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nicholas georg weiss WORKING PORTFOLIO _ UIUC [2010] + RICE UNIVERSITY [2012}

table of contents [4] INTRODUCTION [6] COMMUNITY SURFACE [20] UNCONTAINED [28] SPACE FOR PERFORMANCE [32] HYPER_REAL STUDIOS [40] GOVERNORS ISLAND REDESIGN [44] ARTIFICE [56] URBAN CEILING [68] HOUSE OF RED AND WHITE [72] PLAYHOUSE [86] SPATIAL GLUTTONY [98] HEALTH STRIP [104] SIMULACRUM [108] SYMBIOTIC COMMONS [124] ARCHITECTURAL ILLUSTRATIONS [126] SELECTED ARTWORKS [130] RESUME

nicholas weiss portfolio 2013

table of contents

I have always had one rule about working in architecture. It should have a meaning that affects the world. Architecture is truly the most effective form of art. It allows high concepts that look at and critique the world around us in a way that allows all to experience it. The world is a construct of man and the architect is the leader of that construction. More than politics and policy, the built environment can radically alter peoples’ experiences and perceptions of the world around them for the better.

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introduction

COMMUNITY SURFACE: A CIVIC CENTER FOR EAST END ARCH 503: Dawn Finley Fall 2010 45,000 sq.ft. Houston, Texas

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community surface

Community is a sense of bonding from sharing a geographic location, a common trait, or an idea or belief These intersections foster a community in any conceivable setting and Community Surface aims to create an intersection of space to build relationships between three user groups that would otherwise not form a cohesive social unit to prevent a total gentrification of the East End in Houston. By serving as an anchor point of social interaction, Community Surface aims to halt and reverse the current erosion of the existing population of the neighborhood that is occurring with the expansion of the light rail through the area.

[above left] LOCAL PUBLIC [above center] NEIGHBORING PUBLIC [above right] VISITING PUBLIC [opposite] SITE PLAN

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community surface

[below] DUAL LOBBY FLOW [left] SPATIAL ARRANGEMENT [opposite left] MARGINALIZED PUBLIC INTERACTION [opposite right] MAXIMIZED PUBLIC INTERACTION

VISITING

shared

LOCAL

[5]

[4] [1]

[3] [2]

Inverting the typical civic center creates a moment of mass intersection in a central foyer that guarantees the multiple publics served interact with one another to create solidarity within the neighborhood. The dual foyer condition allows the public to experience the public in both a formal and expedient manner as well as an informal meandering fashion.

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programmatic distribution [1] library [2] municipal annex [3] dual foyer [4] auditorium [5] education wing

community surface

reading room

periodical/reading

reference desk

courtroom

reference desk UP

mediatheque

exhibition space

judge’s chamber

cloak room

UP DN

tech. support backstage

stage support

office

reception UP

classroom

stage UP

clerk’s office

storage

mech.

classroom

[above] FIRST FLOOR PLAN [opposite] EDUCATION ANNEX PLAN

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community surface

special collections

general stacks

legal stacks

quiet study

[above] COMMUNITY SURFACE PLAN [opposite above] CROSS SECTION [opposite below] CROSS SECTION

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auditorium

The informal foyer slides down to create a visual connection with the formal foyer, uniting the multiple user groups into one singular public. Each major program maintains autonomy from the others not only through discrete forms but also through materiality. By dividing the project through materials, there is an additional level of clarity presented to outside users and visitors that may be new to the Community Surface.

library

education

municipal

[left] EXPLODED AXONOMETRIC [right] MATERIAL AUTONOMY [opposite] COMMUNITY SURFACE

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community surface

[left] GALLERY PERSPECTIVE [below] REAR PERSPECTIVE [opposite] MODEL PHOTOS

UNCONTAINED: A PREFABRICATED HOME FOR THE WORLD Prefab 2020 Competition: Team wtf_arc Fall 2009 400 sq.ft. International

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uncontained

Prefabrication has become a dirty word in architecture as suburban sprawl overtakes the landscape with obscenely large mcmansions. Uncontained reverses the sprawl by repopulating the city with spatially conscientious and prefabricated homes that can be placed universally in the urban environment. The competition calls for a prefabricated two-person home of 400 square feet. Uncontained satisfies these requirements while criticizing established suburban views of prefabrication and lack of green space within the city as well as investigating the footprint as an idea. build it

