Julia Dallas Portfolio by Julia Dallas

Portfolio | 2017 Volume 1

Julia Dallas

Julia C. Dallas (215) 920 - 9925 jcdallas@umich.edu @jcmdallas

Technical Skills Autodesk // AutoCAD, Revit, Vasari Microsoft Office + Revu // Excel, PowerPoint, Publisher, Word, Bluebeam Adobe Creative Suite // Acrobat Pro, Illustrator, InDesign, Photoshop 3D Modeling and Rendering // Rhinoceros 5.0, SketchUp Visualization Media // Hand Sketching, Model Construction and Fabrication, Photography, Glass Work, Woodworking, Sculpting, Casting, Film Production and Video Editing

Interests + Activities Arts // Painting and Drawing, Glass Fusion and Flamework, Metalwork Jewelry Athletics // Basketball, Hiking, Kayaking, Sand and Indoor Volleyball, Yoga Ministry // Leader of RENEW Liturgical Reading Group, Girl Talk Institute Seminars, and Fall Retreat Team, Sunday School Education Teacher for Kindergarten, 1st , and 2nd Grade Music // Tenor Saxophonist: Wind Ensemble, Concert Band, Pit Orchestra, Jazz Band, and Symphony Travel // Austria (Vienna), Germany (Munich), Greece (Athens, Delphi, Samos, Sounion), France (Paris, Poissy, Versailles), Italy (Bergamo, Bologna, Como, Florence, Rome, Tivoli, Venice, Verona, Vicenza), Switzerland (Vals) 4

Education 2015 - 2017 University of Michigan // Ann Arbor, MI Master of Architecture, Academic Scholarship 2011 - 2015 The Catholic University of America // Washington, D.C. Bachelor of Science in Architecture, Cum Laude

Relevant

Professional Experience

May - Aug. Black & Veatch 2016 Overland Park, KC Architectural Intern

Fully comprehend and demonstrate awareness of life safety design strategies and codes according to the International Building Code (IBC), National Fire Protection Association (NFPA), and local jurisdiction // Developed observant and instinctive skills towards identifying questionable designs and suggesting alternative, code compliant spatial layouts // Design of project materiality and constructibility

2014 - 2015 Christian Zapatka Architect, LLC Georgetown, Washington, D.C. Architectural Intern

Developed architectural schematic design models and drawings for residential and commercial projects // Organized graphic design boards for project proposals, competitions, and client correspondence // Consulted with local designers regarding fixtures and materials // Managed the documentation of existing and proposed site conditions // Surveyed residential and commercial site conditions

May - Aug. Blane Steinman Architects 2013 Cape May Court House, NJ Architectural Intern

Documented through analog notation and photography existing site conditions and interior qualities // Translated analog data to digital format // Developed architectural schematic design and MEP diagrams for residential and commercial projects // Participated in staff “Lunch and Learn” seminars // Organized office AutoCAD templates

May - June ABHA Architects 2011 Wilmington, DE Design Intern

Surveyed site conditions of local institutions // Analyzed existing topographic conditions of site and translated information to digital format // Hand-sketched historical details and elevations of existing local educational institutions

May - Aug. Avo Photonics 2011 Horsham, PA Marketing Assistant

Designed, framed, and formatted featured company articles for display in conference room and main entrance reception // Developed architectural existing and schematic design drawings for anticipated renovation // Developed “punch list” for construction management

Honors + Leadership

Jan - Apr. 2017

The Force of Things: Performance and Workshop Conceptual designer and physical fabricator of ICE composer, Ashley Fure, with architect Adam Fure, “Opera for Objects” : an immersive installation and live performance

March 2017

Taubman College of Architecture Student Show Faculty-selected projects representing the best of student work created in the Fall 2016 studios

Feb. 2016

Paris Studio: Montparnasse Charette École Nationale Supérieure d’Architecture Symposium with Clement Blanchet and Jonathan Sturt

