EDW
EMILEE DACEY WILSON Undergraduate Portfolio Selected Works
CONTENTS ARCHITECTURE
SOCIAL INTERFERENCE North Knoxville, Tn. // Spring 2015
TOPOPHILIA Honors Thesis // Spring 2017
KNOXVILLE HALL Downtown Knoxville, Tn. // Fall 2015
THE BATH HOUSE Rome, Italy / Study Abroad/ Spring 2016
DESIGN / BUILD
GREENOAK REVISITED Research Studio // Fall 2016
MAKING Fabrication // Various Works
Architecture
SOCIAL INTERFERENCE NORTH KNOXVILLE, TN SPRING 2015
The corner of North Broadway and Central Avenue in North Knoxville, Tennessee currently resides on the brink of rehabitation. Half abandoned, half up and coming, the area has the potential to be a hub of culture and community with one activator of energy; with one interference. The proposal is for an event space, a versatile design without a restricting title; an event space for an event that has yet to be invented. It would be an invitation for all citizens and creatives to gather for the purpose of innovation and retreat. This design challenges entry, interior, and the idea of the gallery. Layered walls bend to become rooms. A stage can double its area in a few seconds. Hooks drop from the ceiling to hold an installtion. The site is operable on many level; it is dependent on the inhabitant’s level of knowledge and sense of exploration.
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locating the site
10:36 pm ZONES OF INTERFERENCE Mapping the location of the highest points of interference between human activity, site, and machine during three separate events. Each event occurred at different times of day within a single week with similar attendance and durations.
SITE PLAN
STAGE ROLL DOOR
PERSPECTIVE OF GARDEN OFF NORTH ENTRANCE
OPERABLE WALL
ILLUMINATED PATH FOR NIGHT INHABITATION
INHABITABLE WALL SCULPTURE PADS
CRANE TRACKS // AREA OF MOBILITY
GANTRY CRANE
SECTION PERSPECTIVE THROUGH MAIN STAGE
MODES OF OPERATION This space is intended to be challenged and stretched to its limit. The Constant, The Operator, and The Variable are just three of the possible types of visitors to this space.
THE CONSTANT
The Constant is the everyday, the casual visitor stopping by or stumbling onto the site. Their path is sharp and abrupt as something new catches their eye. The Operator is maybe working this space. They are setting up a new installation or organizing a performance. Their movements are precise and direct, they know the site and their mission well. The Variable is sneaky. They are the explorertesting if there is a boundary they cannot cross. Their path is quick and smooth and ventures further than the others..
THE OPERATOR
THE VARIABLE
TOPOPHILIA HANT HOLLOW, TN Honors Thesis 2016-2017 Distinguished Design Award Faculty Letter of Merit UTK Honors Exhibition
This is a place for memory and it is a place to get lost; for allowing oneself to become lost in order to discover and for lost histories to be found. It is a home for wayward memories. It is home for the trespasser. It is possible to experience the world from remote locations, but architecture has the potential to engage people as a corporeal experience. There is value in the haptic; the holistic. There is still something to be gained from understanding a place through its existing history and personal reactions. This project is rooted in transcendental ideas of traversing the landscape, seeking refuge in the wild, and moving towards wilderness. This thesis seeks to unearth the layers of nostalgia in a rural community that is on the verge of being lost in the face of modernity. It employs memory and bodily engagements as design strategies. Nine known installations inhabit the site. It is here that memory takes a physical form. By engaging in an installation, one engages with the local and collective memories embedded within it. They serve as totemic conduits for new explorers to continue a story that began long before their arrival. These moments vary between existing, fictional, minute, and massive and will land across miles. Over time, paths will converge and diverge at these places and form an infinite number of constellations.