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ship it

place it

uncontained

live it

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[above left] INTERIOR PERSPECTIVE

[opposite above left] SOLO UNIT

[above right] GROUND PERSPECTIVE

[opposite above right] UNIT PLACING

[left] UNIT FLOOR PLAN

[opposite below] UNIT ELEVATIONS

5240

Uncontained can be on its own or stacked in conjunction with other modules. Stilted above the ground or positioned atop existing structures, these residences reduce their footprint to zero.

uncontained

[below] STACKED SECTION [opposite above] SPACE UTILIZATION [opposite below] GREEN SPACE PLACEMENT

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uncontained

27 24

SPACE FOR PERFORMANCE: A THEATER IN THE WOODS ARCH 373: John Stallmeyer Fall 2008 - third place Earl Prize in design 300 sq.ft. Monticello, Illinois

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space for performance

[previous] SITE PLAN [below left] PLAN [below right] REVERSAL DIAGRAM [opposite above] MODEL PHOTOGRAPH [opposite below] PERSPECTIVE DRAWING

[7]

building key

[8]

[1] performance space [2] mechanical room [3] green room [4] dressing room [5] dressing room

[9]

[6] storage [7] restroom [8] janitor’s closet [9] restroom [10] storage

[10] [1]

[2]

[3] [4]

[5]

[6]

Performance takes place well beyond the boundaries of the stage. It permeates every facet of daily life. The Space For Performance puts the guest in the spotlight as a grand entrance creates a large area in which people are meant to interact with one another while the building itself serves as the viewing audience. Located in Allerton Park, a defunct estate with acres of wild brush, formal gardens and numerous statues, the Space for Perfomance must exist within the vernacular boundaries of the site as a whole geometrically, spatially, and in materials.

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space for performance

HYPER_REAL STUDIOS: AN ANIMATION STUDIO FOR PILSEN ARCH 476: Terese Thierney Spring 2010 200,000 sq.ft. Chicago, Illinois

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hyper-real studios

EAST RIVER RD 8800 W

x x

x 90 nw tollroad

90 kennedy x x

x x

n. lake shore dr.

x x

ASHLAND AVE 1600 W

WESTERN AVE 2400 W

KEDZIE AVE 3200 W

existing thresholds

x x

cta brown line

DEVON AVE 6400 N

BRYN MAWR AVE 5600 N

CENTRAL AVE 5300 W

AVE TOUHY 7200 N

94 edens

PULASKI RD 4000 W

sheridan rd.

cta blue line

CICERO AVE 4800 W

x cta red line

NAGLE AVE 6400 W

HARLEM AVE 7200 W

cta purple line

skokie swift

LAWRENCE AVE 4800 N

x x 90/94 kennedy

IRVING PARK RD 4000 N

x xx

x x

x xx

BELMONT AVE 3200 N

x x cta brown line cta purple line

FULLERTON AVE 2400 N

x x x

x x x x x

NORTH AVE 1600 N

HARLEM AVE 7200 W

cta red line

PACIFIC 8000 W

x x

x x x x x

cta green line

x x

CHICAGO AVE 800 N

s. lake shore dr.

MADISON ST 1N/1S

CREATIVE FANTASY

cta blue line 290 eisenhower

x x

ROOSEVELT RD 1200 S

CREATION FANTASY

x x

cta pink line

x x

CERMAK ST 2100 S

31ST ST 3100 S

x x

x x x

PERSHING RD 3900 S

x x

47TH ST 4700 S

x x

ORD to NFC

x x

55 stevenson

ORD to RIC

ORD to CMH

55TH ST 5500 S

x x cta green line x

63RD ST 6300 S

e. marquette dr.

x x

x s. lake shore dr. x x x

s. shore dr.

x x

CENTRAL AVE 5600 W

x 90/94 dan ryan

HARLEM AVE 7200 W

cta green line

NARRAGANSETT AVE 6400 W

cta orange line

71ST ST 7100 S

79TH ST 7900 S

x x x

87TH ST 8700 S

x x x

94 dan ryan x

95TH ST 9500 S

x x

103RD ST 10300 S s. indianapolis blvd.

