C A M I L L E E L I Z A B E T H L A N E
s e l e c t e d w o r k s 2 0 1 2 - 2 0 1 7
C O N T E N T S .
ARCHITECTURE.
P. 01
ex-urbia
04
neighborhood. spring 2017
P. 02
knox folk
20
edge. spring 2015
P. 03
crossville, tn
32
secret histor y. fall 2014
P. 04
urban strata
44
interstice. fall 2015
ii
CRAFT.
P. 01
green oak revisited
60
research. 2017
P. 02
super-digital // ultra-physical
70
fabrication. 2015
CULTURE. P. 01
finland
76
study abroad. 2015
P. 02
film
extracurriculars
iii
85
RESUME
awards + honors
. . . 20122017
Freddy M. Roddy
20122017
C. David + Janis Fite
20122017 20122017 2015-
Scholarship
Merit Scholarship ’ Scholarship S
2017
Ta u S i g m a D e l t a class GPA, top 20%
2015
Brewer Ingram Fuller Sustainable Design Review Finalist
SKILLS
2017
Delegate to the National Conference on the Beginning Design Student
Autocad Rhinoceros
2017
Alpha Rho Chi Student Leadership Award
Photoshop Indesign Illustrator Premiere
educational history
Aftereffects ArcGIS Monolith
2011
Revit
SCHOOL FOR THE ARTS
Grasshopper
1301 E. Main Street,
3D Printing Laser Cutting Analog Fabrication
Murfreesboro, TN 37130
2012-
UNIVERSITY OF TENNESSEE COLLEGE
2017
OF ARCHITECTURE + DESIGN
Digital Fabrication Hand Drafting Model Making Mac + Windows
TENNESSEE GOVERNOR’S
Knoxville, TN 37996
2015
AALTO UNIVERSITY* 02150 Espoo, Finland *Study Abroad
iv
work experience 2014-
RALA, regional and local artists
2017
sales associate
2015-
FA B L A B , f a b r i c a t i o n s s h o p analog equipment shop supervisor
2016
RANEY ENGINEERING installation drawing assistant
2016
CURB STUDIO drawing assistant
2016
ARCHIMANIA shadow
2014-
UNIVERSITY OF TENNESSEE
2017
teaching assistant - materials + methods, prof. Tricia Stuth - representation 1, prof. Mark Stanley - visual design theory, prof. Brian Ambroziak research assistant, prof. Brian Ambroziak
involvement 2011-
AMERICAN INSTITUTE OF
2014
ARCHITECTURE STUDENTS member, graphics coordinator
2014-
AIAS FORUM
2015
planning committee member
2014-
IMPRINT.
2015
graphics team member, bimonthly contributor
2013-
TAAST
2017
event planning committee member
20122017
v
N E
OR’S
ONORS
ROGR
KNOX FOLK
| EX-URBIA
| CROSSVILLE,TN | STRATA
ARCHITECTURE research + theory
KNOVILLE, TN
| YEAR 05
| SPRING 2017
4
P . 01 This thesis seeks to build on the g roundbreaking work of Denise S c o t t B r o w n a n d R o b e r t Ve n t u r i i n L e a r n i n g f r o m L a s Ve g a s i n t h e i r development of a method to u t i l i z e t h e p e c u l i a r i t i e s o f o n e ’s immediate surroundings as a new way of seeing and understanding architecture and the built environment. T he work begins with the premise of (re)presentation, or the act of recording and cataloging neighboring instances through a variety of media. T hese methods were used to draw out new readings of a familiar landscape-one often dismissed as architecturally ir relevant. The culmination of these explorations resulted in the design of a Library of Secondary Tr a n s m i s s i o n s - a machine for s e e i n g. T h e l i b r a r y w o r k s a s a series of follies placed in the neighborhood, aiming to elevate routine experiences through architectural inter vention
THESIS
5
ex-urbia
view of a neighbor // gill avenue, knoxville, tennessee
TWO NEIGHBORHOODS
polaroid // knoxville, tennessee
Having lived on both the easter n and w e s t e r n l i m i t s o f t h e s t a t e o f Te n n e s s e e - K n o x v i l l e a n d M e m p h i s, I w a s afforded a unique experience of two ver y different worlds-a classic suburban retreat rooted in a story of deep segregation, and a historic southern neighborhood imbibed with the traditions o f a c u l t u r e i s o l a t e d b y m o u n t a i n s. A s a means of better understanding these t w o d i v e r s e c o n d i t i o n s, v a r i o u s f o r m s o f d o c u m e n t a t i o n - f i l m , p h o t o g r a p h y, s t o r y b o a r d s, s c r i p t s, d i a g r a m s - w e r e to find a truth about ‘suburbia’.
6
p o r c h i d e n t i t y / / m e m p h i s, t e n n e s s e e
church spires + radio towers // knoxville, tennessee
7
cut
a dark car is obscured by the intense light of t is is centered in the middle of the frame. two m seat of the car, sunglasses obscuring their eyes the passenger’s seat. the hum grows louder still off and the hum stops. after a beat, the scene f cut
a man walks across a parking lot, he is viewed f left. it is as if he is being watched. as he walks, a trail of animated dots appears b his trace on the pavement. his trajectory bisect 3 title overlay | 5:45 p.m.
shadows are again illuminated on the pavement, t thought the light is fading. the pavemnt is not s crumbling and with the grass creeping through t employed again cut
the tops of foliage shaking and moved by unknow
MAPPING TRANSMISSIONS
cut a woman can be seen working in her garden box, her back to the camera
Film and mapping became major techniques in this p r o c e s s. I n t h e r e s e a r c h p o r t i o n o f t h e t h e s i s, s t u d i e s o f h i s t o r i c s u b u r b a n d e v e l o p m e n t s, d e m o g r a p h i c s, and statistics were compared with more sensor y and atmospheric ‘transmissions’ noted on site in order to come to a full understanding of suburbia on an academic and personal level. Nar ratives were
above, a narrative of the neighborhood is overlain on images of an abandoned housing settlement in Memphis
drawn and constr ucted from these investig ations to deter mine what type of architectural inter vention is necessar y to understand the peculiarities of the place.
