2wo
allie a p
r
mcandrews c
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i
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university
c o
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nebraska
lincoln
3 h re e
2 2 0 6 M i ra V i s t a Av. Mo n t ro s e , C A 9 10 2 0 + [4 0 2] 5 47-76 0 9 + a l l i e m c a n d re ws @ g m a i l .c o m
( professional summary ) my work showcases an interest in making architecture accessible by acknowledging architecture’s pasts to create an engaging , sincere future that includes everyone.
( education ) university of nebraska-lincoln bachelors in science of design-architectural studies 2016-2021 gpa: 3.6/4.0
( involvement ) dean’s list awarded to the top 10% of students in the college of architecture 2021
unl ucare undergraduate research assistantship work titled: structuring architectural discourse: forms of display 2020-2021
laf green new deal superstudio project titled: the dream home 2020
the national society of collegiate scholars 2019-2021
united states green building council 2017-2020
american institute of architecture students 2018-2021
park(ing) day installation in lincoln, ne 2017
4our
( work history ) freelance architectural designer may 2021-present drafting and rendering door and railing components for an office and den renovation based in omaha, ne.
undergraduate research assistant fall 2020-may 2021 formatted research alongside professor ellen donnelly for her proposal titled, structuring architectural discouse: forms of display.
architecture library front desk fall 2019-may 2021
responded to any questions from patrons regarding the building and contents within. along with organizing books before the building’s renovation
attorney’s assistant summer 2019-winter 2020 assisted jon jabenis a personal injury attorney. filing records, liens and correspondence. made calls gathering information from hospitals, insurance companies and clients.
( program skills ) rhinoceros 6, blender, adobe premiere, adobe photoshop, adobe indesign, adobe illustrator, microsoft word, microsoft powerpoint
( references ) david newton
jon jabenis
assistant professor, architecture
personal injury attorney
University of Nebraska Lincoln
schaefer shapiro llp
e: david.newton@unl.edu
p: 402.341.0700
p: 402.419.8147
e: jjjlance@aol.com
nathalie frankowski
salvador lindquist
d i re c t o r WA I a rc h i t e c t u re t h i n k t a n k
assistant professor, landscape architecture
University of Nebraska Lincoln 2017-2019
University of Nebraska Lincoln
e: nathalie@wai-architecture.com
e: slindquist@unl.edu
5ive
( contents )
6ix
un-monument library of the 21st century
scenes of abandonment big box store dead or alive
arbormartville stolen identity
architectural translation philip johnson lingers
physical models + drawings physical beings representing stages of varying projects
7even
( un-monument ) in collaboration with austin rig gins
8 ight
public library tasked with defining what a library of the 21st century can be.
9ine
un-monument
manifesto for civic architecture
Civic architecture is dependent on the contemporary democracy it is built within. A library is civic architecture, civic architecture is public space. A library “encloses in one place all times, all forms, all tastes [...] a place of all times that is itself outside of time and inaccessible to its ravages.” (Heterotopia 7) Public space is unconditional and equal participation in civic discourse. Public space allows for the sharing of contexts to situate ranging ideologies. Public space is separate from consumer space. Civic architecture negates hierarchy, elevation, and barriers.
public space administration
discourse
discourse
admin
public space
public space discourse
10 e n
civic architecture
The modern American landscape lacks neutral spaces of public discourse that are vital to a democratic society. The library of the 21st century is uniquely poised to fill this void. By rejecting monumentality, we were able to contextualize the building with its surroundings, drawing upon surrounding rural archetypes to strengthen the library programming and encourage engagement.
11leven
un-monument
central hall The building composition is structured to converge the spaces and users to flow into one another along a central branch.
12welve
multi-use
adult/teen tables + seating Placed within the conversation pit which allows for library goers to take part in group discourse at a more intimate scale.
1 3 hirteen
un-monument
ground floor plan
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16 11
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15 3
4
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6 5
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0
5
10
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legend 1. main entrance
7 . a d m i n k i t c h e n
13. conversation pit
2. exhibition
8 . a d m i n o f f i c e s
14. study rooms
3. civic archive
9 . m e e t i n g r o o m
15. digital discourse
4 . p r i n t l a b
10. adult + teen stacks
5. mechnical
11. outdoor event space
17. children’s stacks
6. ship + receive
12. adult + teen seating
18. children’s reading and play
14 o u r t e e n
16. children’s seating
40
sustainable design
ventilation + sunlight analysis Windows and skylights were designed to add a sculptural aspect as well as daylighting and passive ventilation.
supply return
fresh air stale air
winter/ summer solstice shade light entry path
1 5 ifteen
un-monument
south facade perspective Polished aluminum honeycomb panels were chosen for their ability to subvert the structure from the outside, giving way to the contextuality and discourse spaces of the landscape.