REALITY

111TH ST 11100 S

VENUE O 3430 E

STATE LINE RD 4100 E

TORRENCE AVE 2630 E

STATE ST 1E/ 1W

CICERO AVE 4800 W 94 bishop ford freeway

FANTASY STONY ISLAND 1600 E AVE

90 chicago skyway x

COTTAGE GROVE 800 E AVE

HALSTED ST 800 W

ASHLAND AVE 1600 W

KEDZIE AVE 3200 W

WESTERN AVE 2400 W

PULASKI RD 4000 W

cta red line

natural deformation

imposed deformation

PRE-PRODUCTION POST-PRODUCTION

C PUBLIC PUBLI SHARED

GUEST

MEETING

CONFERENCE

EMPLOYEE

SHARED

GUEST

EMPLOYEE

Hyper_real Studios started as a study of the effects of popular media on public perception of reality. As people insulate themselves with technology, their ability to discern between the true world and fantasy becomes damaged and they begin to live in a state of hyperreality. The conclusion was that unexpected audio-visual stimulation was able to cut through the hyperreality and, in a city and site that was laced with multiple circulatory infrastructures, the ability for an animation on studio to create fantasies and keep them apart from reality hinges on the architecture’s ability to control access to these infrastructures.

[above left] ‘L’ INFRASTRUCTURE [above center] COMMUTER RAIL INFRASTRUCTURE [above right] AERIAL INFRASTRUCTURE [opposite] FORM PROCESS

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programmatic response

MEETING CONFERENCE FOYER

STUDIO hyper-real studios

STUDIO 35

[left] EMPLOYEE LEVEL [right] GUEST LEVEL [opposite] PUBLIC LEVEL

river circulation

[4]

[3]

public circulation [2] [2] [4] [3]

[1]

guest circulation

[2]

employee circulation

[1]

employee level

guest level

public level

[1] pre-production studio [2] employee entrance [3] recreation space [4] post-production studio

[1] pre-production studio [2] main concourse [3] post-production studio [4] independent media center

[1] public restaurant [2] public park [3] performance area

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Utilizing the ground surface as a pliable barrier between fantasy and reality, Hyper_Real Studios organizes the circulatory systems of its users in response to their relationship with the hyperreality. Employees create the fantasy and guests to the studio navigate the fantasy impressed upon them.

hyper-real studios

[below] POST-PRODUCTION STUDIO [opposite] PRE-PRODUCTION SECTION

The Hyper_Real Studios begins to deform to allow for various auditory and visual interruptions into the space to directly impact the fantasy created within individual programs in the studio. This interruption clarifies the hyperreality for the studio and the public in the form of windows, openings into adjoining and programmatically unrelated spaces, and intersections with circulation paths of other user groups.

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hyper-real studios

GOVERNORS ISLAND RE-DESIGN: EXPLORING THE EDGE CONDITION ARCH 601: Troy Schaum Fall 2011 750,000 sq.ft. New York City, New York

1635

1890

1920

PROPOSED SOLUTION

existing

west8 proposal

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revised proposal

governors island re-design

[opposite left] JETTIE END CONDITIONS

PROPOSED SOLUTION

[opposite right] ISLAND PLAN [ below left] WEST8 HARD INFRASTRUCTURE

[iv] harbor waters

The revised plan takes down the static sea wall constructed around the island at the time of its expansion and replaces it with spindly jetties that will collect sand and debris from the harbor over time. This will create a boundary condition that is dynamic and likely to change from season to season as water levels rise and fall. The historic fort is walled in entirely, locking its place in time and space and separating it from the rest of the island.

[below right] REVISED SOFT INFRASTRUCTURE

[i] ellis island

[ii] liberty island

[v] brooklyn industry

[iii] open sky

[vi] brooklyn / manhattan skyline

[iv] harbor waters

PROPOSED SOLUTION

entry lock [v] brooklyn industry

[vi] brooklyn / manhattan skyline

Many people view an island is the ultimate challenge in boundary conditions. A land entirely surrounded by water provides limited space to build upon and a border beyond human control. However, Governors Island proves this is a fallacy. The island has changed immensely through forces of nature and man in its time in New York Harbor. The West 8 plan treats this boundary as static, contradictory to the island’s ability to grow and change over time. The re-design melds soft and hard border infrastructure by utilizing jetties, sea-walls, and man made islands to create a park that is dynamic over time.

sea wall

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governors island re-design

jetty

ARTIFICE: AN ARTS CENTER FOR GOVERNORS ISLAND ARCH 601: Troy Schaum Fall 2011 32,000 sq.ft. New York City, New York

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artifice

[below] GOVERNORS ISLAND [bottom] ISLAND SECTION

HAMMOCK GROVE

The West 8 plan for Governors Island is ingenious in portions but, overall, is a confused clashing of concepts. The plan hinges on two large sections of the island, “the Hills” and “the Grove”. The hills are created out of construction debris and are shaped irregularly (much like the island itself). They are unashamed of their artificial nature.