right, map of peculiar architect u r e s i n Fo u r t h a n d G i l l i n K n o x v i l l e
8
9
PECULIARITIES of PLACE Several sites with strang e or peculiar qualities unique to the neighborhood o f h i s t o r i c Fo u r t h a n d G i l l i n K n o x v i l l e w e r e e x p l o r e d a s p o s s i b l e s i t u a t i o n s i n w h i c h t h e a r c h i t e c t u r a l i n v e n t i o n c o u l d o c c u r. T h e s e s i t e s a r e g e o g r a p h i c moments that could only be borne from the layering of experiences of the h i s t o r y o f t h e p l a c e i t s e l f . Wo r k i n g w i t h t h e s e s i t e s w a s a n e x p l o r a t i o n in developing site specific architectures which are inherent to the place in which they occur, thus becoming necessar y to that place. T hese sites w e r e e x p l o r e d a g a i n t h r o u g h d r a w n , w r i t t e n , a n d f i l m i c e n d e a v o r s.
10
below, a small orchard situated next to a satellite police station was considered as a neighborhood watch base
cut a dark car is obscured by the intense light of the highbeams. the car is is centered in the middle of the frame. two men sit in the front seat of the car, sunglasses obscuring their eyes. a light in on over the passenger’s seat. the hum grows louder still. the light is turned off and the hum stops. after a beat, the scene fades to black cut a man walks across a parking lot, he is viewed from above and to the
left. it is as if he is being watched. as he walks, a trail of animated dots appears behind him, as if leaving his trace on the pavement. his trajectory bisects the pavement. above, a site straddling a public park, the edge of the neighborhood, and interstate 40 was chosen as the final site for the work 11
MEMORY MACHINE
‘Ever ything that was dir ectly lived has receded into a representation’ -Guy DeBord
A memory once remembered, ceases to exist. From there onward, the memor y becomes a photograph, a moment lived, but only presently understood as a reconstruction of the elements of the image collaged w i t h r e a c t i o n a r y f e e l i n g. Architecture attempts to be the photograph and the memor y in simultaneous existence. It is within this secondar y transmission of the thought that the richness of memory is held. If r e m e m b e r e d f r e q u e n t l y, this richness is translated into nostalgia. Architecture therefore must act as a mir ror, projecting endlessly back upon itself as a means o f r e f l e c t i n g i t s i n h a b i t a n t s. Suburbia straddles this line between past and future, simultaneously reflecting its past and present condition. as both city grid and utopian countr yside. T he layers of absurdity and planning infused within this construct lend itself therefore to a fictional landscape-of pastel gestures a n d p a p e r - t h i n w a l l s.
12
perspective of an early iteration of the library
13
THE LIBRARY OF SECONDARY TRANSMISSIONS
The librar y of secondar y transmissions is defined by a s e r i e s o f s e v e n f o l l i e s, e a c h w i t h a d i s t i n c t c h a r a c t e r and prog rammatic intent. T hese follies ser ve as a reflection into the experience of the neighborhood as a w a y o f f i n d i n g o n e ’s p l a c e i n i t . T h e y a r e s i t e d i n a p a r k at the edge of the neighborhood, situated between the h o u s e s a n d t h e h i g h w a y. A s s u c h , t h e l i b r a r y w o r k s a s a mediating presence between the machine and the garden, highlighting how these two disparate ideas become one in the setting of suburbia. Below is a section of the c u l m i n a t i o n o f t h e s e r i e s, T h e P l a c e t o C o m m u n e . T h i s piece sits at the pinnacle of the hill, at which point t h e h i g h w a y, l a r g e l y o b s c u r e d a l o n g t h e j o u r n e y b y h i g h w a l l s, u l t i m a t e l y b e c o m e s v i s i b l e .
interstate 40
nk
14
a b o v e , v i g n e t t e s f r o m t h e l i b r a r y / / t o p, t h e p l a c e t o w r i t e . b o t t o m , t h e p l a c e t o w a t c h
billboard mediating platfor m reflecting pool
15
T h e p l a c e . to wa tc h i s a n e sse n ti a l e l e m e n t to th e f u n c ti o n as the libr ar y. It is th e c e n tr a l p e r f o r m a n c e c o m p o n e n t o f th e sy ste m , b u t r e ve r se s th e r o l e o f a u d i e n c e a n d p e r f o r m e r. T h o se w h o l o o k o u t u p o n th e n e i gh b o r h o o d a r e th e m se l ve s pr ojected onto the tr a n sl u c e n t sc r e e n e nve l o p i n g th e sp a c e , tu r n i n g th e n o ti o n o f th e p o r c h o n i ts h e a d . I ts a f l e x i b l e sp a c e th a t c o m m u n i c a te s th e a c tiv i ti e s o f th e l i b r a r y o u t into the community. i t i s n o t o n l y a sp a c e to ga th e r a n d perf or m, but it also wo r k s a s a n e i gh b o r h o o d n i gh t- l i gh t, se c u r i ty f o r n i gh tti m e v i si to r s. T h e n o ti o n o f wa t c h e r s a n d th o se b e i n g wa tc h e d i s c o n sta n tl y i n f l u x i n th i s sp a c e .
16
I N H A B I TA N T : th e n ei g h b o r C O U N T E R PA R T : th e p o r ch
A P L AC E T O WAT C H
17
T h e p l a c e to i d l e i s c o n sti tu te d b y th r e e c yc l i c a l a l l o tm e n ts of varied scale to pr o m o te a se n se o f i n f i n i te i d l i n g. T h e moon tower s adjac e nt to th e site a lo n g with th e ta ll g r a ss ga r d e n s su r r o u n d i n g th e c yc l i c a l r o u te s p r ov i d e th e sp a c e with a sense of security a n d p r iva c y f o r so l i ta r y i d l i n g. T h e ta c ti l e n a tu r e o f th e ga r d e n s m o r e ove r p r ov i d e a n a tu r a l outlet f or idle hands. P r u n i n g a n d te n d i n g th e ga r d e n be c ome s a r e sponsibi lity o f th e r e sid e n ts.
