligned the stalls along one wall of the barn and 1.1 Interior of Barn

used a large overhead door on the opposite side to create more open space than is usually available in a barn.

56

1.2

1.3

1.4

1.2 Hay can be lifted in through windows at loft level

1.3 Sunlight through clerestory 1.4 Natural ventilation

57 | The Barn

1.5

1.6

0’

5’

10’

20’ 1.7

1.5 Section 1.6 - 1.7 Plans

58

1.8

0’

5’

10’

20’

1.8 Panel Assembly

59 | The Barn

60

61 | Devoiler

D E VO I LE R ARCH 452 | Synthesis Studio Spring 2019 Clemson University Professor Tim Brown, Dr. George Schafer, Dr. David Franco, Professor Dave Lee, Professor Ulrike Heine Project Partners: Heather Kimbrell & Grayson Mosteller

Designed in partnership with Heather Kimbrell and Grayson Mostellar. All work was completed with mutual effort.

An urban installation design for the Embellir Paris competition.

We identified an aspect of Parisian culture to use to drive our design decisions. Drawing on the fashion

industry for inspiration led to use of white chiffon as the main material, and to the design of an assembly method based on traditional garment construction.

Dévoiler means “to unveil” or “to reveal”. We chose this to convey the idea of “unveiling” the spaces within and along the pathway.

63 | Devoiler

3

2 5

1.1

1.2

S PA C E S & A SSE M BLY A Pattern for Construction Three types of spaces exist along the path: large, medium, and small.

There are two large spaces, three medium spaces for small groups of people, and five small intimate areas of rest of relief for one person.

Our pattern for construction draws 1.1 Spatial Diagram 1.2 Panel Array Diagram

a parallel between architecture and the rich fashion industry in Paris. The plan for assembly follows the same methods as assembly of garments via fashion patterns. The process follows four steps: trace, cut, fold, and stitch.

64

1.3

1.3 Entrance From Side

65 | Devoiler

UNVEIL Path, Pattern, and Play The site is a walking path underneath an elevated metro line approximately 700 meters long. Our installation is a series of chiffon panels with silhouettes cut to create a pathway along the length of the site.The panels are placed close enough to evoke a sense of solidity through which a path is carved. The

pathway and its spaces retain their shape according to the cut made in the panels, but users are permitted to move about freely, as they are made from. It is a play on the idea of “I am supposed to be here, I am not supposed to be there.” The user decides where they “should” be.

66

SOUTH ELEVATION

SITE PLAN 0m

12

24

67 |Devoiler

68

69 | Freehand Drawing

F R E E HA N D DR AW ING ARCH 351 | Field Studies Spring 2018 Charles E. Daniel Center | Genova, Italy Dr. Henrique Houayek

A series of in-situ drawings made during my European travels.

71 | Freehand Drawing

1.1

1.1 Il Duomo, Florence

72

1.2

1.2 Notre Dame, Paris

73 | Freehand Drawing

1.3 From Piazzale Michelangelo

74

1.3

75 | Freehand Drawing

1.4

1.5

1.6

1.4 Detail, Palazzo Ducale, Venice 1.5 Palazzo Ducale, Venice

1.6 Gondolas in the Grand Canal, Venice

76

1.7

1.7 Abbey of San Galgano

77 | Resume

ED UC AT I O N

CLEMSON UNIVERSITY Clemson, SC | May 2019 Bachelor of Arts in Architecture Minor in Business Administration 3.85 GPA, Alpha Rho Chi Leadership Medal Recipient, Blue Key Award Finalist, Rudolf E. Lee Award Nominee, Tau Sigma Delta, Phi Kappa Phi

AFFILIATIONS & I NV OLV EMENT

EXPE RIE NC E

CHARLES E. DANIEL CENTER Genova, Italy | Spring 2018 4.0 GPA CARLTON EDWARDS ARCHITECTS Asheville, NC | Summer 2018 Architectural Intern DESIGNED FOR DOWNTOWN, LLC Greenville, SC | Summer 2017 Design Intern

AMERICAN INSTITUTE OF ARCHITECTURE STUDENTS (AIAS) 2016 - present Co-President, Clemson Chapter, 2018 - 2019 Member, AIAS Equity and Diversity Task Force, 2018 - 2019 Member, AIAS FORUM Site Selection Committee, 2017 2018 PRECAST CONCRETE INSTITUTE (PCI) 2019 Member, Project Precast 2019 Competition Team

S K I LLS

FREEDOM BY DESIGN 2017 - present

Revit

Adobe Illustrator

Rhinoceros

Adobe InDvesign

AutoCAD

Adobe Photoshop

Grasshopper

Freehand Drawing

Enscape

L O R I A. NO R TH Thank you

L O R I A. NO R TH lorin@clemson.edu 864.517.5838 issuu.com/lorianorth