2014 - 2015 Tau Sigma Delta President The National Architecture and Allied Arts Honor Society 2014 - 2015 AGORA Publication Team Coordinator CUArch Student Organized Journal of Architectural Works Dec. 2014 Honorable Mention 401 Design Competition CUArch Foreign Studies Program Rome Education Abroad CUArch Foreign Studies with Vytenis Gureckas and Marina Kavalirek

Jan. - May 2014

2013 - 2015 Urban Field Sketching Exercise Leader CUArch Academic Focus Day with Eric Jenkins

01 Indigo Mist Housing Multi-generational Living p. 9 - 23

02 The Waiting Room Urban Pavilion p. 25 - 35

03 Brand New Heavies 5 Park Follies p. 37 - 47

04 Maker|Space Urban Library + Chapel p. 49 - 59

05 Curve + Crash Boathouse p. 61 - 71

06 Curiosities + Explorations Additional Investigations p. 73 - 79

07 The Acoustic Baths M.Arch Thesis p. 81 - 95

Indigo Mist Housing Multi-generational Living

Mexicantown, Detroit, MI Fall 2016, Kevin Atkins + Mick Kennedy, AIA + Jonathan Rule

University of Michigan

*Collaborative Project: Julia Dallas + Yu-Yang Huang + Chin-Rong Lee

In the pursuit of designing for the trend of scaler living, the firm aj² reserves the public domain as a series of social thresholds for residents by focusing on surfaces of gathering at different scales. Within dwelling units, the table surface becomes the aggregation of family story and collective memory — a surface of which exudes weight both formally and visually throughout the articulation of the design. As the team zooms out to the scale of the site, the courtyard design becomes a continuous surface composed of various nodes of gathering, from a more communal use of food truck deck, a residential “misty” courtyard, to childhood playground. The dining table as public domain plays the role of anchor throughout the proposed multi-generational and short term housing units. The firm aj² design enables such a dynamic surface to distinguish itself in both an internal and external manner.

anchors | pockets | dwellings anchors (n): architectural elements that in their combination, careful craft, and positioning aggregate as a set of active spaces for the dramatic play of familial and single life. The dining room table resided as the prominent stage upon which communal games are performed, late night homework seminars are hosted, and ambitious workshop projects are spread out across a surface. The surface of the dining room table articulates itself upon the facade of each individual and collective dwelling. pockets (n): small patches that host a jumbled collection of activities. Articulating an ambition of designing at smaller scales (rather than working from the initial intent of overall building envelope) the courtyard embraces a series of domestic domains woven together through a common path. dwellings (n): they are not boxes â&#x20AC;&#x201D; they are spatial and physical constellations of living, whose elements and relationships are activated by inhabitants of different ages, sizes, mobilities, daily rhythms, and environmental conditions. The units interlock and compose a larger cluster of joint living.

UP DN

Design Approach to Neighborhood Context and Site Organization The site organization strategy primarily sought to revive the unresolved corner conditions and dull neighborhood walkways. By creating a prominent focal point along the intersection of Palm Street and Vernor Highway — the design fused the public way with that of the inner, more residential focused courtyard creating a node of activity. The food truck service area (southwest) becomes a buffer at the corner where neighbors “pasear” and residents mingle. A large oak tree marks the edge between the food truck service area and residential courtyard, serving as a social threshold of which softly transitions to a more private and intimate setting for the residents beyond.

courtyard level // +6 ft.

The firm aj² infused the programmatic needs of the residents into various “pockets” along the interior courtyard, aggregating as a Food Truck Deck, Light-Pod Park, Children’s Playground, and Hillscape. The intent was to create spaces that situate themselves in a manner of which directly relate to the desired views and user interest of the surrounding residential units. The circular light pods (sprinkled throughout the groundscape) provide natural sunlight to the parking garage below. The string of light pods and plants become the common path connecting all communal pockets of the courtyard. The meandering path is to be treated as an integral aspect to the groundscape — similar to that of a “yellow brick road,” it carries the weight of program as opposed to simply being a subsequent surface treatment. 13

third level // +24 ft.

second level // +12 ft.

lower level garage and workshop // -3 ft.