A se r ie s o f
billowing c ur tains over h e a d a r e r e m in isc e n t o f c lo th e slin e s and
obscur e
power
ge n e r a to r s
su sp e n d e d
ove r h e a d .
18
I N H A B I TA N T : th e n ei g h b o r C O U N T E R PA R T : th e p o r ch
A PLACE TO IDLE
19
KNOXVILLE, TN
| YEAR 03
| SPRING 2015
P . 02 Knoxville is a city rife with under utilized space and lacking in resources for local or aspiring artists to explore the relationship of technolog y and craft. What is needed is a community center which gives affordable access to innovative new methods o f f a b r i c a t i o n a n d r e s e a r c h . T h u s, t h i s l i b r a r y, d e d i c a t e d t o t h e l a t e author and Knoxville native Corm a c M c C a r t h y, i s d e s i g n e d i n a spirit of the unique industrial history and folk traditions of the South in the context of contemp o r a r y t e c h n o l o g y. T he work outwardly displays a message of the character of the city in its playful yet industrial design. With a massive sculptural cur tain wall held in tension by steel members that run centrally through the building, the project celebrates the str uctural capabilities of steel by highlighting its natural aesthetic qualities and its ability to hold impressive loads in both tension and compression.
ASCA STEEL COMPETITION
knox folk
the project navigates the extreme terrain of the site by subdividing the site via a series of steel arcs which loosely align to the proper conditions for each programmatic element. these divisions fan out and adjust to compliment the landscape and the preexisting superstructure of the bridge.
EDGE CONDITION
divide the site is subdivided into 3 program zones: 1) library 2) public river walk 3) satellite gallery space
T he site is situated at the edg e of downtown Knoxville, on the precipice of a steep hill at the end of a h i s t o r i c n e i g h b o r h o o d , o v e r l o o k i n g t h e Te n n e s s e e river and spanning beneath the massive concrete Henley St. Bridg e. T hese conditions make for beautiful vistas but complicated navig ation. By capitalizing on the flexibility of the a light steel frame a n d t h r o u g h c a r e f u l h a n d i n g o f t o p o g r a p h y, A DA compliant pedestrians walks and generously spaced vehicular paths are achieved.
adjust these zones are adjusted to work with the natural site and align w i t h t h e h i l l ’s t o p o g r a p h y
wrap T he two enclosed programmatic elements are connected by a unifying structural skin
define This structural wrapper is divided into defined sections which become perforated, extended, or transformed as required by function.
satellite gallery space, west end of the site
22
ground floor plan 23
g round f loor workshop s p a ces o pen ou t onto the en tr y walkway as a visual to o l to d evel o p a n i n s p ir a ti o n a l dialogue between cr a f ter s a n d v i s i to r s
KIT OF PARTS
U s i n g a ca r ef u l a cces s ibility s tr a teg y, b i kes m ay m ove eas ily th r o u g h th e s i te, m a k i n g th i s a s a f e s p a ce f o r commu nity en g a g em en t
T he steel arcs for m bays which perfor m different functi o n s a l o n g th e l o n g i tu d i n a l a x i s o f th e p r o j ect. T he f lexibility of the steel frame a llows for chang e as the pr oj ect may un der take new rol es i n the f u tu r e and uphold the principle o f a “ l o n g life and loose fit� constr u cti o n .
24
STRUCTURAL STRATEGY O n th e n o r th f a ca d e, f acing the p ed es tr i a n e n tr y, co r ten steel s cr een s p r ov i d e p r iva cy f or the ex ter i o r wo r k s p a ces extending from th e l ower l evel s f a b r i ca ti o n s p a ces. O n th e s o u th er n f a ca de, the steel s tr u ctu r e h o l d s a m a ssive hanging cu r t a i n wa l l a n d a s cr een o f p o r cel a i n r o d s wh i ch work to absorb th e i n ten s e h ea t f r o m th e s o u th f a ci n g wi n d ows. C o r ten paneling over h a n g s a n d envel o p es cer ta i n p o r ti o n s o f th i s f a c a de.
corten screen substructure corten paneling steel roof substructure welded steel arc steel beam x-bracing compound steel column suspension framing porcelain rod solar screen
25
ELEVATING EDUCATION Each level of the main librar y space eng ag es a different moment in the process of craft and research. T he lowest f loor, th e ch i l d r en’s l i b r a r y, en g a g es th e i m a g i n a ti o n at its rawest for m and is th e m o s t a r ch i tectu r a l l y playful space as it moves away from the more for mal en tr y, p r es en ti n g s wee p i n g views of the Tennessee river. T he g round f loor eng ag es th e ex p er i m en ta l a s p ect of lear ning as it contains th e f a b r i ca ti o n g a r a g es. T he second f loor holds th e m eeti n g s p a ces wh i ch en g a g es d i s cu s s i o n i n th e research process. Finally, th e th i r d f l o o r co n ta i n s the majority of stacks, and eng ag es the most personal el em en t o f l ea r n i n g - s o l i ta r y study.
26
KINETIC ENERGY
T he compound steel columns provide a visual example of th e k i n eti c l o a d b ea r i n g o f th e s teel s tr u c tu r e. T h es e co l u m n s h o l d th e b ea m s p a n s between the span of the steel arcs and complement th e g es tu r a l q u a l i ty o f th e str ucture clinging to the ed g e o f th e h i l l .
27
12
1
perspective view of the entry way, as seen from below the bridge
28
29
1’
SUSPENSION The elaborate south cur tain wall requires an adequate structural system to support both the load of AXON glass and the porcelain solar screen protecting it. A bracketing system h o l dDemonstrates s t h e s c r e e n ithe ndependently but is t h e nlayering a t t a c h eof d the t o tbuilding h e o v e r afacade ll structure and a block of insulation.
