PORTFOLIO

14231 West Sunset Blvd, Pacific Palisades, CA 90272 (310) 266 6452 emlmarck@gmail.com

Eli Morris Lichter-Marck

On the set of Beasts of the Southern Wild. Houma, Louisiana, 2009.

Contents
1.

Personal Statement 2. Design Projects

2.1 Midtown Waterfall Concert Hall 2.2Chinatown Library and the Heliotropic Column 2.3 Hominid Vision Altering Mask 2.4 Casa Adobe Grey Water System

3. Urban Planning 3.1 Manhattan Bikeway System 4. Landscape Design 4.1 6345 Tantalus Drive Zone Analysis 4.2 El Manzano Forestry Project 5. Analysis through Models and Drawing 5.1 Analytical Model of Marcel Breuers Caesars Cottage 5.2 Analysis of Serpentine Pavilion 5.3 Donald Shilingburg Studio 6. Original Research 6.1 Arizona Nest Predation Project 6.2 Natural History of the Rufous Wren 6.3 Aymar Embury II and the NYC Parks Department of Design
Still life at the Metropolitan Museum of Art. Ink drawing on paper, 2008.

Conceptual mapping of events as perceived by main character in Alain Robbe-Grillets Erasers according to symbolic logic and sense perceptions. Architecture Abstraction Studio, 2007.

Personal Statement
Architecture - Urban planning - Landscape Ecology - Science - Engineering - Art

The projects included in this portfolio represent the variety of interests that I have pursued as a designer. My process combines artistic exploration with scientific methodologies. My projects attempt to bridge technology with our relationship with the natural environment. My personal inspiration comes from thinkers like Henry Thoreau, Richard Feynman, Nichola Telsa, Buckminster Fuller, and Richard Neutra, who taught that nature is our best teacher. My work applies lessons from natural ecosystems as models for design. Designing from nature is not to imitate it. One must look at its parts, analyze them and identify how connections create resilience within a system as a whole. The process demands the natural historians tools of observation and documentation, the ecologists understanding of interconnections, and the creativity to synthesize and apply this knowledge to sustainable human systems. My scientific pursuits are informed by my love of mathematics and my appreciation of the beauty of physical laws. Taxonomy research, Systems biology, natural history and my technical training in the chemical sciences play an signifigant role in the way I design. My aim is not solely invention; instead, I seek discovery.
Collage light box (Left) to 3D model (Right) transformation. Lerner Hall Collage Project, Architecture Abstraction Studio 2006

Projects are presented with written explanations accompanied by hand-drawn and computer-rendered drawings, models, and photographs of built projects. Despite the fact that each project presented here can be considered as a discrete endeavor, together they show my dedication to exploration as a free thinking designer scientist.

2.1 Site Installation: Midtown Waterfall and Outdoor Concert Hall

Street, NY.
The Midtown Waterfall and Outdoor Concert Hall project began with site analysis of a number of Midtown Manhattans Privately owned Public Parks (POPs). I collected qualitative and quantitative data which I used to design a structure that responded to the character of the site. Since midtown Manhattans cavernous streets and tall buildings amplify endless background noise, I offered a place of peaceful respite for millions of busy people to spend their rare free time. The Midtown Waterfall Concert Hall at the West 49th Street site is covered in a waterfall that acts as acoustic insulation. Outside noises and inside noises are separated by a liquid barrier. The abundance of music shops and street performers in the area around the site led to the conceptual premise of this project: music beneath the waterfall. People sitting around the exterior of the Midtown Waterfall Concert Hall are bathed in the soothing sound of rushing water while those within are treated to a undisturbed music experience.

Architecture Design Studio I, Karen Fairbanks, Columbia University, NY 2007; Remodel of privately owned public park, west 49th

Constructed perspective drawings from plans of approach (View 1), interior (View 2), and view from neighboring building (View 3). Architecture Design Studio I, 2007

2.2 The Heliotropic Column Natural Lighting System

Architecture Design Studio II, Karen Fairbanks,Columbia University, NY 2008; Hand drawings, computer illustrations and models of natural lighting system built into structural column.
The Heliotropic Column is a passive lighting system that generates a comfortable and inspiring atmosphere deep underground. I modeled the structural column based on the heliotropic plants, which adjust their cellular architecture throughout the day to maximize sunlight capture. In my construction, sunlight is collected by automated solar tracking devices, focused by parabolic mirrors and transmitted to each sequential floor through a series of optical lens designed to disperse or focus light depending on need. At the top floor, the structure provides for an outdoor roof garden and seating area. Beneath the surface is the 2nd floor, where a warm soft light radiating from the columns midsection facilitates a meditative atmosphere. The high-vaulted 3rd floor is a dark room cut through by intense spotlight-like streams of bright, white sunlight. The underground light is playful, life giving, and silence inducing.