HILLS

peeled

SHELTERED

safe SHADOW

cloak

ECLIPSE

QUIET

deep

twilight

AIR

envelop

PROTECTED

SOLITARY

inward

obscure

VEIL

REVEAL

CONCEAL

entwine

shield enclosed

EMBRACE

SHELTERED

PROTECTED

DEN

masked

cloud

SHADE

FOLD

dim

RETREAT

artifice

unprotected EXPOSED

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LIGHT

silhouette confined

HIDDEN

eclipse

BARE

EMBEDDED

NAKED

refuge

CONTAINED INSULATE

vulnerable OPEN

RAW

The grove, however, maintains a false facade of nature, going against the ideals of plan. Artifice floats above the grove, enclosing some of it to keep the trees green year-round. By adding this artificial and surreal element to the grove, Artifice corrects the imbalance between the two parts of the island conceptually.

[opposite] CREATING THE NOT-GROVE [below] FORMAL PROCESS

The form of Artifice stems from a simple lofted two slab building. The slab is then cut into strips to create programmatic differences. The building is then pushed into the texture of the grove, pushing and pulling. The legs of artifice touch the ground mocking the falsely planted trees while allowing those same trees to pierce the slab uniting the two variations of the built form.

hill HILL

not a hill NOT A HILL

grove GROVE

still a grove STILL A GROVE

floating slabs

fold to create bars

pierce slabs

enclose theater

program bars

enclose slabs

rest on legs

privacy elements

not a grove

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artifice

[below] GROUND PLAN [opposite] FLOOR PLAN

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artifice

[below] RAMP SECTION [bottom] LONGITUDINAL SECTION [opposite] EXPLODED AXONOMETRIC

Artifice is composed of a space frame structure which is then deformed to create a surreal terrain at the tree line. The melding of the false “nature” of the grove and the unabashedly false ground plain of Artifice are united as the structure lightly touches the ground and the trees pierce the slabs. The union is complete as the ground of the grove is lifted in a ramp up into the structure, providing physical evidence that all of the island is a construct of man.

ROOF SLAB

the roof is deformed to allow further light into the structure

FOLDS AND “TREES”

the open floor plan is divided by programmatic strips that fold up connecting the two slabs. The space frame “trees” further deviate spaces.

FLOOR SLAB

the floor slab is free from any enclosing walls and the space is entirely open, differentiated only by the holes created by the trees below and the space frame trees supporting the roof

GROUND PLANE

the ground plane is sliced open to reveal the concrete substructure that runs the building above.

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artifice

[opposite] APPROACH PERSPECTIVE [below] UNDERNEATH PERSPECTIVE

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artifice

URBAN CEILING: A MUNDANEUM FOR ISTANBUL ARCH 504: Neyran Turan Spring 2011 300,000 sq.ft. Istanbul, Turkey

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urban ceiling

The Mundaneum was proposed as a universal museum of all man’s knowledge. Urban Ceiling pushes the project in the direction of a research institute and cultural center responsible for educating the general public. Dualities in scale, publics and programs forces Urban Ceiling to adopt both a Miesian pavilion and a Rowe perimeter block in its interaction with the geometric context and the public. The project unites the two forms over a new public datum that embraces and absorbs the multi-directional public, funneling it through large nodal programs to smaller serial programs above the block and below in the plinth.

manhattan

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paris

istanbul + pavilion

urban ceiling

istanbul + perimeter block

[below] CIRCULATION AXON [opposite] PROGRAMMATIC AXON

TEMPORARY LIVING reception desk [x50] living unit [x2] staff room [x2] storage laundry room

URBAN CAMPUS

[x3] lecture hall [x20] seminar rooms [x5] classrooms [x4] studio [x25] offices

LIBRARY

[x4] staff offices visitors services reference desk stacks

DIGITAL MEDIA CENTER mediatheque media center

ADMINISTRATION [7] staff offices copy room maintenance office security office

SHARING/PUBLISHING/RECREATION permanent exhibition temporary exhibition information desk storage

Small serial programs are located in the perimeter block, utilizing the linearity of the bars to organize the spaces as small pavilions within a larger network of public and private space. The intersections of the bars function as hotbeds of interaction, creating a microcosm of the system as a whole within the lofted perimeter block.

