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LILLIAN SKIDMORE
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ARCHITECTURE PORTFOLIO
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“Tower of Terror” Oil Paint on Canvas
CONTENTS OWATTA WELLNESS DWELLING
4 - 13
Core Studio 4
OMA TAIPEI PERFORMING ARTS CENTER
14 - 17
Structural Systems
CASCADILLA BEE HOUSE
18 - 25
Core Studio 3
ETRUSCAN PIG ROAST COOKHOUSE
26 - 33
Core Studio 2
ARTWORKS Independent Works
34 - 41
OW A T T A W E L L N E S S D W E L L I N G Site | 4-H Camp Owata, Cortland County, New York Software | Rhino, Physical Modeling, Photoshop, Vray, Lazercut, CNC Course | Arch 2102, Core Studio 4 Date | Spring 2026
“Camp was the one place growing up where I could truly be myself,” said a former camper of 4-H Camp Owahta. Camp is a special place for many young kids, as they are able to disconnect from everyday life and reconnect with themselves. This all-season wellness dwelling, in partnership with the Cortland County Mental Health Department, provides a space for all ages to build community, connect with nature, and self-reflect. The first formal gesture of this building is the use of the site contours as a grid system. A thick CMU retaining wall follows a contour line that sits behind the tree line. Along this retaining wall are the service elements of the building, including bathrooms and a kitchenette.
The second formal gesture is a straw bale modular system. To weatherize the building for winter, straw bale walls insulate the bedrooms and baths. Not only do the straw bales stack to form wall panels, but they also are modified and sliced to form couches, beds, and chairs. Guests enter through an open deck into a spacious lobby which can be programmed for camp activities, informal gathering, and yoga. Off the lobby, guests can enjoy an outdoor fire pit with embedded seating. Each module is designed with windows lining the front and back and an associated deck to connect with the natural landscape. A drain runs along the front perimeter to collect water and mirror the sky above another designed element for embracing nature.
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Physical Scale Model 1/4”= 1’-0
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Exploded Axonometric 1/64”= 1’-0
Physical Scale Model 1/4”= 1’-0
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Straw bales serve as insulated wall panels for the bedrooms and baths. Multiple 36” x 18” x 14” straw bales are stacked vertically and encased by clt panels. Straw bales that are removed from the wall are reinforced with clt and produce window and door openings. Walls then form rooms. 08
Physical Straw Bale Kit of Parts 1/4”= 1’-0
One straw bale can be a bench [C1]. Sliced straw bales tied into one bale can form a chair [C3]. Multiple straw bales stacked horizontally can be used as a bed [B1]. By incorporating the clt boards to B1, a bunk bed with storage can be made [B2] The clt panels alone can produce shelving [S1-S3].
STRAW BALE KIT OF PARTS WASHER
DOWEL
NUT
36 ”
14 4”
36 ”
18 ”
72 ”
FRAME/8
6”
18 ”
18 ”
36 ”
5” 1.
5” 1.
18 ”
48 ”
72 ”
FRAME/4
CLT/8
” 18
” 18
9”
24 ”
CLT/4
5” 1.
24 ”
CLT SCREW
7”
9”
24 ”
FRAME/2
5” 1.
S/8
7”
” 18
” 12
” 12
” 24
48 ”
FRAME
CLT/2
” 18
” 18
S/4
CLT 14”
9”
S/2 HEIGHT 8”
S/2 DEPTH
14”
” 18
L/8 16”
14”
” 18
L/4 8”
” 12
” 24
” 24
48 ”
16”
L/2 HEIGHT
S/2 LENGTH
8”
18 ”
S
L/2 DEPTH
36 ”
16”
36 ”
L/2 LENGTH
L
STRAW BALE MODULE ASSEMBLY:
x7
x2
clt
-6
clt
MODULE INDEX:
W1
W2
B2
B1
W4
W3
S1
W5
S2
S3
M1 = WALL 01 x 2 + WALL 02 x 1 + WALL 03 x 7 + WALL 04 x 2 + WALL 05 x 2 + SHELF 03 x 2 + BED 02 x 3
M2
LANDSCAPE AND WILDERNESS TACTICS
M1
M2
= WALL 01 x 2 + WALL 02 x 1 + WALL 03 x 7 + WALL 04 x 2 + WALL 05 x 2 + SHELF 03 x 2 + BED 02 x 3
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Perspective Sections 1/16”= 1’-0
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OMA TAIPEI PERFORMING ARTS CENTER Site | No. 1, Jiantan Road, Shilin District, Taipei City, Taiwan Software | Rhino, Physical Modeling, Bandsaw, Lazercut Course | Arch 2613, Structural Systems Date | Fall 2025 Partners | Annie Wang and Kelly Chen The Taipei Performing Arts Center features three theaters that cantilever from a central cubic volume. Using construction process images, online documentation, and close analysis of plans and sections, our team examined the building’s structural strategies, digitally modeled key members and connection details, and constructed a 1/8″ = 1′ physical prototype of The Taipei Performing Arts Center. Through this modeling process, we developed a deeper understanding of truss systems, braced frames, and the use of pinned and rigid connections required to support the building’s unconventional form.
