PORTFOLIO 2016 by Janice Jones

J A N I C E J O N E S P O R T F O L I O 2 0 1 6

CONTENTS

A P P A L A C H I A N O B S E R V A T O R Y . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4F FALL 2013 SPATIAL CONSTRUCT...........................................................8 FALL 2011 A Q U A R I U M . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 FALL 2012 A H O U S E F O R M A R K Z. D A N I E L E W S K I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14 SPRING 2013 D O N Q U I X O T E ‘ S W I N D T U R B I N E . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 FALL 2015 P R E L I M I N A R Y T H E S I S W O R K . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22 FALL 2015 A N C H O R . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 FALL 2013

T H E W I N S T O N - S A L E M W A L L . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 SPRING 2014 U R B A N M I X E D - U S E B L O C K . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36S SPRING 2015 E U R O P E A N S T U D I E S P R O G R A M . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 FALL 2014 S I L K - S C R E E N P R I N T I N G . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 FALL 2015 W A T E R C O L O R S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 SPRING 2014 D A R K R O O M P H O T O G R A P H Y . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 FALL 2015

APPALACHIAN OBSERVATORY FALL 2013 This building serves to reorient the existing parallel nature of Marshall, NC, and the French Broad River it runs alongside to a more perpendicular organization. This reorganization serves to bring people from the town to the river instead of viewing the existing landscape as a piece of infrastructure. The Appalachian Observatory houses a laboratory, fieldwork building, apartments, and community space.

A corten screen wraps around the southern facade, encasing it in a pattern thats permeability shifts as it encounters areas of various privacy concerns.

Slices through the corten encased complex were removed, providing public gathering courtyards to serve as a welcoming environment for the town. These courtyards carried through to the interior of the building through the use of glass walls and a continuous floor plane. A central stair in the main courtyard provided a means of intertwining the inside and out, and providing for the townspeople a way to view the river from varying angles. Floorplans from the second floors of the laboratory and community space extend out to form rooftop terraces for another extension of the inside out.

SPATIAL CONSTRUCT FALL 2011 A series of cubes were designed that become increasingly more open. In each proceeding cube, the joints become less and less interlocked, showing the structure of the parts that make up the whole. This cube structure was studied further to look at the effects of the origami structure on the transparency of the material that was making it. The opacity of chiffon fabric allowed for light to be selectively filtered based on how many layers of fabric were needed to support the construct at that point. The final spatial construct was a flattened version of the original cubic structure. This flattening aided in the stability of the overall structure.

Further support was added through a wire structure embedded within the layers of chiffon. 10

AQUARIUM FALL 2012 A cultural institution was created for Blacksburg, VA, to celebrate the nearby New River, one of the oldest rivers in the United States. The aquarium is located in a twelve foot wide alley. The alley connects the downtown Blacksburg scene to the local farmers market. This point of passage is often used by the community, serving as a go between in the block and bringing opportunities for the discovery of the farmers market facilities. The alley also connects more parking facilities to Main Street. While in the aquarium, you travel through, in, above, and below the water, interacting with the life within in a variety of ways.

Parti diagrams helped to understand the relations between the water and the air in terms of positive and negative space. These diagrams helped to understand the relationship of the individual to the water as they move through, around, between, above, and below the streams. 12

DOWNTOWN BLACKSBURG

ALLEY

FARMERS MARKET

While in the aquarium, you travel through, in, above, and below the water, interacting with the life within in a variety of ways. A path is carved through the lowest level of the aquarium to maintain access to the nearby farmerâ&#x20AC;&#x2122;s market from downtown. This path allows the casual pedestrian a glimpse into the aquarium tanks and beckons them to come inside.

FLOOR 3

FLOOR 2

FLOOR 1

A H O U S E F O R M A R K Z. D A N I E L E W S K I SPRING 2013 Mark Z. Danielewski, author of House of Leaves, writes ergodic literature. The house is created to suit his writing style, where each page, like each room, has its own lighting characteristics and character. The house, like his books, appears normative at first glance. But with more interaction, it is revealed that the house exists mostly below the surface, with a main entry actually tunnelling through the ground. The house has spaces not just for writing, but to suit his other interests such as a theater space. Because so much of the mass is underground, the ground plane has been sculpted and patios have been added to provide the same amount of square footage on the surface plane as the rooms and areas that are buried.

1 5 10 16

This house was inspired in both plan and section by Danielewskiâ&#x20AC;&#x2122;s page layouts. 18

DON QUIXOTEâ&#x20AC;&#x2122;S WIND TURBINE FALL 2015 The Rocky Forge Wind Farm should not only meet the pragmatic demands of the turbine array, but engage the inherent aesthetic potential in a large scale human intervention within the natural landscape. This project was an entrance into the Virginia Society Competition, a weekend-long architecture exercise for all schools in Virginia.