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urban ceiling

Public pavilions grow into a large network of multidirectional nodes, responding to contextual shifts. Further up, the network is populated by miniature pavilions placed with respect to programmatic flows.

[below] FLOOR PLAN 07 [left] FLOOR PLAN 06 [opposite left] FLOOR PLAN 03 [opposite right] FLOOR PLAN 01

The main floor adopts the pavilion organization of the main datum to organize large multidirectional program while utilizing the organization of the perimeter block to arrange the gallery, a program with linear implications 62

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urban ceiling

[right] MODEL PROGRESSION [opposite] LONGITUDINAL SECTION

The Urban Ceiling dematerializes to the northeast allowing greater visual and circulatory access and solidifies to the southwest to project the institution outwards towards the arterial highway.

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urban ceiling

[right] INTERIOR PERSPECTIVE [below] GROUND PERSPECTIVE [opposite] REAR PERSPECTIVE

HOUSE OF RED AND WHITE: A MEMORIAL FOR THE KATYN MASSACRE ICARCH Competition: Team wtf_arc Fall 2010 100 sq.ft. Katyn, Russia

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house of red and white

[opposite left] PLAN

tver

TVER|6316

[opposite right] SECTIONS [right] INTERIOR PERSPECTIVE [below] EXTERIOR PERSPECTIVE

moscow katyn minsk

KATYN|11726

warsaw

kiev kharkov

KHARKOV|3825

When a tragedy on the scale of the Katyn massacre occurs, the lives lost meld into a singular statistic. The House of Red and White memorializes each individual slain by piercing a copper monument with twentytwo thousand holes; each representing the void created in the lives surrounding the deceased. The form is shaped to allow a perfect projection of light in the direction of the three massacre sites on the anniversary of the tragedy. From the exterior, the holes remain dark voids of loss, but from the interior, light projects onto the surrounding walls transforming the voids into interactive objects to be held by visitors as they gain a new respect for the dead.

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house of red and white

PLAYHOUSE: A TRANSPARENT MONUMENT FOR LINCOLN CENTER ARCH 601(2): Douglas Oliver Fall 2012 12,000 sq.ft. New York City, New York

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playhouse

[previous] SECTION PERSPECTIVE [below] AMBIGUITY OF FORM

With formal and programmatic ties to Lincoln Center, Alice Tulley Hall, and the Metropolitan Museum of New York, Playhouse is forced to balance a number of forces while reconciling an internal conflict between instrument restoration, instrument exhibition, practice spaces, and performance spaces. Playhouse intentionally disguises these relationships from the exterior only to reveal all aspects at once in one singular interior volume. This sudden revelation allows Playhouse to exist in its own world internally that is pieced back together with its context only afterwards.

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playhouse

[below] CLARITY OF FORM

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playhouse

[below left] PUBLIC PATHS [below right] STRUCTURE [bottom left] HVAC LAYOUT [opposite] CONTEXT PLAN

internal public external public

The lynchpin of Playhouse rests on the relationship between the internal public, the external public, and the program. Both publics have set paths that take them through the project from program to program, orchestrating their experience. Structurally, the singular volume is enforced with a monocoque structure that is entirely homogenous and creates a deep envelope that keeps the interior of the volume free from obstruction.

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playhouse

[opposite left] BASEMENT PLAN [opposite right] FIRST FLOOR PLAN [below left] SECOND FLOOR PLAN [below right] THIRD FLOOR PLAN

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playhouse

[opposite above] CROSS SECTION

The singular volume is kept completely open but entirely comprehensible by pushing each of the different programs to different faces of the interior. The museum space cantilevers into the main performance space on two levels, while the practice spaces are enclosed behind the main performance space to act as an acoustic soundboard back into the main seating area.