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VERSAILLES VERSAILLES
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THE CHURCH
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THE THE CHURCH TRADING POST
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THE TRADING POST LOCAL EXCHANGE LOCAL EXCHANGE THE STORY TRAIL THE TRAIL THE STORY LIGHT FENCE THE LIGHT FENCE THRESHOLD CAIRNS 2.5 M
THRESHOLD CAIRNS SHADOW HOLES
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SHADOW HOLES TOTEM STONE TOTEM STRATASTONE TUBES STRATA TUBES THE REPOSITORY THE REPOSITORY FAMILY CEMETERY FAMILY CEMETERY
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BANNACK, MT BODIE, MT WONDER WASHINGTON, CO AURORA, NV
GOLD KING, CA CLARK COUNTY , NM LAKE MOHAVE, NM CALLVILLE BAY, AZ
FORGOTTEN HISTORIES // MAPPING OF GHOST TOWNS
TRESPASSING FIELD STUDIES AND DOCUMENTATION
HANT HOLLOW
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the story trail light fence the church strata tubes shadow holes totem stone threshold cairns local exchange the trading post
The sacred position of the high ground is found on the northernmost peak of the ridge line, Versailles Knob. The climb is short but exerting, rising in about half a mile. The highest place is easily spotted from the zig zagging route, rounding gracefully out of the fields below. It is here, that once stood a wooden flag pole, riddled with carvings and graffiti; the marks of all those who had made the climb. Even after it fell and began to decay, more signatures, promises and, declarations of love were added to its carcass. That body has long since disappeared but the urge to be remembered remains; the human need to leave a legacy. This installation invites defacement and creates a place to satisfy this need. As one approaches the peak, a sandstone circle rests on the ground. Kneeling beside it, one enters a position of prayer as they bow over their work. Some distance away lies the confessional. Set off the earth, the visitor isolates himself from his surroundings by entering the small space. It is a place for quiet contemplation, for existing in a meditative state within nature; much like the hunter, rising early with patience. If the visitor decides to kneel or sit, he is then level with the confessional’s only other aperture. Through this opening, the viewer is level with the high ground and a visual dialogue is formed between the two visitors.
the church 35°43’7.64”N, 86°32’22.64”W
June 18—. Squire Hawkins sat upon the pyramid of large blocks, called the “stile,” in front of his house, contemplating the morning. The locality was Obedstown, East Tennessee. You would not know that Obedstown stood on the top of a mountain, for there was nothing about the landscape to indicate it—but it did: a mountain that stretched abroad over whole counties, and rose very gradually. The district was called the “Knobs of East Tennessee,” and had a reputation like Nazareth, as far as turning out any good thing was concerned. The Squire’s house was a double log cabin, in a state of decay; two or three gaunt hounds lay asleep about the threshold, and lifted their heads sadly whenever Mrs. Hawkins or the children stepped in and out over their bodies. Rubbish was scattered about the grassless yard; a bench stood near the door with a tin wash basin on it and a pail of water and a gourd; a cat had begun to drink from the pail, but the exertion was overtaxing her energies, and she had stopped to rest. There was an ash-hopper by the fence, and an iron pot, for soft-soap-boiling, near it This dwelling constituted one-fifteenth of Obedstown; the other fourteen houses were scattered about among the tall pine trees and among the corn-fields in such a way that a man might stand in the midst of the city and not know but that he was in the country if he only depended on his eyes for information. “Squire” Hawkins got his title from being postmaster of Obedstown—not that the title properly belonged to the office, but because in those regions the chief citizens always must have titles of some sort, and so the usual courtesy had been extended to Hawkins. The mail was monthly, and sometimes amounted to as much as three or four letters at a single delivery. Even a rush like this did not fill up the postmaster’s whole month, though, and therefore he “kept store” in the intervals.