Photograph of library interior. Scale model build of soldered wire and plexy glass. Architecture Design Studio II, 2008.

2.3 Design and Prototype of Theresites Dilemma Vision Altering Device

3.6 million years ago our ancestors stood erect on their own two feet leaving the other great apes to their own devices. The enlargement of the cranium was the last evolutionary modification to take effect on the hominid line. Only in the last 200,000 years did modern craniums begin to appear in our ancestors, only a second of evolutionary time when compared to the five million years since the divergence from our closest ape relatives non-hominid ancestors. The Hominid Vision Altering Device project allows viewer to rethink eyes, brows, and zygomatic cheekbones, and how they have changed. The various moving parts of the model adjust to mimic the bone structure of our hominid lineage, effectively giving the user the opportunity to see the world as our ancestors did.

Architecure Representation Studio, Madeline Schwartzman, Columbia University, NY 2007; Perception modifying mask allowing wearer to experience the world through various morphological homonid perspectives.

Photographic study of fossil specimens provided by the Anthropology Department of the American Museum of Natural History (Below), New York, NY 2006.

2.4 Design and Installation of Grey Water Recycling System

system.
The Casa Adobe is a 100 year old structure built by the original land owners of the El Manzano property in central Chile. All heating and cooking is done by wood stoves and plumbing is a minimal. The current inhabitants approached me to see if I would design and build a system that allowed them to re-use kitchen, shower and toilet waste water (grey water) to irrigate a large garden plot adjacent to the house. Water was diverted from the septic system and run through filters, into a remediation holding tank, and into a larger pond for use in aquaculture and irrigation. The system includes an initial grease trap that acts as a back flow preventor, a low-velocity sand filter, and two bi0-filters planted with water cleaning plants. The project was done at minimal cost and most materials were recycled or re purposed from other projects on the property.

Ecoescuela El Manzano, El Manzano, Chile, 2009; Ecological renovation of the Casa Adobe, images and sketches of bio-filtration

Planning sketch for grey water filtration system. El Manzano, Biobio, Chile 2009

3.1 City Wide Bike Transit System

Architecture Design Studio I, Karen Fairbanks, Columbia University, NY 2007; Elevation study, mapping and hand drawings and computer renderings of Urban Planning proposal for a system of bike ways that span the island of Manhattan.
In an effort to unify bicycle transport around the city with the city park system, this project called for the construction of a raised bikeway connected by a series of Bike hubs. Bike hubs are set at places where city and parks meet. At each hub transit bikers exit the system and return to street level or take a recreational bike ride. On the Bike Way, Bikers do not have to deal with car traffic or poor road conditions and radical variations in grade. Without these impedements, biking becomes an efficent, enjoyable mode of transportation. I studied elevation changes across the island, and decided to focus on the region around 72nd street where elevation difference are greatest. Great concern was given to designing the on/off ramps and a cloverleaf design taken from highway interchange systems became a model for a way to direct complex movements of traffic flow while minimizing the need for steep entry/exit ramps.

Photoshop collage of City Wide Bikeway traversing 125th st. between the Metro North station and the Triborough bridge. Architecture Design Studio I, 2008

Ecoescuela El Manzano, Grifen Hope, Biobio, Chile 2009; Mapping of landscape ecology and infrastructure using GIS data and aerial photography of the Grounds of El Manzano for the development of a sustainable forestry development plan.

4.2 Mapping project of Grounds of El Manzano

Working in conjunction with the El Manzano design team, led by Grifen Hope, I collected aerial photography, GIS data, and site surveys to develop a detailed map of the property delineating ecologically distinct zones. I used this map to create a formal write-up for a 100-year sustainable forestry plan. The El Manzano property is a 70 hectare parcel of land in the central valley of the Biobio region of Chile. It sits in a flood plane of Rio Biobio, which flows from the slopes of Volcan Antuco in the Andes. The Sustainable Forestry Management Plan I authored takes into account the unique geological character of this volcanic flood plane as well as the lands long history of use as a mono culture timber farm. I designed methods for conversion to a versatile and ecologically healthy and economically profitable agro-forestry property. The resilient forestry platform aims to create better soil quality and ground-water absorption for additional food production on the grounds as well as secure middle and long-term profits, without taking away from short term gains.

GIS map showing tree hieghts. El Manzano Mapping project, Biobio, Chile 2009.