DETAIL C
Thing Structural cable systems provide support for the heavy glass facade. Shading screens are attached to theses structural
glass structural support bolt plate solar shading
The large curtain facade not only opens the space up to views of the river, but also brings a u n i q u e c h a r a c t e r t o K n o x v i l l e ’s o t h e r w i s e g eneric riverfront. T he glowing facade would be a welcome sight for visitors entering the city via the Henley Street Bridg e above. 30
detail elevation 31
CROSSVILLE, TN
| YEAR 03
| FA L L 2 0 1 4
P . 03 T h e m o d e s t y o f t h e C l y d e Yo r k 4H camp located in the woods o f C r o s s v i l l e , Te n n e s s e e b e l i e s i t s unique history and connection to an infamous global nar rative. Situ a t e d o n t h e s i t e o f a n o l d Wo r l d Wa r I I P OW c a m p, t h e c o m p l e x i n is rich in both natural and cultural history and tells a story of the land and its people. This design for a new lodge and convention center on the g rounds of the camp is an inviting retreat that allows guests to revisit childhood memories of summer camp while understanding these familiar surroundings in a completely new context. The design incorporates elements of the past into a carefully orchestrated path which composes a purposeful journey o f d i s c o v e r y - o f t h e g r o u n d s, o f s e c r e t h i s t o r i e s, a n d o f o n e ’s s e l f and relationship to the past.
PROGRAMMING
crossville, tn
PLACE MAKING T he following diag rams are excer pts from Cr ossville, TN a prog rammatic design booklet created to describe the people,
Molly O’Day began making music with her two brothers when she was young and ended her career as one of the most prominent Cumberland Plateau musicians of the 20th century. During her career, she shared the stage with music legends such as Hank Williams and Ralph Stanley.
culture, and histories that make the small town of Crossville, Te n n e s s e e u n i q u e l y v a l u a b l e t o t h e g r e a t e r c u l t u r a l h i s t o r y o f Te n n e s s e e a n d t h e U S i t s e l f . T h r o u g h t h e p r o c e s s o f creating the booklet, a respect for and understanding of the targ eted inhabitants could be developed. Fur ther more, the booklet ser ved as a detailed record of the various design considerations and processes used to create the work.
34
UNINTERRUPTED RETREAT The site is situated in a heavily forested area about 10 miles outside of the limits of the city of Crossville p r o p e r. T h i s i s o l a t i o n e n h a n c e s a g u e s t ’s s e n s e o f r e t r e a t a n d a p p r e c i a t i o n f o r s o l i t u d e i n t h e w i l d e r n e s s.
maj or l akes and wa ter ways Cumberland Moun ta i n State Park icinterstates ty l i m i ts hi ghways
C LY D E Y O R K 4-H CENTER
CROSSVILLE MEMORIAL AIRPORT
35
D OW N T OW N CROSSVILLE
CUMBERLAND HOMESTEADS
onsite parking
main lodge + cafe
hotel + suites
*each piece of program possesses panoramic views of the landscape
chapel
proposed extension of existing fruit orchard
I S O L AT E D T E RR IT ORY Tu c k e d a w a y i n t h e r i d g e s o f t h e A p p a l a c h i a n m o u n t a i n s, the Cumberland plateau is an isolated territory of fer tile g round. Likewise, t h e C l y d e Yo r k 4 H c a m p i s an isolated haven among an increasingly commercialized highway town. The proposed lodge addition to the camp attempts to preser ve this sense of retreat from the world while drawing more v i s i t o r s t o t h e c a m p. T h e primar y g oal of the work is to use architecture as a way to desensitize and reorient guests to a more mindful state in which they might fully appreciate the g ravity of the histor y of the site and the town itself.
site plan
36
DESEN SITIZATIO N As one leaves the path of the highway and enters the site, a thick forest surrounds the entry road, desensitizing the visitor f r o m t h e i r u r b a n j o u r n e y.
REO RIEN TATIO N An existing orchard of apple trees is extended into this forest, blending the planned landscape w i t h t h e w i l d e r n e s s, a n d providing glimpses of the r e t r e a t ’s g r o u n d s b e t w e e n t h e o r g a n i z e d r o w s o f t r e e s.
EDU CATIO N Upon entering the main lodge, guests are guided by a strategic series of w a l l s, r a m p s, a n d p a n o r a m i c o p e n i n g s o n a p a t h o f d i s c o v e r y o f t h e s i t e ’s h i s t o r y, c u l t u r e , a n d s t o r i e s.
TRAN SFO RMATIO N At the completion of the journey through the site is t h e e n t r y t o t h e f o r e s t ’s p a t h , The carefully orchestrated progression promotes a mindfulness while experiencing t h e r e s t o f t h e g r o u n d s.