Human disturbance is inevitable. Realizing this unavoidable outcome, the people are specifically invited to interact with the land with The Story Trail. It creates a point of forced disturbance. Twelve steel plates are attached to trees and form a new path between Hant Hollow and Bowles Road. The plates bear the first chapter of Mark Twain’s The Gilded Age in eleven parts plus an introduction plate. This is a story of people coping with the pressure of selling their land in rural Tennessee, a theme most locals can identify with. To complete the chapter, the visitor must walk from one end to the other. Over time, the trees will grow over the plates until they have been overtaken completely. However, by this time, a new scar will have formed in this spot; a new migratory path worn by unsuspecting readers.
the story trail 35°42’53.10”N, 86°33’30.34”W
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In the shade of two oak trees, passersby stop to take pictures in the daffodils, ignorant of the history they step on. Here, where the Great South Trail crosses a deer path and old men gather for cards on the site of the Versailles Market, sits the repository. The urge to steal a river stone or pick wildflowers is instinctual, human. The repository is a place for depositing these stolen items. Over time, an accumulation of found objects, dried flowers, images, etcetera will build within its walls. Eventually, these pieces will be returned and the repository will be empty for a time. Some pieces may return and some may disappear. Some may come from another place. It is an archive of facts and fictions.
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the repository a place of collective memory 35°43’41.66”N, 86°32’31.43”W
PROJECT EXHIBITION (INCLUDING REPOSITORY)
KNOXVILLE HALL DOWNTOWN KNOXVILLE, TN FALL 2015 | INTEGRATIONS IN COLLABORATION WITH MACY McCARTY
The priority of the Center for Sustainable Education is to employ the building as an interactive demonstration of sustainability. It will be a tool for the city of Knoxville as an operable educator; engaging all ages and demographics. The center seeks to be a place of collaboration between local organizations- to serve as a forum for those people making an effort for this cause locally. The design manifests these ideas by serving as a public hall; the passage between the outskirts and the heart of Downtown Knoxville. By creating easy access to Market Square and other points of interest, the Center will become a cut through, a way to get from here to there. As visitors are entering the building, they are being exposed to sustainable education. However, many of its functional features have been drawn to the exterior to inform and educate from the sidewalk.
East Elevation
STAGGERED ROOF DRAINAGE AXON
EMERGENCY EXIT AXON
SOUTH ELEVATION
AXON OF PUBLIC HALL
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FIRST FLOOR PLAN
GROUND FLOOR PROGRAMMING A. ATRIUM B. LOBBY C. CAFE D. AUDITORIUM E. PROJECTOR ROOM F. TELECOMMUNICATIONS ROOM G. STORAGE H. GEOTHERMAL UNIT PUMP ROOMS I. RESTROOM (WITH ADA STALLS)
J. FIRE STAIR K. GALLERY/ EXHIBITION SPACE L. EXPLORATION SPACE M. LOADING DOCK N. RAINWATER COLLECTION CISTERN O. ROCKBED RAINWATER FILTER P. GARDEN PLAZA
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5/8th” GYPSUM BOARD 6” METAL FRAMING STUD 6” R-19 BATT INSULATION 1”RIGID INSULATION 3/4th” PLYWOOD SHEATHING WATERPROOF MEMBRANE 1/2” AIR SPACE 1 1/2” WHITE OAK CLADDING
KAWNEER METAL FRAMING MULLION METAL Z-CLIP EXTERIOR PERMEABLE PAVERS
PLAN WALL DETAIL
ROOF ASSEMBLY (TOP TO BOTTOM) 1. 8”TOPSOIL 2. WATERPROOF MEMBRANE 3. 6”DRAINAGE 4. 3”INSULATION 5. 6.5”CONCRETE SLAB
LIGHT SHELF SYSTEM
2” THERMOMASS RIGID INSULATION 8” THERMOMASS CONCRETE WALL