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[opposite below] LONGITUDINAL SECTION [left] EXPLODED AXONOMETRIC

[opposite] GROUND PERSPECTIVE [above] APPROACH PERSPECTIVE [below] INTERIOR PERSPECTIVE

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playhouse

SPATIAL GLUTTONY: A BOUTIQUE HOTEL FOR THE GOLD COAST ARCH 475: Vidar Lerum Fall 2009 25,000 sq.ft. Chicago, Illinois

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spatial gluttony

[previous] SITE MODEL [below] EDGEWATER [opposite] SPATIAL GLUTTONY

spatial gluttony

ARCH 475: VIDAR LERUM . As the most densely populated area The neighborhood of Edgewater epitomizes human spatial greed. the most densely populated in the city, the neighborhood is an over-congested mess of As highrise developments that area blockinthe Chicago, the neighborhood is an over-congested mess of highrise developments that block the nearby lakeshore off for private use at the expense of thepractice area as a whole. evaluatedas in the terms of Garrett , this can be Ifevaluated unfair use ofHarden’s visual and Tragedy of the Commons, this practice can be evaluated as the unfair use of visual and spatial resources for the entire area to share. at 5948 North Sheridan aims to reverse this practice through a minimalist design The boutique hotel at 5948 North Sheridan aims to reverse this practice through minimalist design that gives back to the community spatially, programmatically, and visually. fall 2009 88

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[below] ROOM AXON [below] ROOM [opposite left] FAMILY UNITAXON PLAN [opposite[opposite right] TYPICAL UNIT PLAN right] TYPICAL UNIT PLAN PLAN [opposite center] ACCESSIBLE UNIT [opposite[opposite center] ACCESSIBLE UNIT PLAN center] ACCESSIBLE UNIT PLAN PLAN [opposite right] TYPICAL UNIT [opposite[opposite left] FAMILY UNIT PLAN left] FAMILY UNIT PLAN [below] TYPICAL UNIT AXONOMETRIC

[play] [work] [play] [work] bath [wet] [dry]

[wet] [dry]

kitchen bathwork kitchen work [dry] [dry]

recreation rest recreation

[7]

[dry] [dry]

rest [6]

[6]

[play] [play] [play] [play] [5]

[5] [5]

[wet] [dry] [wet] [dry] bath bathkitchenkitchen work workwork work [work] [work] [work] [work] [play] [play] [play] [play] bath bath recreation recreation rest restrest rest [4]

[wet] [dry] [wet] [dry]

[1]

[4] [2]

[wet] [dry] [wet] [dry]

[3]

toilet toiletstoragestorage [work] [work] [play] [play]

[wet] [dry] [wet] [dry]

nicholas weiss portfolio 2013

[2]

room key room key room key

vertical fan unitcoil unit [1] [1] vertical fan coilcoil unit [1] vertical fan in-slab bed bed [2] in-slab [2] [2] in-slab bed in-slab tub tub [3] [3] [3] in-slab tubin-slab [4] wall-less showershower [4]shower wall-less [4] wall-less [5] bathroom exhaust [5] bathroom [5] bathroom exhaust exhaust [6] modular storagestorage wall wall [6] modular [6] [7] modular storage wall modular storage wall wall [7] modular storage [7] modular storage wall

[work] [work] [play] [play]

soaktubsoaktub

[3]

[1]

spatial gluttony

05 91 05

[opposite] GROUND FLOOR PLAN [left] TYPICAL FLOOR PLAN

[3]

[2] [1]

[1]

[2]

[3]

The separation of entrances based on mode of transport is reflective of the separation of units based on client-types. By pushing the drive up and parking entrance to the rear of the building, the front is free for public use thereby creating much needed breathing room along Sheridan Road.

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The in-slab bed and bath systems reduce the amount of circulation space and creates spaces of dual purpose within the typical unit. This reduction is carried into the floor plan, creating a comparatively smaller footprint. The floor plan is separated into a simple service/served relationship with the guest rooms following a spine that houses all public space, egress space, and service spaces. With this layout, all rooms have an equal opportunity to overlook nearby Lake Michigan and downtown Chicago simultaneously.

spatial gluttony

[below left] STRUCTURAL AXON [below right] BUILDING SECTION [opposite left] SECTION PERSPECTIVE [opposite right] WALL DETAIL

structure key [1] roof slab [4] floor slab [8in thick cast in place] [variable depth cast in place] [2] stair core [5] foundation wall [12in thick cast in place] [2ft thick cast in place] [3] load bearing wall [6] footing [10in thick typical] [4ft x 2ft]