4.1 Ecological Zone Analysis for Landscape Installation at 6345 Tantalus Dr.
This proposal was made using landscape ecology analysis and design principles derived from Permaculture design science. The project focuses on intensive planting and hardscape design. Longer term designs consider fire safety and promote the formation of a healthy wildlife refuge as a way to integrate living areas with the surrounding native landscape. 6345 Tantalus Drive sits on approximately 2.25 acres of land (98,000 sq ft). The upper portion of the property is steep chaparral hillside characteristic of the coastal Santa Monica Mountains. A seasonal creek drainage flanks the south facing edge of the property. The house sits on a flat pad at the base of the hillside. By taking advantage of rain water harvesting and hardscape modifications, I designed artificial perennial riparian creeks and Oak savannas characteristic of the surrounding Santa Monica mountains. The proposed shade bearing and soil enriching canopy creates an environment that is peaceful and relaxing for the clients. It is also a natural way to cool the ambient temperature of the home and give refuge to surrounding birds and wildlife.

R.A.D. Garden Designs, Malibu, California, 2012; Site analysis and schematic proposal for landscape design of Santa Monica Mountains Residence.

Aerial analysis of landscaping zones for 6345 Tantalus Drive. R.A.D. Garden Designs, 2012.

5.1 Analysis of Marcel Breuers Caesar Cottage

Architecture Resprentation Studio, Madeline Schwartzman, Columbia University, NY 2006; Axonometric drawing and conceptual model with movable parts.
This conceptual model focuses on a design decision by Bauhaus architect, Marcel Breuer, to frame the main view of this lake front home around an existing tree. Caesar Cottage, Lakeville, CT is perhaps the simplist and most elegant of the many open plan designs that Breuer built during this period in his career. In the model, natural (dark wood structure) and geometric (chipboard boxes and frames) elements alternate with each other. The frame is a key element. It connects key details and unifies the space through moveable parts. Moments of unkept natural beauty are punctuated by framing them within solid geometric forms.

Conceptual sketch of Caesars cottage Lakeville, CT. Architeture Representation Studio 2007

Existing Structure:

Architects Assistant, Donald Shillingburg Studio, Brooklyn, NY 2008; Study of Stairwell Schemes for Barn remodel and model of Lane residence.
I put together a collection of technical drawings to explore how different style stairwells would effect the layout of the interior of an old hay barn. All drawing were made in Auto CAD from measured plans and prepared for client consultation. The model I made of the Lane Residence served as a tool for Mr. Shillingburg to better understand the effects of his design choices on the overall feeling of the exterior of the house. Of particular interest to him were the large front windows.

5.2 Technical Drawings and 1/8 Scale Model of Residences on Shelter Island, NY

Scheme: 1

WEST ELEVATION

FRONT ELEVATION

SECTION THROUGH HORSE BARN

SECTION AT ENTRYWAY

SECTION THROUGH CENTER STRUCTURE

SECTION THROUGH CENTER LINE

SECTION THROUGH CENTER STRUCTURE

SECTION THROUGH CENTER LINE

SECTION THROUGH TOWER

FRONT ELEVATION

Stairway schemes for remodel of barn guesthouse. Additions are in red. Donald Shillingburg Studio, Shelter Island, NY, 2008.

Special Topics in Architecture: Digital Design, Donald Shillingburg, Columbia University, NY 2008; Narrative analysis of 18 Turns Serpentine Pavilion 2001 by Daniel Libeskind and Cecil Balmond using 3D computer modeling.
With the aid of a 3D model, my analysis reduced of Daniel Libeskinds 2001 Serpentine Pavilion the seemingly complex design to its simple underpinningsa spiral. By building the model, I explored the complexity associated with the mystery of spirals. The driving concept of this Mr. Libeskinds project has no real beginning, middle or end, only an infinite divergence of regress and egress shrouded in the mystery of the spiral.

5.3The Spiral: Modeling in Rhino 3D

A simpified 3D rendering of the spiraling nature of Daniel Libeskinds 2001 Serpentine Pavillion. Special Topics in Architecture: Digital Design 2008.