The Life of the Building An Intertwined Network of Relations

Designing with a sense of purpose and obligation to the flexible and intertwined network of familial relationships in Mexicantown, the firm ajÂ˛ sought to celebrate the challenges of designing for Multi-generational and SRO (Single Room Occupancy) inhabitants. The building exists as a cluster of "elements" designed at the intimate scale of a table, bed, or hall, extending and aggregating throughout the site. The life of the building is exposed through these simple moments of internal gather, while simultaneously gesturing towards a larger picture of coexistence and dwelling celebrated in the courtyard, communal kitchens, living rooms, and rooftop terraces. 15

The wall section reflects the team's intentions to prefabricate the units and position them on top a storefront plinth constructed on-site. The glazed storefront rolls up to enable ventilation and outdoor seating during appropriate weather conditions. A cut through the residential units reveals the interactive dynamics of dwelling with moving terra cotta screens and balcony planters. The facade along Vernor Highway exhibits a more subtle depth change and rhythm compared to the internal courtyard facade. The glazed colored bricks situated on the frame play with a pointillism effect exhibiting instances of indigo blue and complementary colors. The courtyard facade follows the same logic as the street facade with a vertical brick frame; however, takes on a more natural color palette. The indigo blue transitions into a more vibrant, base color as it wraps around the clusters, transitioning from speckled points to shades of color.

BASE PATTERNS

WINDOWS AND LOUVER OPERATIONS FOURTH FLOOR_ SINGLE FAMILY UNIT

THIRD FLOOR_SINGLE FAMILY UNIT

SECOND FLOOR_SINGLE RESIDENT OCCUPANCY (SRO)

BASE PATTERNS

WINDOWS AND LOUVER OPERATIONS UPPER LEVEL_MULTI-FAMILY UNIT

COURTYARD LEVEL_MULTI-FAMILY UNIT

extensive green roof // 44 ft.

prefabricated wood + concrete floor // 38 ft.

balcony drainage system + brick veneer railing // 18 ft.

storefront brick veneer steel angle + tie back system // 12 ft.

multi-family unit // 1st floor

multi-family massing + components // 10 total units

multi-family unit // 2nd floor

single family unit // 3rd floor

single room occupancy massing + components // 37 total units

Prefabrication Strategies + Construction Process At street level, the storefront along Vernor Highway is to be built on-site resulting in all prefabricated units to be placed on top the storefront plinth. The vertical circulation core will subsequently be built on-site amongst the storefront structures. Upon completion, the prefabricated units will be hoisted into place and interlocked. When all prefabricated units and site built elements nest into place, the brick veneer facade will be the final layer applied to the elevation along with the terra cotta individual balcony panels. Such a system will keep a fine spread of tradesmen on-site at various times as opposed mixing the needs and accessibility to construction.

single family unit // 4th floor

single family massing + components // 37 total units

Design Approach to Multi-generational and Short Term Housing The table serves as a spatial domain where traditions are practiced, politics are debated, and stories are animated â&#x20AC;&#x201D; a surface enabling a multitude of hands and connecting personnel to contribute to the evolving familial dynamic. The firm aJÂ˛ proposed that such a dynamic surface distinguish itself in both an internal and external manner. A prefabricated component (comprised of a brick veneer frame, wide glazed aperture, and warm interior wooden lining) illustrates the weight and malleable nature of the table.

The components anchor themselves to a strategic corner of each dwelling lining the internal, courtyard oriented facade. Such positioning serves as both a window into the life of a particular family or individual, as well as an aperture out and across towards other inhabitantâ&#x20AC;&#x2122;s displayed relations. The anchors articulate a range of activities and relationships of familial and solitary qualities, which flicker across the facade and animate the site. 23