The project was used as a jumping off point for a thesis. It was used as a means by which to begin transforming a novel into a more physical environment. The chosen novel was The Ingenious Gentleman Don Quixote of La Mancha by Miguel de Cervantes Saavedra. This novel creates the capability for a playful offshoot on the main competition brief of wind turbines as a new, and sometimes alien, form of technology.

They caught sight of thirty or forty windmills standing on the plain, and as soon as Don Quixote saw them he said to his squire: ‘Fortune is directing our affairs even better than we could have wished: for you can see over there, good friend Sancho Panza, a place where stand thirty or more monstrous giants with whom I intend to fight a battle and whose lives I intend to take.’ ‘Look you here,’ Sancho retorted, ‘those over there aren’t giants, they’re windmills, and what look to you like arms are sails - when the wind turns them they make the millstones go round.’

The windmill from the novel is transformed into a tower that holds the main program capabilities after a battle with Don Quixote.

PRELIMINARY THESIS WORK FALL 2015 I am studying how the rearrangement and re-proportioning of archetypal parts can create a building that distorts perception and makes strange. This idea of the uncanny, or unhomely, in architecture has been written about and noticed by artists and writers for hundreds of years. Anthony Vidler bests describes the uncanny as the “disturbing unfamiliarity of the evidently familiar.” Edgar Allan Poe’s Fall of the House of Usher written descriptions best captured this sense of unease. The story descries a house like a crypt, predestined to be buried in turn. The site is desolate, the walls are blank and faceless, and the windows are eye-like, but without life, vacant. Poe completely renders a scene in his prose, efficiently describing not only the particulars of a space, but also the atmosphere of the air.

It was possible, I reflected, that a mere different arrangement of the particulars of the scene, of the details of the picture, would be sufficient to modify, or perhaps to annihilate its capacity for sorrowful impression.

How do you design this environment? The archetypal parts can be manipulated to form a sense of the uncanny in three main ways: immediate perceptual or formal manipulation, typological manipulation through the use of archetypal form, and functional manipulation with an expectation of normative engagement.

The room The in room which in which I foundI found myselfmyself was very waslarge very and largelofty. andThe lofty. The The room in which I found myself was very large and lofty. The windows windows were long, were narrow, long, narrow, and pointed, and pointed, and atand so vast at soavast distance a distance from the from black thewere black oakenoaken fllong, oor as floor tonarrow, be as altogether to be altogether inaccessible inaccessible from and from at so vast a distance windows and pointed, within.within. FeebleFeeble gleams gleams of encrimsoned of encrimsoned light made light made their way theirthrough way through from the black as be altogether inaccessible from the trellised the trellised panes, panes, andoaken served and served tofloor render to render suffito ciently suffi ciently distinct distinct the more the more prominent prominent objects objects around; around; the eye, the however, eye, however, struggled struggled in vain intovain reach to reach their way within. Feeble gleams of encrimsoned light made the remoter the remoter anglesangles of the of chamber, the chamber, or theor recesses the recesses of the of vaulted the vaulted through theceiling. trellised panes, and served to and fretted and fretted ceiling. Dark draperies Dark draperies hung upon hung the upon walls. the walls. The general Therender general sufficiently furniture furniture was profuse, was profuse, comfortless, comfortless, antique, antique, and tattered. and tattered. Many Many booksthe bookseye, however, distinct the more prominent objects around; and musical and musical instruments instruments lay scattered lay scattered about,about, but failed but failed to givetoany give any struggled in to the remoter the chamber, or vitalityvitality to the to scene. the vain scene. I felt that I feltIreach breathed that I breathed an atmosphere an atmosphere of angles sorrow. of sorrow. An ofAn air of recesses stern, air of stern, deep, deep, and and irredeemable gloom gloom hungfretted over hungand overpervaded and pervaded all. Dark all. draperies the of irredeemable the vaulted and ceiling. hung upon the walls. The general furniture was profuse, comfortless, antique, and tattered. Many books and musical instruments lay scattered about, but failed to give any vitality to the scene. I felt that I breathed an atmosphere of sorrow. An air of stern, deep, and irredeemable gloom hung over and pervaded all.

