WORK SAMPLE 2016 by Janice Jones

J A N I C E J O N E S WORK SAMPLE 2016

CONTENTS

APPALACHIAN OBSERVATORY................................................4 FALL 2013 PRELIMINARY THESIS WORK..................................................8 FALL 2015 A N C H O R . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 FALL 2013 T H E W I N S T O N - S A L E M W A L L . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 SPRING 2014 E U R O P E A N S T U D I E S P R O G R A M . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 FALL 2014

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.

PRELIMINARY THESIS WORK FALL 2015 I am studying how the re-arrangement and re-proportioning of archetypal elements and spaces can create a building to distort perception and make 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 best describes the uncanny as the “disturbing unfamiliarity of the evidently familiar.” The written descriptions in Edgar Allan Poe’s Fall of the House of Usher written descriptions best capture this sense of unease. The story describes a house like a crypt, predestined to be buried in turn. The site is desolate, and the house’s 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 such an environment? The archetypal elements of a house, and in this case Usher’s house, 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. 10

The turret house was a first pass at attempting to spatially understand the House of Usher as a play on an archetype. 11

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. 12

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. 14

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.

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. 19

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

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. 23