WHITE OAK FLOOR BOARDS FOUNDATION ASSEMBLY (TOP TO BOTTOM) 1. 6” CONCRETE FLOOR SLAB 2. 6”GRAVEL 3. VAPOR MEMBRANE 4. INFILL 2’ CONCRETE FOOTING FOUNDATION ASSEMBLY (LEFT TO RIGHT) 1. INFILL 2. GRAVEL 3. 3” RIGID INSULATION 4. 8.25” CONCRETE WALL 5. INFILL
DETAIL WALL SECTION
DETAIL WALL SECTION CUT
WEST ELEVATION / CAFE AND GALLERY ENTRANCE
THE BATH HOUSE FORO ITALICO, ROME, ITALY SPRING 2016 | STUDY ABROAD
The new baths will serve as a community center to Rome and homage to the history of the city. Inspired by the traditional baths of antiquity, the bathhouse at Villa Italico will reintroduce the use of water as a place to gather and a place to heal. Positioned on Monte Mario, the structure will function as connection between the wild of the nature reserve and the strict style of the Foro Italico. A cut in the hill formed by an inhabitable wall will serve as this threshold. To the east, an interior and exterior passageway will move people along the nature of path of the Villa Italico. Behind this wall, three main pools, derived from the traditional order will be embedded in the hill. The angle of the cut will slowly open up to surrounding views; visually engaging the site and following the natural topography. The baths will include locker rooms, saunas, spaces to gather, and smaller soaking tubs to serve as treatment spas for athletes during and after the Olympics. From below, the bathhouse will be integrated into the landscape to be all but hidden. Instead, the approach is from the hill, winding through the reserve until the baths are slowly revealed.
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PROGRAMMING A. RECEPTION B. LOUNGE C. APODYTERIUM // DRESSING ROOMS D. PRIVATE THERAPY BATHS E. FRIGIDARIUM F. TEPIDARIUM G. CALDARIUM H. STEAM ROOMS I. PORTICO
PROCESS SKETCHES
TRADITIONS OF THE BATHS This proposal follows the order of the traditional Roman Baths. Visitors first come to Apodyterium, or dressing room, where they may leave their clothing. They will then venture to the Frigidarium, a cold pool. The next is the Tepidarium, a warm water recovery from the cold. The last is the Caldarium which is a steamy hot bath. In addition to this pool, there is a sauna down the hall that can be used in conjunction with the bath. The baths are then to be visited in reverse order as they end up back in the dressing rooms. The Romans believed this system to be an important ritual of health and community.
FRIGIDARIUM
TEPIDARIUM
CALDARIUM
SECTION PERSEPCTIVE THROUGH BATHS
TEMPIO di ANTONINO e FAUSTINA // CHIOSTRO del BRAMANTE // TERME di DIOCLEZIANO
BASILICA di SANTA MARIA MAGGIORE // ARCO di TITO
Design / Build
GREENOAK REVISITED THE GREENOAK INITIATIVE FALL 2016 | DESIGN BUILD IN COLLABORATION WITH CAMILLE LANE AREN EDWARDS AUSTIN FLEMING JOSEPH SHEDD
The GreenOak Initiative began several years ago at the University of Tennessee and was awarded a research grant from the Environmental Protection Agency. The initiative focuses on sustainable building material exploration for lowcost construction. “Green Oak” refers to the center cant of oak lumber that is used primarily for pallets. It is not aesthetically viable as grade lumber but still stable. GreenOak Revisited was a semester focused on pushing the boundaries of what this material can do. It involved working with the many unpredictable imperfections of the cants and designing for those issues. We created our own calendar of experiments and spent twelve weeks building and testing. These tests involved experimental design and build techniques that we fitted to the unique requirements of the green lumber. We divided the tests into three main categories; wood to wood joinery, metal to wood joinery, and steam bending.