16 i x t e e n
building + site relationship
axonometric site plan Hardscapes reference the shadows cast by the library offering seating and event space. These are surrounded by native floras of Nebraska. Community gardens and follies placed around the site provide spaces for exploration.
1:100
17 e v e n t e e n
un-monument
daylight autonomy 89% sDA 3 LEED Credits Lighting needs can be met through daylight alone for 89% of the annual work hours.
annual sunlight exposure 10% ASE 3 LEED Credits the minor exposure shown can be prevented with blinds, landscaping and other shading tools.
18 i g h t e e n
sustainable design
digital discourse detail section A steel primary structure was chosen to enable a wider variety of forms that engage both inside and outside spaces in a meaningful way.
19 i n e t e e n
(scenes of abandonment)
20wenty
big box store tasked with designing a kit of parts home within the line sof a parking space, using clt construction.
21wenty-one
scenes of abandonment
2 2 w e n t y -t w o
eutopia for the misfits
partial text When you arrive in the parking lot, if there are other cars, jumbled pedestrians taking the right of way risking their lives doing so then it is still alive and well. If you reach your destination and the sign is hanging by an electric cord, and a tumbleweed brings your car to a halt, then what you are witnessing is a funeral.
2 3 w e n t y -t h re e
scenes of abandonment
latitudinal section
perspective
not to scale
If you decide to stay and observe the abandoned lot what you might witness are the leftover stains. The shopping carts marking their lost territory, the missing letters that leave a shit like stain of once holding the light that welcomed people.
2 4 w e n t y -fo u r
eutopia for the misfits
longitudinal section perspective not to scale
The site is left to rot, until someone new can come along and find treasure in the trash. A shift may arise. Remnants form together stripped of their trash material to build a home, a somewhat empty one. A material girl who has left the material world is interested in this market.
2 5 w e n t y -f i v e
scenes of abandonment
inventory
As we pick up the pieces of the objects we once longed for and mold them together what forms? A new world, one that looks at these scenes of abandonment as a home, a reflection of what we as consumers have acheived: self-destruction.
26wenty-six
eutopia for the misfits
soggy cigarette bed sewer welcome mat lowe’s vanity stop sign coat rack shopping cart bird cage 3 legged bottle chair
27 w e n t y - s e v e n
( arbormartville )
2 8 wenty-eight
stolen identity tasked with creating a community with jobs, a laboratory and homes in the remnants of a walmart in belmont, arkansas.
29 w e n t y -n i n e
arbormartville
the theif ’s box
30hirty
the guilty
The big box store has taken the identity of architecture, claiming that because it uses columns, beams, trusses and cladding that these attributes count as thoughtful design. This is false, we must take back architecture and it must b e d o n e t h ro u g h t h e b o dy o f t h e t h e i f, Wa l m a r t .
31 h i r t y - o n e
arbormartville
the romance
32 h i r t y -t w o
the love story
elevation north facing
To d o t h i s o n e m u s t u n d e r s t a n d t h e h i s t o r y o f mass production and consumption. This is where the love story began, the dead soot filled trees within a forest of live trees, the masonry structure displaced within the gridded landscape, the geometric forms that rest within organic ones.
3 3 h i r t y -t h re e
arbormartville
the car park grid
The site and the building are to be morphed, unrecognizable using the parking space remnants as the grid system.
3 4 h i r t y -fo u r
the remnants
This 1:2 ratio translates to the building defining an in between of the past and present structure. Through the site it simply resolves placement of the new systems in relation to the remaing Wa l m a r t b u t d o e s n o t d e f i n e f u n c t i o n .