-Edgar Allan Poe, Fall of the House of Usher

The red room exists as an exploration into how Usher’s study could be interpreted while still staying true to the literature. 26

The turret house was a first pass at attempting to spatially understand the House of Usher as a play on an archetype. 27

ANCHOR FALL 2013 Situated along the southeast side of the Duck Pond and roughly parallel with West Campus Drive, three toilet rooms extrude themselves from a continuous, board-formed concrete wall. The wall acts as a ventilation system and as a host for four composting toilets, while interior volumes of white stone hover over a three inch plinth. Collaboration with Haley Maguire Winner of Third Year Competition

This continuous and shifting structure also remains static in that it is referable to itself as a host, then referenced by its extruded parasitic rooms. 28

The wall presences itself in the site as an exterior form and interior wall, serving structural, sculptural, and mechanical purposes. The wall anchors the white parasitic forms and their various toilet rooms into the contours. The wall itself is anchored around an old tree. 30

THE WINSTON-SALEM WALL SPRING 2014 The Winston-Salem wall consists of a large concrete wall that rises out of the ground at one end and melts into the ground at another. This urban link serves as a pedestrian bridge for crossing over Business 40 when traveling between Winston and Salem. The wall is inhabited by people and program, bridging the gaps between the two parts of the city. The city of Winston Salem was analyzed thoroughly. In addition to looking at basic street maps of the surrounding areas, a thorough investigation of the retailers in the area was completed. The red circles indicate a five and ten minute walking radius from the site, and the white paths indicate major pedestrian thoroughfares.

Windows in one portion of the inhabitable wall are reminiscent of castle arrowslits. The narrow banding serves as a marker of depth as visitors descend into the structure.

SECTION A - A

Section A-A

SECTION B - B

Section B-B

Aires Mateus - Thickened Wall Diagrams

Plan drawings of Essex Castle shown as an inhabited wall. 34

“When looking onto the constructive elements, the ‘wall’ plays a definitive role, acquiring in both cases a gigantic dimension. The Wall understood as the interface layer with an outer face touching the exterior and an inner one related to the main space. Between these two faces, it is where the highest density of human activity takes place. A defensive bastion is mostly inhabited in its thickness; a several metres deep structure supporting the whole building, but also lodging the whole variety of tiny and

“ p d w r w

A a b i c s S p a I a a f

Section B-B

The building formed by the wall consists of an art gallery with five artist-in-residence apartments and studios. This program would bring with it the ability to mix the traditional art of historical Salem and the Moravian church with the modernity of downtown Winston. The building explores the resonance of the wall ending in both its material condition and spatial experience.

Section through the art gallery shows the relationship with the surrounding wall.

The first floor of the art gallery explores how the internal order of the grid would react with the ending of the wall.

A model of the art gallery shows the spatial relationships between differing gallery levels. 37

URBAN MIXED-USE BLOCK SPRING 2015 Jefferson Park, Chicago is the only stop on the blue line that is completely underdeveloped. The surrounding area lacks vibrancy and a strong sense of community with the nearby city. To update Jefferson Park, a series of micro-apartments and grocery store were combined to create a urban condition on this mixed use block. This building is a city in that it is connected to the communities that surround it. The high and low density areas of this building are designed to interact with each other but also with the greater Jefferson Park area. They act as a catalyst that will make Jefferson Parkâ&#x20AC;&#x2122;s downtown area a more busy, vibrant place. The organizing principle that makes this goal possible is the city grid of Chicago itself. The design is set on a 22x44 grid, a close approximation of the residential plots found in Jefferson Park. The city grid is occasionally disrupted by diagonal highways, and this is represented in the siteâ&#x20AC;&#x2122;s close proximity to the Kennedy Expressway. Applying this grid to the total mass of programming incorporated in the design, we are able to define residential and commercial areas, terrace them for views and daylighting, and define entrances and public spaces that guide visitors across the site. The building is broken into something far less monolithic.

Floors modulate as the building grows taller, accommodating program that requires more space. The coffee shop, on the ground floor, takes relatively little space, and so much of the ground floor is given over to the entrance plaza. The fourth floor covers the expanse of the site entirely, and hosts dry goods, one of the largest sections in any grocery store. As the building grows taller, more and more of the floors are given over to residential units. This is done not only to create a gradient of transition between high and low density areas, but also to ensure that as many people as possible are away from the nearby Metra line, and have access to a maximum amount of daylight and scenery. The result is a series of residential communities surrounding the grocery store and amenities of the building. Much like a city, this high density commercial space becomes the meeting place for people from the different communities, as well as visitors from outside the city itself. Again, much like organization of the city, these public and private spaces are not totally insular. Though there will be a main checkout space for people entering and exiting the building, there will be smaller checkout spaces that connect the residential portions of the building to the market, allowing residents to come and go as they please. The market itself is arranged in a manner typical to most grocery store layouts, but in a vertical rather than horizontal direction. Items of more immediate need are placed on the lower floors, while items that visitors are willing to travel for are placed higher. 40