GREEN OAK EXTERIOR RAIN SCREEEN FIRRING STRIPS 1/2” PLYWOOD SHEATHING
GREEN OAK TIMBER FRAME BURLAP INTERIOR GREEN OAK PANELING
GREEN OAK TIMBER FRAME PARTIAL-THREADED BRONZE ROD HARDWOOD FRAME, KILN-DRIED
2 x 2 FLOATING FRAME 1 x 4 TRIM, KILN-DRIED
BREATHABLE WALL ASSEMBLY (left) and DISCONNECTED WINDOW (above) Our wall is fairly simple in design, focusing on the utilization of green oak as the structural element. The issue caused by doing this, however, is determining a way for the structure to still “breathe” as it continues to dry postconstruction. Our solution was to create a “breatheable” wall. The window design also faced the challenge of the shrinking cross-section. The solution was a double window frame conencted by brass rods that allow for the inner frame to move. As the green oak, outer frame shrinks, the inner, white ash frame can remain in the same place and remain sealed against the elements.
(ABOVE) INITIAL DESIGN (BELOW) FABRICATION ASSEMBLY
ANGELED JOINT The Angled Joint is an exploration of green oak used in a pitch roof system. As the oak dries, it shrinks and pulls away, making a precise angle difficult to maintain. The triangle portion could be made at an angle desired and the leafs altered to the beam width. These dimensions are not required for stability. As the beams dry, they will only shrink tighter around the leaves, which have been given some room to ebgin with. The bolts can also be tightened over time. Since the oak does not shrink much length-wise, it is not anticipated to pull away from the pitch.
PENTAGONAL CONSTRUCT The desire to create a continuous frame structure that was lightweight and potentially flexible drove the design of the Pentagonal Construct. Inspired by the layering accomplished in a previous exploration, this investigation employs a series of woven green oak boards at fixed angles. It is then held steady by rigid diagonals. In another iteration, these diagonals could slide and allow the entire frame to expand and contract for transport. The green oak columns depicted are not structural but rather allow for a more orthogonal interior wall system and such as, could be easily assembled on site.
(ABOVE) POSSIBLE SHELTER DESIGN (BELOW) LAYERED JOINT FABRICATION, SHELTER EXPLODED AXON
MAKING SUPPERDIGITAL // ULTRAPHYSICAL SPACES OF MEMORY
Design is to work with one’s hands and engage oneself fully. I believe in the importance of working physically in tandem with the page. Beyond studio modelling, I have been fortunate to participate in fabrication classes that encouraged exploration of materials and methods. I have learned to work with wood, metals, and plastics through shop, welding, and 3D printing. I have explored other interests through site installations which has become a gowing interest. I enjoy working directly with place and the landscape.
SUPERDIGITAL // ULTRAPHYSICAL DIGITAL / PHYSICAL / DIGITAL / PHYSICAL FABRICATION PROCESS
MONOLITH / RHINO / GRASSHOPPER / EXCEL / TABLE SAW / DRILL / BAND SAW / GRINDER / WELDER
SPACES OF MEMORY
MEMORIAL INSTALLATIONS IN ODDFELLOWS CEMETERY
BRANCH CAIRNS (left) Because of Oddfellows’ years of neglect, trees have grown in large quantity and much higher than is ideal. After heavy storms, debris coats the ground and makes the site difficult to traverse. Branch cairns serve as totems of the fallen trees and act as a gesture of return. By building the cairns, one is participating in a ritual of place. It is a way to remove the brush while encouraging stay within the cemetery. Though it could be a group effort, the gathering of limbs and their arrangement requires a careful concentration and personal reflection. It is hoped that the first construction will spark more interpretations and more interactions.
CLOTHSLINE (above) The clothesline developed out of an idea involving shadows and visibility- the desire to draw people in to the site. It is derived from childhood, from playing between the laundry hanging from the line in the backyard. Cemeteries need not be frightening, they can be a place of celebration. Through the installation process, the fabric gained a life of its own. It became something to interact with directly; that could not help but to be touched. Haint Blue is a color of regional lore and is said to ward off evil spirits. Here, it is placed as an offering to those resting here as a color of peace. The way the fabric twists and hides between the trees or the shadows of the branches jump, gives life to still objects.
Thank you
615.618.7351 emileedacey@gmail.com www.issuu.com/emileewilson