3 5 h i r t y -f i v e
arbormartville
interior work space
36hirty-six
the found body
We fo r m t h e b u i l d i n g i n a w ay t h a t e x p o s e s t h e vulnerability of industrual history. Making it seem as though the building is of heavy dark steel when in actuality it is referring to the very roots of industrial design with timber construction. Within these forms the space evolves into a collaborative building , one that brings intimacy and layering into the factory lifestyle. Here the building has found its indentity as a body
37 h i r t y - s e v e n
arbormartville
site plan not to scale
legend 1 . m a i n e n t r a n c e 5 . f u r n i t u r e a s s e m b l y
9. sanding station
2. timber storage 6. detail and ornamentation
10. cutting station
3 . l o b b y
7 . e x t e r i o r p u b l i c s p a c e
11. pre-cutting station
4 . r e s i d e n c e
8. glulam and curved glulam
12. extended storage
3 8 hirty-eight
man made v. natural
We t h e n l e t t h e l a n d s c a p e t e l l h o w i t o n c e t h r i v e d before it was a concrete plain, let it take back its control. The natural landscape has been engulfed within mass production and consumption for the past century. There is a strained relationship between the man made and the natural.
39 h i r t y -n i n e
arbormartville
second floor plan not to scale
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ground floor plan not to scale
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40ourty
man made v. natural
third floor plan not to scale
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legend 1 3 . l a m i n a t i o n
1 7 . m e e t i n g s p a c e
21. lecture hall
14. walmart remnants
1 8 . e x h i b i t i o n
22. library
1 9 . s t u d i o
23. study space
15. planar clt construction
1 6 . l a b s 2 0 . o f f i c e s 2 4 . s m a l l g a l l e r y
41 o u r t y - o n e
arbormartville
the plots
Plots create an exhibition where these relationships can be found.
walmart remnants
treehouses
5 4oiuf tryt -fo 42 y -t uwro
man made v. natural
“natural landscapes”
neighborhoods
e e 435 o5ui frttyy-f-tihv re
arbormartville
big box section perspective not to scale
4 4 o u r t y -fo u r
the found body
45 o u r t y -f i v e
arbormartville
housing plan not to scale
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3
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legend 1. foyer 2. living room 3. kitchen 4. bathroom 5. bedroom 6. attic
46ourty-six
the mass produced home
the living room
A space we no longer live in but stare longingly at o u r e l e c t ro n i c s o r t h e f l o o r. I t n o w h o l d s t h e p l a c e of just being.
47 o u r t y - s e v e n
arbormartville
the bathroom
The bathroom is one that bargains privacy and function, using the mass produced windows to protect from the outside world.
4 8 ourty-eight
the mass produced home
the attic
The attic remains storage for the trusses, and a musty, dim hazard for the people.
49 o u r t y -n i n e
arbormartville
housing section perspective not to scale
50ifty
the mass produced home
51 i f t y - o n e
( architectural translation )
52 i f t y -t w o
philip johnson lingers this building analyzes the methodologies within philip johnson’s sheldon museum to expose the latent ideas within.
5 3 i f t y -t h re e
architectural translation
relationship to sheldon
Borrowing upon the monument that stands and the context of the campus to create a dialogue between the new and the historic.
5 4 i f t y -fo u r
the conversation
planar qualities
The arch has become ornamentation, what happens when we give it back its structural qualities and manipulate the function?
5 5 i f t y -f i v e
architectural translation
sectional qualities
56ifty-six
the conversation
section perspective bb not to scale
The arch has the capabilities of manipulating itself to create spaces that allow for exhibitions, black boxes, galleries and studios.
57 i f t y - s e v e n
architectural translation
south east facade
5 8 ifty-eight
the grid
How can the griid evoke chaos but also bring order to a new system?
formal system
The Sheldon offers a multitude of grids to converse with
59 i f t y -n i n e
architectural translation
ground floor plan
bb
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4 3 aa
aa 1
2
legend 1. reception 2. lounge 3. coat closet 4. permanent exhibition 5. sheldon art museum bb
60ixty
the plan
layers of the interior
The planar qualities create the intimate spaces that are often lacking in museums with consequences that include no forms of reflection.
61 i x t y - o n e
architectural translation
second floor plan not to scale
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third floor plan not to scale
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9
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62 i x t y -t w o
the plan
basement plan not to scale
legend 6. office 7. lounge 8. gallery 9. study space 10. workspace 11. black box exhibition 12. gallery 13. janitorial 14. archival study 15. catering kitchen 16. loading 17. maintenance 18. exterior public space
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6 3 i x t y -t h re e
massing
charcoal
3d printed
( physical models + drawings )
wip
handcut
infamous tile ceiling
6 4 i x t y -fo u r
pencil
study model
bass wood
pencil
study model
structure
pool
charcoal handcut
6 5 i x t y -f i v e
modes of communication ph email: al linke inst
one: 402.547.7609 liemcandrews@gmail.com din: allie-mcandrews agram: @not_trash_