Arizona Nest Predation project, Harold Greeney PhD, Arizona 2010; Computer drawings Submitted to Nature magazine showing the delineation of Enemy Free Space.
These figures were made for the paper, Trait-mediated trophic cascade creates enemy-free space for nesting hummingbirds to illustrate the dynamic relationship between nesting Goshawk and Coppers Hawks (Accipiter gentilis and Accipiter cooperii) and nesting Black-Chinned Hummingbirds (Archilochus alexandri). Data from fieldwork demonstrated an empirical example of an important theoretical phenomenon in predatory relationships. The clustering of nesting hummingbirds and nesting hawks is attributed to the modified forging behavior of Mexican Scrub Jays (Amphelocoma ultramarina). Jays, the primary mid level predator of hummingbirds, forged less frequently or not at all as a function of radial distance to active hawk nests. All illustrations are built from GPS marked nests and topographical data. The landscapes were modeled in Google Sketchup and Rhino 3D and finished in Adobe Illustrator.
Hawk

6.1 Illustrations of Trait Mediated Trophic Cascade

175 m 115 m

Jay

80 m

40 m

Hummingbird
Cone of enemy free space generated by presence of breeding hawk nests (yellow dot). Green dots are successful humming bird nest; red dots are failed hummingbird nest. Harold Greeney, Arazona Nest Predation Project, Arizona, 2010.

6.2 Illustrations for Scientific Paper on Natural History of the Rufous Wren
Day 0 Day 3 Day 6 Day 9 Day 12 Day 15 In the 5 months working as a field researcher for the NHEMA (Natural History of Ecuadors Mainland Avifauna) with the Jocotoco Foundation in southern Ecuador, I documented the breeding behavior of dozens of rare endemic bird species. Much of the research I pursued was new to science. These figures were made to accompany the first published scientific paper on the nest architecture and nestling development of the Rufous Wren (Cinnycerthia unirufa). I discovered a nest containing two naked nestlings on 23 January 2010. The nest of C. unirufa was a large enclosed ball with a downward facing tubular entrance tunnel and a 29cm long tail hanging off the body of the nest. The nest ball was 17cm tall, 21cm wide, and 28 cm in depth. The opening to the entrance tube was 5 by 5 cm and the tube was 9 cm long. The nest was located in an Asteraceae sapling in a planted garden with no canopy. The nest was placed in a three-way fork 1 m away from the main trunk of the sapling, 2.25 m off the ground over a drainage ditch. Nearby plants in the garden included members of the Piperaceae, Asteracea, and Melastomatacea. The entrance of the nest was oriented toward the west. On 6 February the entrance tube ripped at the top and wrens began using this new opening as a lateral entrance to the nest. The wrens continued to maintain the nest during the provisioning stage by bringing rootlets and leaves, but the tear at the top of the entrance tube was never repaired.

Natural History of Ecuadorian Mainland Avifauna (NHEMA), Isaac Lichter-Marck, Harold Greeney PhD, Tapichilaca, Ecuador 2010; Architectural schematic nest drawing, nestling development layout and accompanying images.

Documentation of nestling development. Nestlings were removed from nest, photographed, their Tarsus measured, and weighed every three days in order to track development. Natural History of the Rufous Wren 2009.

6.3 Aymar Embury II and the New York City Parks, Department of Design

Independent Project, Photography Dept, Columbia University, NY 2008; Archival research and large format photographic investigation of the NYC bath houses design by Aymar Embury II in assosciation with WPA.
In 2007, I delivered a paper at the Queens Museum in New York City on Aymar Embury II, head architect of the Robert Moses New York City Parks Department. Embury was extremely prolific during this era of his career and he left a lasting influence on many of New York Citys most prized public spaces. These pools, and their bathhouses in particular, represent some of Emburys best work for the Park Department. More than any of the other structures erected by the Parks Department under Moses, these buildings seem to speak for themselves. They are massive and imposing. They usually span the entire reach of the park. Their high central entry ways and long, low flanking wings are of a character quite different from normal park structures and show the strong influence of the Beaux Arts training that Embury received as a young draftsman. The prints reproduced here were originally made with an 8x10 large format Deardorff camera (1954) with a 250mm Fujinon Lens. The negatives were developed in Extol Kodak developer and contact printed on Ilford Multi-contrast paper. They are, as my esteemed instructors have pointed out, wrought with technical failures. Nevertheless, in the words of John Szarkowski, Neither architectural nor photographic preconception ideashave been allowed precedence over perception: the experience of the eye and mind when faced by the subject fact. Whether I was successful or not, the fact remains that these artifacts of my experience now exist. It was only through the process of making these photographs that I came to what little understanding I now have of these buildings in particular and the art of architecture in general.

Sketch of Sunset Park Pool House, Brooklyn, NY., Aymar Embury II and NYC Parks Department Architecture, 2008

Grandfathers Parlor. Milwaukee, Wisconsin. Independent Photography Project, 8x10 large format contact print. 2007

Thank You.