APARTMENT

FLOOR 8

OUTDOOR SEATING APARTMENT

APARTMENT

DINING FACILITIES

APARTMENT

POOL

APARTMENT

FITNESS GATHERING SPACES CENTER

APARTMENT

APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT

APARTMENT

APARTMENTAPARTMENT APARTMENTAPARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT

APARTMENT

RESTAURANT

APARTMENT

GREEN SPACES

VIEWING VIEWING AREA AREA

COFFEE

OFFICES

RESTROOM

CLASSROOM APARTMENT

APARTMENT

CLASSROOM

APARTMENT

OFFICE STAIRS

LOBBY

APARTMENT

BATHBATHROOMS ROOMS APARTMENT

APARTMENT

MAIL

APARTMENT

STAIRS

VESTIBULES

BATHROOMS APARTMENT

APARTMENT

GROCERY

ELEVATOR ELEVATORS

APARTMENT STAIRS

CUSTOMER SERVICE

APARTMENT

APARTMENT ELEVATOR

APARTMENT

HALLWAYS

APARTMENT

FLOOR 7

APARTMENT

FLOOR 6

The public spaces have the largest window exposure, allowing for a maximum of light. The apartment windows are a quartered versions of those public windows, smaller, but still generous for their relative size. Spaces such as circulation cores, hallways, and public bathrooms benefit from natural light, but do not necessarily need views. These are given a still smaller patterning. APARTMENT

APARTMENT

FLOOR 5

FLOOR 4

FLOOR 3

FLOOR 2

FLOOR 1 42

SOUTH FACADE

NORTH FACADE

WEST FACADE 43

EUROPEAN STUDIES PROGRAM FALL 2014 The European Studies Program is run through the College of Architecture and Urban Studies at Virginia Tech. Students on this program document elements of the physical environment, which range in scale from single objects to the analysis of cities. Further, they explore the interface between buildings and the fabric of the existing city. Through diverse means of documentation, students are able to present their analyses of the habitable, physical environment. From sketches and drawings to computer models, photographs and essays, these studies are guided by the particular interests of each student. Often, architects responsible for designing buildings which have been the subject of study are invited to give lectures and to lead seminars about their work. The programs are organized in such a way that students, through the critical examination and discussion of their own home environments, are encouraged to apply these experiences to their work when they return to the United States.

The visited cities includes: Berlin, Germany Nuremberg, Germany Regensburg, Germany Munich, Germany Bregenz, Austria Basel, Switzerland Lausanne, Switzerland Bellinzona, Switzerland Vals, Switzerland La Tourette, France Paris, France Nimes, France

San Sebastian, Spain Bilbao, Spain Madrid, Spain Valencia, Spain Barcelona, Spain Como, Italy Verona, Italy Venice, Italy Florence, Italy Siena, Italy Rome, Italy

Enric Miralles uses shifting planes to create framed openings in the Igualada Cemetery chapel in Barcelona, Spain.

Enric Miralles pulls geometry from Le Corbusier in his Igualada Cemetery in Barcelona, Spain. FACING PAGE: Le Corbusierâ&#x20AC;&#x2122;s Convent Sainte-Marie de La Tourette 46

The cast glass handrail in Terragniâ&#x20AC;&#x2122;s Casa del Fascio has an amazingly opalescent quality. FACING PAGE: The Bauhaus lighting reflects off of the iridescent and prismatic ceiling in a similar way to the cast glass. 48

The Pantheon was broken apart in multiple ways to study the complex concrete work. FACING PAGE: Axonometric and sectional studies of San Carlo alle Quattro Fontane were used to try to understand the geometry. 51

Bibliotheque Sainte-Genevieve by Henri Labrouste has delicate supportive details that allows light to filter evenly through the interior. FACING PAGE: The Pazzi Chapel by Brunelleschi has some of the most complex geometry that makes the axonometric very complicated. 52

SILK-SCREEN PRINTING FALL 2015 Designs were created in the computer before being transferred onto a fine-mesh screen covered in emulsion. Ink is forced through the screen openings with a squeegee. One color is printed at a time, so several screens have to be created to produce a multicolored image.

WATERCOLORS SPRING 2014 Using three basic watercolors, a gradient of colors and shades was produced to explore the variety of possibilities.

DARKROOM PHOTOGRAPHY FALL 2015 Darkroom photography focuses on the analog process. Photos were shot using 35mm roll film in a SLR camera. Aperture, focus, and shutter speed were manually updated throughout the shooting process. Film was then transfered to a developing tank and chemically developed into negatives before using an enlarger to process the final prints. Processes that are now used as digital tools today, such as burning and dodging, were studied in the most basic way. Double exposure was a point of particular interest, and studied through the interception of an old photo of Frank Lloyd Wright and a new photograph of Fallingwater.