graduate portfolio
DESCRIPTION
University of Illinois at Chicago Graduate Work 2011-2012TRANSCRIPT
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Katherine B. Simson
WORK
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Katherine B. [email protected]
M.Arch CandidateUniversity of Illinois Chicago
B.A. ArchUniversity of Kentucky[May 2011]
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CONTENTS
ARCHITECTURAL DESIGN
Urban Landforms
Problems with the Extrusion
Rossiville
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5Architectural Design III
Urban LandformsAlexander Eisenschmidt, Stewart HIcks, and Marina Nicollier Studio
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Urban LandformsAlexander Eisenschmidt, Stewart HIcks, and Marina Nicollier Studio
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Urban Landforms
Urban LandformsAlexander Eisenschmidt, Stewart HIcks, and Marina Nicollier Studio
Urban Landforms seeks to develop an architecture that is deeply invested in the city. It rethinks urbanism on the basis of atmosphere not limited to the exterior, it seeks new relationships between program, form
and urban location, and it productively rethinks monu-mentality. Urban Landforms understands the city as a site of architectural inven-tion and a place fi lled with spatial, organizational, and programmatic opportuni-
ties. This project attempts to capitalize on the dynam-ics of the city and incorpo-rate the citys intelligences. Urban Landforms uses the program of the convention center to explore the ex-changes and transactions
between architecture and and the city, and to invent new connections. The site, located in Chicago, the prototypical American city, has produced many urban interiors and small urban-isms. Urban Landforms,
the downtown convention center, will become part of Chicagos system of large architectures.
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The original site is split in half by Lake Shore Drive.
The area of the site is lifted up, over Lake Shore Drive, in order to maximize the horizontal area. This plane acts as a horizontal datum within the structure that houses the convention program.
The structure is pushed down to allow for access into the building, as well as creates subterranean programmable space.
The structure is pulled up to allow for views of the city and the lake, as well as to create an occupiable terrain for public use. This creates a constructed mountain within the flat terrain of the urban fabric.
The form of the building is then offset to the interior to create a large volume for the convention program to occupy.
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Horizontal Plane Addition of Program Resulting Form Land Type Programmatic Shape
Layered Plain
Rolling Hills
Mountain Range
Mt. Everest
Valleys
Urban Landforms
Formal Catalog
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The initial design proposal represents the downtown convention center as an urban landform. A new topography is introduced to Chicago: the mountain. This allows for the roof plane to be occupiable by the public, thus offering a new type of recreation to the city. The monument, or urban icon, becomes a synthetic geograhic feature in the urban fabric.
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Programmatic Categories Specific Categories Seasonal Program Distribution Program Distribution
Con
vent
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Prog
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Hot
el P
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amO
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Pro
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Reta
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ConventionPrograms
HotelPrograms
Office Programs
Retail Programs
SupportPrograms
Urban Landforms
Program Matrix
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Programmatic Categories Specific Categories Seasonal Program Distribution Program Distribution
Con
vent
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Prog
ram
Hot
el P
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amO
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Pro
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Reta
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mC
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ConventionPrograms
HotelPrograms
Office Programs
Retail Programs
SupportPrograms
(above, left) The roof plane is visualized as a natural terrain, covered with Illinois native prairie vegetation.(above, right) The ground plane is enclosed by the structure above, thus becoming a winter garden for the public to utilize.
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Plan_08
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Plan_05
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Plan_01 Long Section_08
Short Section_01 Short Section_02
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Plan_01 Long Section_08
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Plan_08
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Plan_01 Long Section_08
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Plan_02
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Interior Scenarios: the Winter Garden
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Ground Floor Plan
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Typical Floor Plan through Mountain
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Urban Landforms
Interior Scenarios: Exhibition Stair
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The section through the mountain protrusion, conven-tion space, and glacier depicts the large void space that lies within. The void houses the convention program, but also serves the other programmat-ic categories. In the mountain, the void serves as an atrium that provides light and views for the hotel and offi ce space above. In the glacier, the void serves as an auditorium space, which can be accessed by the convention users. Due to the largely opaque char-acter of the roof and ground plane, lighting of the interior is a crucial issue to address. The void allows for natural light to be diffused thoughout the interior from the vertical surfaces; the space within is open, rather than cavernous.
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Urban Landforms
Interior Scenarios: Convention
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Problems with the Extrusion
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Problems with the ExtrusionAndrew Zago Studio
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Problems with the Extrusion
The Futura font was used to drive this project, which is based on the process of the extrusion. Forms were generated from the extrusion of letters. Initially the letters were confined to extrusion in the XYZ planes,
which restricted the resul-tant forms to orthagonal characteristics. Gradually, the letters were extruded in more obscure angles, thus blurring the letterforms and creating more abstract forms. The techniques
of cropping and filleting were employed to further progress the forms and erode the intial typography that was used. New formal possibilities result from the process of extrusion, cropping, and filleting; the
process determines the formal result. Contextual pressures and subjective desires have less influence on the form, thus pushing it past the point of normalcy.
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Orthogonal Extrusions
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Problems with the Extrusion
Non-Orthogonal Extrusions
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Formal Process
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Problems with the Extrusion
01 02 03
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RossivilleKelly Bair and Paul Preissner Studio
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Drawing Problem No.1The copy. A reproduction of Aldo Rossis set of 12 drawings from the Summer of 1980. Adherence to Rossis precise use (or misuse) of perspective, repetitive elements, and shad-ing types. Through the act of copying the work of Rossi, a true understanding of his drawing technique is achieved.
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A A A A A A A A A A A A A
Casa dabitazione a Milano/Gallaratese, 1970.KS.
etate 80/1
Il monumento disegrate, 1965.KS.
etate 80/2
Le cabine dellElba, 1975.KS.
etate 80/5
Il cubo di cuneo, 1962.KS.
etate 80/3
Pile foundationfor lightnesswith theatre, 1980.