37
first floor plan
s e m i - p e r m e a b l e A DA accessible hard-packed g ravel parking the lightwell ser ves a fulcr um around which the entire prog ram r e v o l v e s. t h e f o r m i s d e r i v e d f r o m a leftover footing from the old WWII P OW c a m p w h i c h u s e d t o r e s i d e on the site. this allows histor y to become a physical experience
M
C K B
the lower level retaining wall works as a facade on the upper floors
A
H
E
G
D
D
N
O
J
I
L
D F F
the ramp provides panoramic views of the landscape before visitors enter the museum, transitioning from present to past
a line of spr uce trees accesses the lawn but directs the museum traffic toward the g raveyard and other campus interests
A
We l c o m e d e s k
I
Te r r a c e
B
Entry hall/art gallery
J
Hostess area
C
300 seat auditorium
K
Kitchen + back of house
D
Restrooms
L
Dining hall
E
Crab Orchard Stone
M
Break room + cellar access
fireplace
N
C h e f ’s o f f i c e
F
Offices/discussion rooms
O
Bar
G
Meeting space
H
Double height lightwell
the herb and berry garden p r o v i d e s f r e s h s t r a w b e r r i e s, blueber ries blackber ries and herbs for the restaurant and ser ves as an educational tool to teach about local foraging and preser ving techniques
PROCESSION
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PA S S A G E the lightwell ser ves as the main exhibition space and acts as a moment of physical and m e n t a l c l a r i t y, p i e r c i n g t h e d e e p underground space with natural light
A
Root cellar/ dr ying room
B
Mechanical room
C
Restrooms
D
Ser vice cart passageway
B
A G H
F
D
I C
Ramp
E
Exhibition space
F
Mechanical room
G
Double height lightwell exhibition space
H
Map room
I
Archive room
J
Classroom
K
E
K J
as the visitor descends into the underg round level of the museum, they are able to be fully immersed in the g ravity o f t h e h i s t o r y o f t h e w a r c a m p, a n d t h e n f e e l t h e r e l i e f o f light and nature as they exit on to the grounds with a new found respect for and understanding of a shared history
the ser vice tunnel allows g oods to be delivered to the lodg e and restaurant by way of a separate ser vice road so as not to interrupt visitors’ sense of retreat during their stay
ground floor plan
longitudinal section through lodge
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B
A * offices are afforded panoramic, views of the landscape, yet are also shielded from the activity of the public entr y by the double height lightwell
SECRET HISTORIES A B
M a i n l o d g e c o n t a i n i n g l o b b y, c o m m u n i t y h e a r t h ( C r a b O r c h a r d S t o n e f i r e p l a c e ) a n d l i v i n g s p a c e , o f f i c e s, a n d A DA c o m p l i a n t r a m p i n t o t h e m u s e u m o n t h e g r o u n d f l o o r Restaurant and cafeteria
C
E x i t f r o m m u s e u m , l e a d i n g t o t h e g r a v e y a r d , w i t h a c c e s s t o t h e r e s t o f t h e c a m p, including the canoe pond and ropes course
+
indicates a notable program element, see adjacent page
40
REGIONAL RESOURCES
T he lightwell works both inside and out as a sculptural beacon of light
A high retaining wall obscures the fullness of the unfolding hills before entry
axonometric view of the campus, including the lodge , restaurant, and the grounds
Seasonal har vests of berries and fruit for canning can be seen in the garden and the orchard in the distance
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a view from the exterior corridor
42
a view from the lightwell
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KNOXVILLE, TN
| YEAR 04
| FA L L 2 0 1 5
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P . 04 collaboration with: Aren Edwards
We a v i n g t h e n a t u r a l l a n d s c a p e back into the urban fabric of downtown Knoxville, this center for sustainable design ser ves as a meeting space for the community and as an adver tisement for the g reen possibilities of urban envir o n m e n t s. Wo r k i n g a t b o t h t h e level of the street and the overall city plan, the center is sited to discretely extend the existi n g a x i s o f p a r k s, r e s t a u r a n t s, a n d shops from Market Street into the business district, while exuberantly projecting its activity to the streetscape. T he plan uses a palate of local materials and innovative landscaping prog rams repopulate the city with green space and to draw in passerby as a means of exciting a local interest in g reen construction. T his collaborative work involved the integration of building systems and sustainable strategies into the overall design of the project.
INTEGRATIONS
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urban strata
URBAN PROGRAM
a
a a large picture window in the upper meeting hall frames a view of a downtown monument and ser ves to elevate the collaborative w o r k o f t h e a c t i v i s t s.
b
b roof r unoff is a key component in running an efficient, low-waste plumbing system.
c
c the mezzanine roof garden c o n n e c t s t h e h e a v y, e a r t h en nor ther n volume with the light-projecting souther n volume.
d
d the g reen ramp ser ves as an A DA a c c e s s i b l e m o d e o f entr y to the second f loor, as a connection to the axis of Market Street and an outdoor classroom.
e
e
the ground floor contains classrooms and common spaces which are adver tisem e n t s o f t h e c e n t e r ’s m i s s i o n a n d a c t i v i t i e s.
46
perspective of the market street entrance to the center, which features access to the butterfly gardens and the park ramp leading to the cafe and upper terrace
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RESTORATIVE SITE ECOLOGY
Semi-per meable concrete strip paving mimics the linear nature of the boardfor m concrete and blends the landscape with the hardscape, blur ring the line between nature and constr uction
A key landscape feature is the introduction of native river cane g rasses in the bioswale, repopulating endangered plants and naturally filtering site r unoff. It also p r o v i d e s s h e l t e r f o r s m a l l a n i m a l s, c r e a t ing a site specific ecosystem.
Small European birch trees offset heat i s l a n d e f f e c t d u r i n g h o t Te n n e s s e e s u m mers while the butterfly garden repopulates the city with native species such as swamp milkweed. These plants not only provide exciting low maintenance land scape features to draw in visitors but a l s o h e l p b r i n g b a c k n a t u r a l e c o s y s t e m s.
48
WAT E R WAY S R amped entr yways and sloped g reen roofs work as natural g reywater collection devices to aid i n o n s i t e w a t e r u s a g e . Tw o c i s ter ns collect r unoff on the wester n and easter n ends of the complex. south wing
A bioswale on the wester n limit of the site additionally filters r unoff before entering sewers.
alleyway
north wing
church street
The plan extends an existing axis of parks downtown via a series of green ramps, green roofs, and small native plant gardens. the eastern (top) cistern collects
The North wing enga ges with Market Street while the South wing interacts with the streetscape of the business district.
up to 4,000 gallons of runoff from the park ramp while the western cistern (bottom) collects the same from the south wing green roof.
path to shops and parks on market street
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A wooden louver system shades and protects the south facing curtain wall that fronts the main streetscape. In order to utilize this facade fully, screen walls, passive cooling systems and deep overhangs were employed to reduce heat gains.
