Carissa J. Lim: Architecture Portfolio

Carissa J. Lim

Works

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work

s01urban inscriptions

biomorphism

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enologicalmetabolism

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framing a view

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watercolor

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base shapes

aggregated shapes

inscripted building formation

U R B A N INSCRIPTIONS

Objective: To design an all encompassing studio and workshop space for a Philadelphia lighting artisan. The space should respond to qualities of natural and artificial lighting.

This project focuses on the abstract qualities of contrast and illegibility by focusing on the inflection point, in which spaces and environments change. The form originates from a simple cube. Points were dragged to respond to the natural path of the light to create ideal conditions for both the showroom and the workshop. The first floor showroom twists to the north, to avoid the sunlight as the sun rises. The third floor workshop twists to the east, to allow maximum sunligh to seep into the space. Furthermore, window size correlates with the amount of natural light desired in each space.

Right:

The materials employed in the model images include 3D printing material and black museum board. If built to full scale, the building would be constructed of white fiber reinforced polymer (FRP) panels, glass, and polished black conrete.

b i o m o r p h i s mthe praying mantis

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/ bi•o•mim•ic•ry /noun

1. the design and production of mate-rials, structures, and systems that are modeled on biological entities and pro-cesses.(Source: Google)

I became fascinated by the biological mechanism behind the way that the Praying Mantis catches it prey, in particular, the way the arm of the man-tis moves. I studied the the curvature of the dynamic motion of the mantis’ arm as it moves to an extended reach, back to its praying position. The change in speed as the arm moves through the whole motion makes for an interesting study, which was imple-mented into the design of a dynamic staircase.

Objective: To create an urban intervention to facilitate more traffic on the Walnut Street bridge. The mantis legs are hinged at the shoulder and rotated to create a spiral staircase. The bending of the last hinge forms the rail, reintroducing the dynamic movement of the praying mantis.

Tower 6Tower 8

Tower 9

Tower 7

Tower 5

Tower 4

Tower 10

Tower 3

Tower 1

Tower 2

Exisiting Winery 1

Exisiting Winery 2

e n o l o g i c a l m e t a b o l i s mArchitectural Association (AA) - Summer 2014

Objective: To analyze and design a functioning bo-dega/winery inspired by the Spanish wine making process. Inspired by gravity’s significant role in the wine making process, this design focuses on the linear movement, as the harvested grapes move through the fermentation process to become wine.

Pressing

Decanting

Workers Platform

DecantingSeperating solid & liquid.

FermenterAlcoholic fermentation.

PressingPneumatic press.

Fermentor

Harvesting

Red Wine TowerWhite Wine Tower

In the white mine making process, the grapes are first pressed, using a pneumatic press. All of the material is then transported to a decanter, where the solids and liquids are seperated. The liquid is dropped into a fermenter, where the alcoholic fermentation pro-cess takes place. For red wine, the same processes occur, but in different order.

GRAPES

HARVESTinvisible forces and gravity

surface tension

vertical integration

COUPAGE

ALCOHOLIC FERMENTATION

parametric forms to create wine path.AGEING

framing a view

In this project, I explored the the contrasting urban land-scape and natural environment of Philadelphia, in attempt to join them together with a built structure. Using the verti-cal elements found in the buildings of the city and the trees of the Scuykill River Park, I traced them back to the center of seperation. Simplifying the shapes found in the study, a square became the central theme of this project. By rotating the square, I was able to create an organic, twisted shape out of simple, rid elements, symbolizing the natural environment of Philadelphia. By looking to the left and right of the struc-ture, you are able to catch glimpses of the seperated envi-ronment as it leads to the view of the sides joining together.

Assembly: The materials employed to make the model include 1/8” plywood, clear fishing wire, and hook rings. The laser cut wood frames were strung along the wire, twisted, and secured into the site model.

Everyone has their own methods of learning about a new land-scape. When I came to the University of Pennsylvania, I acclimat-ed by watercoloring. The watercolors presented are a testament to my drive towards exploring the architectural landscapes that surround me.