[1]

julyjuly2121 dec. dec.2121

[2]

[3]

[3] [4]

[4]

[5] [6] [5] [6]

[december [december 2121 noon] noon]

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spatial gluttony

[july [july 2121 noon] noon]

[top] MODEL PHOTOS [above] REAR PERSPECTIVE [opposite] FRONT PERSPECTIVE

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spatial gluttony

HEALTH STRIP: A HEALTH CLINIC FOR RURAL HONDURAS Global Brigades Architecture Spring 2012 1,200 sq.ft. Honduras

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health strip

[previous] EXPLODED AXONOMETRIC [below] SOLAR / RAIN DIAGRAMS [bottom] LONGITUDINAL SECTION

passive ventilation

summer daylighting

PASSIVE VENTILATION

SUMMER DAYLIGHTING

winter daylighting

rain runoff

WINTER DAYLIGHTING

RAIN RUNOFF

Designed as a small and easily built clinic, the Health Strip in Honduras remains incredibly mindful of the limited resources and unskilled volunteer labor that would take part in constructing the project. Composed of easily framed walls and concrete masonry units, the project remains simple to construct and assemble despite maintaining an architectural quality that would appear otherwise. The clinic is divided into three strips. The front strip is a graded drainage lawn that utilizes re-used tires as planters, the building begins with a lateral open-air waiting room that opens to the final strip, the row of various clinical rooms and storage. The rooms are color coded so that the building can appear as a graphic from the road.

lightwell LIGHTWELL

wc WC

dentist DENTIST

exam EXAM

office ++STORAGE storage OFFICE

HEALTH STRIP Rice School of Architecture G. Angelini, A. Tehranian, N. Weiss, D. White

100

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treatment TREATMENT

patio PATIO

Longitudinal Sect Scale 1:1

health strip

101

102 hitecture

[below] SECTION PERSPECTIVE [opposite] FRONT PERSPECTIVE

hillside HILLSIDE

waitingSTRIP strip WAITING

officeSTRIP strip OFFICE

lightwell + service LIGHTWELL + SERVICE

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Cross Section Scale: 1:50

health strip

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SIMULACRUM: A STUDY IN REALITY ARCH 374: Julie Larsen Spring 2009 Art exhibition University of Illinois

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[previous] PIAZZA D’ITALIA , NEW ORLEANS [right] INSTALLATION IN PLACE [below] WACKER DRIVE AMONG THE ICONS

Jean Baudrillard theorized that because contemporary media is so all-encompassing and immediate, that it creates a false reality called the Simulacrum of the experiences of the coverage of events that masks the reality of experiencing the events themselves. Through a constructed review of The Matrix, these ideas can be applied to contemporary architecture.

[bottom] BREAKING THE SIMULACRUM

The age of the icon is so intensely focused on the architecture of aesthetics over an architecture of substance that it creates its own Simulacrum. Is it possible to unite the two, or will they continue to vie for dominance as it does at Wacker Drive in Chicago.

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SYMBIOTIC COMMONS: AN URBAN ORGANISM ARCH 374: Julie Larsen Spring 2009 - Earl Prize in design nominee 200,000 sq. ft. Chicago, Illinois

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[previous] BREAKING THE SIMULACRUM [opposite] SITE LOCATION [below] SITE PLAN

Designed as a combination youth hostel and homeless shelter, the Symbiotic Commons breaks the Simulacrum of iconic architecture by fusing utilitarian structure with lofty aesthetics. By uniting the three levels of Wacker Drive, the Commons blurs the lone between the public, the guests in the hostel, and the homeless within the purgatory behind the Simulacrum. The structure is an urban organism, free to grow and shrink as it needs. It winds between Wacker Drive, utilizing the exhausted heat of the surrounding buildings to warm itself, much in the same way the homeless it houses once had ti. In this way, the Commons become a living part of the city.

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[below] ORGANISM GROWTH [opposite] CIRCULATION AXON

An organic form takes shape as the Symbiotic Commons winds through all levels of Wacker Drive growing along the confines of the road structure, taking what it needs from the waste of its surroundings. 112

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[opposite] PROGRAM DISTRIBUTION [below] BED PERCEPTION [bottom] DINING PERCEPTION

Homeless Hostel Public

[public public space] space

[hostel hostel space] space

[assistance space] assistance space

Definitions are blurred as people from different walks of life come together and. experience spaces from their own perspective.