south elevation
areas obscured by the interior south facing curtain wall access light and views through interior courtyards and the second floor roof garden
north facing section through offices and studios
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STREET LIGHT
studio spaces on the g round floor provide the most visible example of the environmental activism and design activity taking place within the building and thus are the least shaded. They are protected from solar gain by engineered glass framed in locally sourced w o o d e n m u l l i o n s. individual office spaces on upper f loors maintain access to light and views but are shaded more heavily than lower f loors to improve privacy and protect ag ainst heat g ain
the project’s landscaping and siting make bike and wheelchair access simple, a feature that helps the work meet LEED building standards 51
A N AT I V E PA L AT E
Te n n e s s e e P i n k M a r b l e
T his rock is actually a native limestone quarried just south of downtown Knoxv i l l e a c r o s s t h e Te n n e s s e e R i v e r. I t i s u s e d a s a n ag gregate in the mix for the boardfor m concrete to provide a subtle pink tone as a nod to the historic downtown post office made from the same marble just a block away from this site
2
Eastern White Pine
T his native pine is abundant i n E a s t Te n n e s s e e a n d i s used in sustainably sourced Durather m window mullions as well as to create the solar screen. 2
Boardform Concrete
1+3
This technique uses locally sourced wood for casting the for ms and adding war mth and texture to a somewhat brutal material.
52
sectional axon demonstrating both the interior and exterior applications
INNOVATIVE
of the screen wall
FORM + MATERIAL
T he screenwall works as more than just solar shading-it becomes a privacy screen, a feature wall, and partit i o n a t d i f f e r e n t l o c a t i o n s. I t w o r k s a s both an ecological tool and a wayfinder throughout the project. T he g reen ramp similar ser ves multip l e p u r p o s e s. N o t o n l y d o e s i t p r o v i d e A DA a n d b i c y c l e a c c e s s t o t h e s e c o n d stor y and public cafe, but it also works as an outdoor laboratory for botany e x p e r i m e n t s, a n d a s a n e x c i t i n g i n c e n tive to forg o energ y consumptive transp o r t a t i o n o f t h e e l e v a t o r.
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south facing section through auditorium, gallery + garden ramp
view toward museum entrance view toward market street
The g round floor lobby connects the museum and auditorium spaces with the design studios and more privatized prog rammatic elements like the office and meeting space s. T h e c o n n e c t i v i t y a n d p u b l i c n a t u r e o f t h i s s p a c e e n g a g e s t h e c o m m u n i t y a n d draws passersby naturally through an otherwise overlooked path. 54
OPTIMIZING PERFORMANCE
parapet // screen // green roof detail
curtain wall connection // drop ceiling detail
Because the large glass facade which interacts with the street faces south, it was important to protect from heat gain and to find environmentally friendly ways to keep occupants comfor table. T he project uses a system of low-e double glazed windows as well as a strategically placed solar screenwall and geother mal heating and cooling to maintain sust a i n a b l e s t a n d a r d s.
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WAY F I N D I N G screen Screenwalls wrap from the souther n exterior facade into the interior offices and classrooms providing a transition from i n t e r i o r t o e x t e r i o r w h i l e p r o v i d i n g p r i v a c y a n d s h a d i n g.
nature small enclosed gardens in the lobby hall not only bring in natural light but fur ther draw visitors along a path of vario u s g r e e n z o n e s, f r o m e n t r y g a r d e n s t o u p p e r g r e e n l e v e l s.
light strategic portions of the heavy concrete facade are perforated to create moments of light which draw visitors up the stairwells or through the long lobby hall.
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GREEN OAK
| S U P E R - D I G I TA L , U LT R A - P H Y S I CA L
CRAFT test + fabricate
P. 0 1
green oak revisited
in collaboration with: Aren Edwards, Emilee Wilson, Joseph Shedd, Austin Fleming T h e G r e e n O a k i n i t i a t ive wa s s t a r t e d i n 2 0 1 3 a t t h e U n ive r s i t y o f Te n n e s s e e a f t e r b e i n g awa r d e d a g r a n t by t h e E nv i r o n m e n t a l P r o t e c t i o n A g e n c y. I t i s a n o n g o i n g d e s i g n - b u i l d p r o j e c t w h i ch a i m s t o d e ve l o p i n n ova t ive strategies to exploit a highly under used cut of the oak tree-the inner most portion of the tr unk cross-section, k n ow n a s G r e e n O a k - a s a l ow - c o s t c o n s t r u c t i o n m a t e r i a l . W h i l e p r e v i o u s s e m e s t e r s f o c u s e d s o l e l y o n ove r a l l s t r u c t u r a l d e s i g n s t r a t e g i e s, G r e e n O a k Re v i s i t e d wa s a s e l f d i r e c t e d s t u d i o i n w h i ch f o u r c a t e g o r i e s o f e x p e r i m e n t s we r e e x p l o r e d : i n t e r i o r a p p l i c a t i o n s, wo o d - t o - wo o d j o i n e r y, wo o d - t o - m e t a l - j o i n e r y, a n d s t e a m b e n d i n g. T h e e x t r e m e m o i s t u r e c o n t e n t o f t h i s c u t o f t h e o a k t r e e, a s we l l a s i t s h i g h c o n c e n t r a t i o n o f t a n n i n s l e a d s t o u n a n t i c i p a t e d wa r p i n g a n d c o r r o d i n g o f c o n n e c t ive e l e m e n t s a s i t d r i e s, m a k i n g t h e m a t e r i a l e x t r e m e l y d i f f i c u l t t o d e s i g n f o r. B o t h t r a d i t i o n a l a n a l o g wo o d wo r k i n g t e ch n i q u e s a s we l l a s wa t e r j e t c u t t i n g a n d we l d i n g we r e p r o c e s s e s e m p l oy e d i n t h e s e e x p e r i m e n t a t i o n s. T h e s e r e s o u r c e s we r e u t i l i z e d t o c r e a t e d i f f e r e n t j o i n t c o n d i t i o n s w h i ch m i g h t b e e m p l oy e d i n m o r e h o l i s t i c s t r u c t u r a l s y s t e m s.