KS.
etate 80/4
I
HG
F
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Le case sul Ticino, 1975. KS. etate 80/7
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etate 80/5La casa dello studente di Chieti, 1976.KS.etate 80/6
Le case di Bergamo, 1979.KS.
etate 80/9
La scuola di Broni, 1978.KS.
etate 80/10
Il portico di Modena, 1977.KS.
etate 80/8
Teatro Veneziano, 1979. KS.
etate 80/11
Porta a Venezia, 1980.KS.
etate 80/1255Architectural Design I
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Drawing Problem No.2The simulacra. Aldo Rossis precise use of perspective, repetition, and irregularity allows one to infer what exists on the opposite side of each drawing from the Summer of 1980. A worms eye perspec-tive view reveals the reverse side of each image.
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Casa dabitazione a Milano/Gallaratese, 1970.KS.
etate 80/1
Casa dabitazione a Milano/Gallaratese, 1970.KS.
etate 80/1
Il monumento disegrate, 1965.KS.
etate 80/2
Il monumento disegrate, 1965.KS.
etate 80/2
Le cabine dellElba, 1975.KS.
etate 80/5
Le cabine dellElba, 1975.KS.
etate 80/5
Il cubo di cuneo, 1962.KS.
etate 80/3
Il cubo di cuneo, 1962.KS.
etate 80/3
Pile foundationfor lightnesswith theatre, 1980.
KS.
etate 80/4
I
H
G
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A
Pile foundationfor lightnesswith theatre, 1980.
KS.
etate 80/4Le case sul Ticino, 1975. KS. etate 80/7
Le case sul Ticino, 1975. KS. etate 80/7
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La casa dello studente di Chieti, 1976.KS.etate 80/6
La casa dello studente di Chieti, 1976.KS.etate 80/6
Le case di Bergamo, 1979.KS.
etate 80/9La scuola di Broni, 1978.KS. etate 80/10
La scuola di Broni, 1978.KS.
etate 80/10
Il portico di Modena, 1977.KS.
etate 80/8
Teatro Veneziano, 1979. KS.
etate 80/11
Teatro Veneziano, 1979. KS.
etate 80/11
Porta a Venezia, 1980.KS.
etate 80/12
Porta a Venezia, 1980.KS.
etate 80/12
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Drawing Problem No.3The interpretation. Although Aldo Rossis work was pre digital and seemingly lacks the complexity of curved surfaces, he had a strong interest in that process of design. Drawing no. 01/12 is used as a shell in which the interior is manipulated us-ing digital techniques. The re-sult is a rectilinear exterior with a curvilinear interior; both com-municate Rossis emphasis on repetition and irregularity.
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Casa dabitazione a Milano/Gallaratese, 1970.KS.
etate 80/1
Casa dabitazione a Milano/Gallaratese, 1970.KS.
etate 80/1
A A A A A A A A A A A A A
Casa dabitazione a Milano/Gallaratese, 1970.KS.
etate 80/1
SCALE 02_MEDIUM
SCALE 03_LARGE
SCALE 01_SMALL 01_SINGLE INTERSECTION
02_MULTIPLE INTERSECTIONS
03_MERGED INTERSECTION
01_SINGLE INTERSECTION01_SINGLE INTERSECTION
02_MULTIPLE INTERSECTIONS02_MULTIPLE INTERSECTIONS02_MULTIPLE INTERSECTIONS
03_MERGED INTERSECTION03_MERGED INTERSECTION03_MERGED INTERSECTION03_MERGED INTERSECTION03_MERGED INTERSECTION03_MERGED INTERSECTION
LAYER 01_PLAN
LAYER 02_PLAN
LAYER 03_PLAN
LAYER 04_PLAN
LAYER 05_PLAN
LAYER 06_PLAN
LAYER 07_PLAN
SECTION 01
SECTION 02
SECTION 03
SECTION 04
01020304
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PROCESS DIAGRAM_AXON PROCESS DIAGRAM_SECTION
Casa dabitazione a Milano/Gallaratese, 1970.KS.
etate 80/1
SCALE 02_MEDIUM
SCALE 03_LARGE
SCALE 01_SMALL
SCALE 02_MEDIUM
SCALE 03_LARGE
SCALE 01_SMALL
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EXPLODED LAYERS
LAYER 01_PLAN
LAYER 02_PLAN
LAYER 03_PLAN
LAYER 04_PLAN
LAYER 05_PLAN
LAYER 06_PLAN
LAYER 07_PLAN
SECTION 01
SECTION 02
SECTION 03
SECTION 04
SECTION 05
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SECTION 08
05060708
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Drawing Problem No.4The proposal. In a town com-posed of Aldo Rossis arche-typical forms, an elementary school must be designed. Based upon Rossis design processes and the surface constructions from drawing problem no. 03, the school ad-dresses interior and exterior conditions at multiple scales. Program is inserted in and around perforations that form when two surfaces intersect.
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CONCEPT DIAGRAM
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Formal Strategy
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GROUND/MASSING
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1 Gym/Multi-Purpose2 Core Circulation Stair3 Outdoor Recreation Space4 Main Entrance Stair5 Main Offices6 Gallery7 Perforation Above Playground8 Large Classrooms9 Small Classrooms10 Bathroom11 Rooftop Outdoor Recreation Space
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1 Gym/Multi-Purpose2 Core Circulation Stair3 Outdoor Recreation Space4 Main Entrance Stair5 Main Offices6 Gallery7 Perforation Above Playground8 Large Classrooms9 Small Classrooms10 Bathroom11 Rooftop Outdoor Recreation Space
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75Architectural Design I
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