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[below] MAIN FLOOR PLAN [opposite] UPPER FLOOR PLAN

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[opposite top] GLASS FORMS [opposite middle] SYMBIOTIC COMMONS [opposite bottom] FRAME STRUCTURE [below] RIVERSIDE PERSPECTIVE

A facade of aesthetic iconicism masks the utilitarian inner-workings of the built urban environment, obscuring the functionality of the architecture

Blurring the simulacrum with the world beneath it will develop an urban organism that maintains functionality alongside elegance.

A vernacular of pure fiction shuns falsification through decoration, displaying the utility of the city in its purest form with no attention to aesthetics.

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[below] BUILDING SECTION AT POOL/BAR

[below] BUILDING SECTION AT POOL/BAR [opposite] BUILDING SECTION AT LAUNDRY ROOM [opposite] BUILDING SECTION AT LAUNDRY ROOM

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[below left] KITCHENETTE MODEL [below right] BEDROOM MODEL [opposite] RIVERWALK PERSPECTIVE

Glass boxes wrapped in fluid structural envelope reduce architecture to its simplest forms creating a geometric wonderland of soft luminescence within and around Wacker Drive.

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[below] ROBIE HOUSE, CHICAGO IL.

ARCHITECTURAL ILLUSTRATIONS: A BASE FOR GRAPHIC DEVELOPMENT

[opposite] PROPOSED TEMPLE BUELL HALL ADDITION

Studio at the University of Illinois at Urbana-Champaign begins with a firm base in hand drafting and architectural illustrations. Creating perspectives by hand may seem outdated, but it proves important to testing concepts quickly.

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SELECTED ARTWORKS: A BASE FOR CONCEPTUAL DEVELOPMENT Receiving in the arts classical has allowed to Receiving training in training the classical hasarts allowed me tome perceive and perceive and record the world in ways beyond standard record the world in ways beyond standard architectural drawings as well architectural drawings as well as effectively create three dimensional space in a two dimensional plane.

[paul mccartney] GRAPHITE ON BOND

[PAUL McCARTNEY] PENCIL SKETCH

[eight days a week late] OIL ON CANVAS [EIGHT DAYS A WEEK LATE] OIL ON CANVAS

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HERO IN THREE ACTS [i: construct of man] INK/GRAPHITE ON MYLAR [ii: construct of mind] INK/GRAPHITE ON MYLAR [iii: saviour citizen erased] INK/GRAPHITE ON MYLAR

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EDUCATION

WORK EXPERIENCE

AWARDS/HONORS

ADDITIONAL WORK

William Marsh Rice University m.arch awarded december 2012

school of architecture

august 2010 - dec. 2012

University of Illinois at Urbana-Champaign b.s. architectural studies awarded may 2010

school of architecture

august 2006 - may 2010

Inflection Design Group, LLC site overview, construction progress documentation, interior detailing

intern architect

sept. 2012 - present

FitzGerald Associates Architect review construction documents, construction observation, design development, site planning, overseas research, coordination

intern architect

may 2007 - aug. 2011

Venice Biennale 2012 - School’s Project submitted three models for display in exhibition

summer 2012

Health Strip - Global Brigades Architecture first place entry

spring 2012

Shelf Life - Habitat for Humanity first place entry

fall 2011

Teaching Assistant - Arch 305 teaching non-architecture students the history of, and theory behind design, lectured, critiqued work, wrote homework and classwork, led students

spring 2012

I would like to acknowledge the following people for their contribution: wtf_arch - fellow members Jacqueline Twardowski and Dylan Fischer Troy Schaum - showing me that concept and construction work together Sarah Whiting - understanding how to listen and understand Julie Larsen - pushing me to the limits mentally and physically in studio John Stallmeyer - giving me that first nudge into the realm of design Michael Piazza - giving me the opportunity to look at the world in new ways

Technology proficient in AutoCAD, Ecotect, Rhino 3d modeling, VRay rendering for Rhino, Brazil rendering for Rhino, Grasshopper Parametric design, Adobe Suite, misc. video editing softwares, Sketchup 130 130

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resume / acknowledgements

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