The Globe Playhouse is the protagonist of this project. Cantilevering off of the central cubic volume, the ball-like theater is supported by an external inverted-V column. 11 curved trusses rotate around the globe’s center in 12.5-degree increments. The trusses are tied together by horizontal steel members as well as diagonal braces to prevent deformation. The rigid steel structure is represented through a hierarchy of wood dowels that closely match the actual member sizes, with the most resolution given to the theaters. Rigid welded and bolted connections are represented through pins.
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+
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Hand Sketch Structure Analysis (top right)
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=
Physical Scale Model 1/8”= 1’-0
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Globe Playhouse load distribution
Multiform and Grand Theater load distribution
Inner cube load distribution 16
Hand Sketch Structure Analysis
Physical Modeling Process Images
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CASCIDILLIA BEE HOUSE Site | 112 Cascadilla Ave, Ithaca, New York Software | Rhino, Physical Modeling, Photoshop, Vray, Lazercut, CNC Course | Arch 2101, Core Studio 3 Date | Fall 2026
How might the act of dwelling and urban public life overlap, intertwine and enrich one another? The Cascadilla Bee House explores the intersection between domestic rituals and the communal act of honey cultivation. This home choreographs the shared activities of bee observation, gardening, honey making and honey tasting, while separating the private rituals of sleeping, washing, and eating. The formal language of the building originates from the idea that the roof, or more precisely the voids carved within the roof, organizes and constructs the program below. Courtyards determine the placement of entrances, passageways, occupiable rooms, and the circulation paths of the bees.
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Physical Scale Model 1/8”= 1’-0
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The design of this building follows a series of formal operations in plan view. The first operation uses bee flight paths sourced from a research paper to inform the shape of the building’s courtyards. The second operation superimposes a circulation grid onto the courtyards. The remaining space that is neither courtyard nor walking path becomes the occupiable rooms. The resulting form is tailored to the site property lines. The final operation takes into account the bees’ paths to the courtyards. Where bee paths and human paths intersect, the two negotiate with one another. One moves above while the other moves below.
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BEE FLIGHT PATHS
CORRESPONDING COUTYARDS
20
COMPOSITE
CIRCULATION GRID
SUPERIMPOSED
COURTYARDS
BEE PATH TO COURTYARD
BEE PATH
OCCUPIABLE ROOMS
HUMAN PATH TO ROOMS
HUMAN PATH
INTERSECTION OF PATHS
JOGGING OF PATHS
PURPLE: BEES BELOW YELLOW: BEES ABOVE
Layout Design Process
Physical Scale Model 1/4”= 1’-0
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Persepective Section 1/8”= 1’-0
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Exploded Axonometric 1/64”= 1’-0
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Exterior and Interior Renders
Exterior Detail Image
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E T R U S CA N P I G R O A S T C O O K H OU S E Site | Joshua Tree, California, 34°12’38”N 116°29’47”W Software | Rhino, Physical Modeling, Photoshop, Vray, Lazercut, CNC Course | Arch 1102, Core Studio 2 Date | Spring 2025
The cookhouse revives ancient Etruscan ritual, drawing inspiration from burial feasts once held deep within the underground tombs of the Necropolis. The cookhouse nurtures the pig from birth to harvest and invites guests into the final stages of cooking and communal eating. The pig, central to the Etruscan feast, guides the spatial choreography. Pathways extend from the pig pens into the Joshua Tree landscape, where pigs roam freely, echoing the untamed wilderness. Lured gently with offerings, they are led to a designated sacrificial zone, where the harvest is carried out with care and reverence. After cleansing, the ceremonial movement begins as guests observe the pig being brought into the cookhouse and placed at the fire pit.