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left, examples of proposed joiner y strategies using layered wood and stainless steel connector r o d s / / b e l o w, a n e x a m p l e o f w a t e r - j e t c u t s t e e l c o n n e c t i o n s. D u e t o t h e o a k ’s t a n n i n c o n t e n t , o n l y s t a i n l e s s s t e e l c o u l d b e u s e d a s a m e d i u m f o r t h e m e t a l j o i n t s.
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interior cladding furring strips green oak frame plywood backing tyvek wrap exterior furring exterior cladding
DIA [FRAME] 62
furring strip
furring strip
plywood backing
green oak timber frame
exterior cladding
interior cladding
cladding gasket
spacing blocks
T h i s i n t r o d u c t o r y p r o j e c t e x p l o r e s t h e way g r e e n o a k c o u l d b e u s e d a l m o s t e xc l u s ive l y a s a m a t e r i a l i n a b u i l d i n g e nve l o p e, s o a s t o m i n i m i z e c o n s t r u ct i o n c o s t a n d wa s t e. T h e e nve l o p e e m p l oy s a f l e x i b l e d i a p h r a g m a t i c s t r u ct u r e w h i ch m ay b e t i g h t e n e d a s t h e g r e e n o a k wa l l c l a d d i n g s h r i n k s away f r o m t h e g r e e n o a k f r a m e. T h e o n l y wo o d e l e m e n t t h a t i s n o t c o m p r i s e d o f g r e e n o a k i n t h e s y s t e m i s t h e p l y wo o d b a ck i n g w h i ch s t a b i l i z e s t h e s c r e e n .
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stainless steel rods
A
experiments in steambending:
B
a) creating a bending jig
C
b) steam box construction
c) complete bent unit
a proposed gridshell structure using thin cuts of force bent green oak members
STRUCTURAL SPECULATIONS 64
D
d) large scale jig test
compound joist unit system
As our explorations cont i nu e d , we b e g a n t o e x p e riment with different cuts and properties of the wo o d . D u e t o i t s u n i q u e l y h i g h m o i s t u r e c o n t e n t , we p o s t u l a t e d t h a t we m ay b e able to use steambending to o u r a d va n t a g e. We u n f o r t u n a t e l y f o u n d t h a t t h e o a k ’s irregular str ucture made t h i s u s a g e i m p o s s i b l e. S t i l l , t h e s e d i s c ove r i e s p r o m p t e d us to capitalize on thinner c u t s o f t h e wo o d t o b e n d i t into a gridshell str ucture or to create system of flexible c o m p o u n d j o i n t s.
right, conceptual pavilion using a combination of the bent-joist unit and compound joint systems a b o v e, p r o p o s e d s t r u c t u r a l c o n c e p t using steam bent green oak units to c r e a t e a n i n n o va t i v e j o i s t s y s t e m .
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EXPLORING JOINERY
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a b ove, wa t e r j e t c u t t e r creating stainless steel components left, test assembly right, finished joint // the rigidity of the steel a l l ow s t h e wo o d t o s h r i n k a n d wa r p w i t h o u t a d ve r s e l y a f f e c t i n g t h e stability and position o o f t h e j o i n t a n d ove r a l l str ucture
c o m p o n e n t s we r e designed in rhino and fabricated from steel
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RETHINKING, RECOMPOSING W h a t we f o u n d t o b e t h e m o s t s u c c e s s f u l e m p l oy m e n t o f t h e g r e e n o a k wa s r i p p i n g d ow n t h e l a r g e r c a n t s i n t o t h i n p l a n k s. B y a l t e r i n g t h e t h i ck n e s s we we r e a b l e t o f a b r i c a t e a m o r e s t a b l e s t r u c t u r e u s i n g t h e s a m e m a t e r i a l s. S y s t e m s o f l ay e r e d j o i n t s a n d i n p a r t i c u l a r l ay e r e d t r u s s e s we r e t e s t e d u s i n g s m a l l g r e e n o a k m o d e l s. A s t r u c t u r a l s y s t e m w h i ch we c a l l e d t h e p e n t a g o n a l h o u s e u s e d t h e s e m e t h o d s o f c o n s t r u c t i o n a n d j o i n e r y.
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P. 0 2
s u p e r d i g i t a l // u l t r a - p h y s i c a l
T his project examines the relationship between the processes of digital production and physical manipulation of material. It attempts not simply to translate a digital design into physical for m, but to allow the capabilities of digital modeling prog rams to infor m the utility of a physical object. In this case, Monolith was used produce org anic for ms which were impor ted into Rhino and given a sense of logic through m a n i p u l a t i o n s i n G r a s s h o p p e r. F i n a l l y, t h e q u a l i t a t i v e n a t u r e o f t h e m o d e l r e p r e s e n t a t i o n s w e r e u s e d i n selection of materials for physical production, transmuting the original for m into something completely n e w. T h e s e p h y s i c a l m o d e l s i n f o r m e d n e w p a t h w a y s t o u s e i n t h e d i f f e r e n t m o d e l i n g p r o g r a m s a n d i n t u r n i n s p i r e d n e w i t e r a t i o n s o f p h y s i c a l f o r m s.
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‘roadmap’ of for ms and connections produced in Rhino to ser ve in the assemblag e of the final model
The digital layers of the monolith objects here are transfor med through a series of grasshopper m a n i p u l a t i o n s. T h e s e d r a w i n g s s e r v e d a s t h e basis for the ‘shiny clouds’-heat sealed Mylar balloons created from the profiles of for ms produced in the digital design processes //
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PROCESS + IMAGE
Final models were used to create one final representation of the work that even fur ther transfigured the utility and m e a n i n g o f t h e o r i g i n a l f o r m s. I n t h i s c a s e , t h e s c a l e o f the physical for ms was manipulated to speculate about the ability of the ‘clouds’ to occupy real world space and be inhabited on a human level. T his rendering incorporated photog raphy of the physical model and the illustrator repres e n t a t i o n s c r e a t e d i n o r i g i n a l d i g i t a l g e n e r a t i o n s.