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As the pig roasts, guests gather in ritual, mirroring the ancient customs of music, wine, and shared nourishment. The formal logics of the project are inspired by the study of a traditional and modern precedent. Both the Necropolis of Cerveteri and the Casa Observatorio have four descending entrances into the occupiable spaces. The cookhouse has four descending entrances into a central fire pit. Another shared quality is embeddedness. The Necropolis is built from local tufa rock carved from the terrain. The Casa Observatorio has a central embedded pool carving a void out of the square-like massing. The cookhouse uses rammed earth, embedded seating, and a sunken fire pit.
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Physical Scale Model 1/4”= 1’-0
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Tumulo II in the Necropolis of Cerveteri features four diagonal entries into burial chambers.
The Casa Observatorio by Tatiana Bilbao features four diagonal entries into private spaces.
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Exploded Axonometric 1/64”= 1’-0
Massing Study Model 1/16”= 1’-0
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Plan 1/16”= 1’-0
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Model with Roof Removed 1/4”= 1’-0
Section 1/8”= 1’-0
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Light Exterior Model Images
Dark Interior Model Images
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A R T W O RK S Date | 2021 - 2026 Course | Indepenent Works
“All it takes is just a little change of perspective and you begin to see a whole new world,” says Bob Ross as I follow along with yet another painting tutorial. I am challenged to see the world differently. The way water reflects the sky, how light filters through leaves, the unique shapes of twigs and branches, the thousands of colors in one person’s face, and the textures that line building facades. The act of painting not only enables me to appreciate the world around me more deeply but also gives me the skill set to produce and create new realities. Whether I’m painting a landscape, building, or portrait, I become lost in a world of color, brushstrokes, and blending, making something beautiful and new.
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The act of sewing builds on skills of observation and measurement tailored to the human body. Some pieces frame the body, while others drape and conceal it. This collection of artworks includes oil paintings, mixed-media fiber arts, and sewing. The painting subjects include landscapes, buildings, furniture, portraits, cityscapes, and a hybrid oil painting on T-shirt. The sewing works include a sewn flower-inspired cyanotypeprinted top, as well as sewn dresses that were crafted and modeled for a schoolwide fashion show. Both painting and sewing inform my passion for architecture and promote my ability to create novel forms and observe critically.
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“Italian Walk” Oil Paint on Canvas
“Italian Walk” captures Southern European vernacular architecture through stucco and plaster façades, wood shutters, and small wrought-iron balconies. Warm, muted earth tones create a welcoming atmosphere and draw the viewer towards the end of the walkway.
“Chairs” experiments with similar warm tones and playful light. Midcentury modern sling chairs sit within the composition, defined by stretched material and lightweight frames. A side spotlight casts shadows across the scene defning chair contours and fabric. “Chairs” Oil Paint on Canvas
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“Outside the Studio” Oil Paint on Paper
“Ephemeral” Oil Paint on Canvas “Outside the Studio” illustrates a scene from my study abroad experience, capturing a moment while waiting for the Oxford architecture studio to unlock. I started to sketch my friend hanging her legs over a pond. After I developed an outline, I layered in darks and lights with my small oil kit. When I returned to my dorm room, I finalized the composition and integrated diverse color mixtures. “Ephemeral” was selected for publication in the Celebrating! Art national anthology. Through the use of green, blues, black, white, and grays, the portrait develops a feeling of hopelessness or being stuck. With a dramatic vantage point looking down on the girl, her self-belief is communicated. “Lookout Mountain” depicts the Denver city lights from atop lookout mountain. I wanted to capture the feeling I experienced when looking out on the city night sky, the feeling of being small in a place so vast. “Lookout Moutain” Oil Paint on Canvas
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“Venice” Oil Paint, Gesso, Cotton Shirt
“Biophilia” Cyanotype, Sharpie, Muslin, Solution A, Solution B, Bias Tape 40
“Draped Narrative” Book Pages, Tuelle, Muslin
“Stiched Geometry” Polyester, Linen, Bias Tape, UHU 41