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shiny cloudscape + images of model process pieces
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FINLAND
| FILM
C U LT U R E arts + endeavors
P. 0 1
finland
In the summer of 2015, I studied abroad at Aalto University in Helsinki Finland. T he prog ram consisted of one month of travelling the Finnish countr yside and documenting, drawing and modelling a historic Finnish Church, and one month of designing a project related to the experience of study abroad. The summer was a cultural tur ning point in my understanding of how a r c h i t e c t u r e a n d t h e a r c h i t e c t h e r s e l f m o r e s p e c i f i c a l l y, h a s t h e a b i l i t y t o d e e p l y i m p a c t o n e ’s h o m e a n d s u r r o u n d i n g s. S t u d y i n g t h e wo r k o f A a l v a r A a l t o a m o n g o t h e r F i n n i s h a r c h t i e c t s a n d s e e i n g h o w t h e i r c u l t u r e o f s l o w n e s s, r e s p e c t f o r t r a d i t i o n , m a t e r i a l , a n d p l a c e , a n d r e v e r e n c e f o r l i g h t i n f l u e n c e d t h e i r u n i q u e l y F i n n i s h wo r k w a s a n i n s p i r a t i o n f o r m y o w n h i s t o r y - o f Te n n e s s e e a n d the South.
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l i g h t a n d wa t e r, h el s i n k i a n d k i
MANIPULATED APERTURES
transparency, color, and perception, as explored through the ‘mirror’
ex p e r i e n c i n g t h e m i r ro r, l i g h t a n d c o l o r
The drawing on the left is an exploded axon of an experimental spatial constr uct designed as a conceptual representation of a student hostel for Aalto University in Helsinki, Finland. T his piece explores the idea of self reflection, perception and image which are all concer ns of the student abroad. The design was inspired by a series of diag rams-two of which are also featured on the right-that analyze architectural conce pts based on photog raphs taken during my stay in Finland. T his conceptual ‘mir ror’ was developed into a study model, vignette pictured above.
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N OF MASS
COMMUNIO
PA R A L A X a
a...+
T he interplay of material for ms has transfor mative proper ties for a
primary intent of an object. A screen when repeated, regains a q u a l i t y o f m a s s, a f l o w e r i n a f i e l d l o s e s d e f i n i t i o n i n t h e r e p e t i t i o n . These
+. . . b
b
b
objects
further
become
compositional
characters-light
infor ms shadow and the commingling of for ms infor ms notions o f f r a m e a n d i m a g e , t h e r o l e s c h a n g e w i t h m o v e m e n t o f t h e l e n s.
ation l acts of fabric tion of form. Al ea cr d e th in ng g, scrapi an al instinct aterials, carvin s is man’s prim m as n m ve of gi g of in n rv atio The ca and transform manipulation orginate with
VEIL C l o s i n g o n e ’s e y e l i d s a l l o w s o n e t o u n d e r s t a n d a n e w d i m e n s i o n of light. The shifting of shapes and the blur of colors turns the l i g h t a g a i n s t t h e e y e , o b s c u r i n g r a t h e r t h a n i n f o r m i n g. L a y e r s o f i n f o r m a t i o n s l i p i n a n d o u t o f f o c u s t h r o u g h s m a l l a p e r t u r e s, a l l o w i n g t h e b r a i n t o f o r m u l a t e p a t t e r n s a n d o r d e r f r o m t h e c h a o s.
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80
81
82
1.
the beach
2.
Mid-summer wildflowers
3.
Nakkilan reflections
4.
Kiljava
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P. 0 2
film
O v e r t h e p a s t f i v e y e a r s, I h a v e d e v e l o p e d a p a s s i o n f o r f i l m i c m e d i a a n d t h e w a y t h a t f i l m c a n i n f l u e n c e p r o c e s s e s o f d e s i g n . I t h a s c o m e i n t o p l a y i n m y w o r k t h r o u g h p r o c e s s c o l l a g e s, a t m o s p h e r i c d i a g r a m m i n g a n d s i t e s t u d i e s. I h a v e t a k e n t w o e l e c t i v e c o u r s e s d e a l i n g w i t h t h e r e l a t i o n s h i p o f f i l m a n d a r c h i t e c t u r e and these explorations have per meated my work in a way that lends a better sense of place, time and movement through space.
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b e l o w, s t i l l f r o m ‘ O B l i n d S i n n e r ,’ 2 0 1 4 / / l e f t , s t i l l f r o m ‘ T h e N i g h t m a n a g e r ,’ 2 0 1 6
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the NIGHTMANAGER
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Understanding ‘the cut’ and the frame, can help infor m the way space is experienced in real time and how a space might weather in time. Creating architecture which exists in all four d i m e n s i o n s i s i n t e g r a l t o d e s i g n t h i n k i n g. A d d i t i o n a l l y, I b e l i e v e f i l m i s a k e y c o m p o n e n t in expressing the atmospheric nuances of site, and better knowing ones environment.
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the DISEMBODIED CIRCLE
!
T his work, presented at the National Conference on the Beginning Design student combined film and diagram to develop an initiation ritual for first year students as a way of understanding three dimensional space.
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understanding the circle
89
01
maintain a perfect circumference
02
walk leg over leg in a clockwise motion
S TEP 07
Gather twenty to thirty beginning design students, find a relatively flat grass field on campus, and compose yourselves at arms length into what you consider to be an ideal circle. ...
01
maintain curved arms
02
point feet inwards facing the circle
S TEP 08
Return to the original circle with fingertips touching and arms curved and pu your feet together facing the circle. ...
90
In this photo: drone footage of fir st year students from the U n i v e r s i t y o f Te n n e s s e e p a r t i c i pating in the process of creating the Disembodied Circle. left, diagrams illustrating steps of the Disembodied circle program
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thank you for your consideration.
-Camille
...