The Waiting Room Urban Pavilion

Montparnasse, Paris, France Spring 2016, Clement Blanchet, AIA + Jonathan Sturt University of Michigan The Montparnasse "Tour" of Paris, France has been an object of criticism for decades due to its irresponsible size and lack of allure. Though these elements may be relevant, they are merely facial - the crooks of the issues lie foremost at the tower's roots. At ground (an open platform situated between the tower and adjacent train station) there is a severe lack of identity and imprints of urban life. People do not linger â&#x20AC;&#x201D; they pass unaware and unimagined. The Waiting Room creates a place where urban dwellers can project a sense of ownership and celebrate the life of the street. By redefining a solid-void relationship, the proposal creates a robust intermediate urban framework within which a diverse range of spaces, environments, and activities can perform. The fabric is dynamic and adaptable â&#x20AC;&#x201D; crafted to embrace changes in occupational patterns over time. The project resides, in a way, as an immersive theater in celebration of the dramatic choreography of the urban street.

gather | allure | pulse gather (v): the weaving and clustering of individuals as a means of activating space. One of the most popular leisure symptoms of urban life is people watching. People interacting with other people, whether it be directly or visually, drives the rhythmic beat of everyday urban life and gives a place a sense of purpose. Providing a stage for these interactions to unfold is a critical gesture towards re-imagining the street â&#x20AC;&#x201D; a dynamic, horizontal surface of gathering. allure (v): a system of engagement prescribed through the strategic manipulation of urban fabric. The pushing, pulling, folding, and scattering of mass as a means of dictating movement within and throughout space. Such architectural patterns nested within social, urban voids are the stimulus of European cities. pulse (n): a rhythmic texture that feeds upon the lifeblood of the city. Composed of the spontaneous weaving of street and human beings, successful public space resides as the heart to the city â&#x20AC;&#x201D; an evolving organ pumping identity into the arteries of a place.

study of placemaking within urban voids // european gestures

study of height to urban void ratio // contextual comfort

study of public rhythms, patterns, and objects // composites of urbanity

Square Montparnasse // Paris, France

Piazza della Signoria // Florence, Italy

Marienplatz // Munich, Germany

Square de Georges-Pompidou // Paris, France

The Attributes of Urban Voids Lessons from the Piazza, Plaza, and Square

European cities master the engagement of the physical and visual through the subtle manipulation of the horizontal and vertical urban fabric. Piazza della Signoria of Florence, Italy encourages the active exploration of individuals by strategically playing a game of "hide and seek" with a field of sculptural elements. The embedded towers of Marienplatz in Munich, Germany engage the eyes and ears from afar while not overwhelming the immediate, contextual scale and adjacent park. The plaza of the Pompidou Center of Paris, France manipulates the horizontal surface resulting in a slightly sloped plane beaconing individuals to explore the interior or sit at a raised view, admiring the public museum from afar.

The Waiting Room enhances Square Montparnasse by capitalizing on the elements that were previously characteristic of its dull and undesirable nature: the excessive wind and uncontrollable lighting. The design animates atmospheric forces through a malleable framework â&#x20AC;&#x201D; the structure is operable in nearly every axis. A roof, designed as a clerestory, enables the filtration of winds while providing shade from the harsh summer sun and rainy afternoons. The cladding (composed of a series of corten steel, wood, and frosted glazed panels) are designed to serve as windows to a living room â&#x20AC;&#x201D; operable upon personal, physical desire or request. Enabling light to, at times, dabble while in other instances wash the platform, the cladding system animates the passage of light over the course of a day or season. A secondary screen is applied, lining the framework as a metal mesh screen that glistens by the passage of winds. A sundial is places slightly offset from the center to relay the passage of time.

Atmospheric Shell The shell is cladded on the interior with a composition of operable, solid, perforated, and glazed panels which react to the quality of light altering throughout the day. The exterior is lined with a light-weight metal mesh activated by the passage of the wind. A sundial placed within the internal void moderates the passage of time and weather.

Layered Mass Horizontal planes are attached to a rigid space frame as a technique of establishing definitive territory and a dynamic between solid and void. The cladding mimics the rhythm of the surrounding urban context and integrates a more comforting human scale to the public square of Montparnasse.

Urban Lift A robust intermediate urban framework is established through the peeling of the street from its surface. The continuous platform deliberately bridges the gap between the Montparnasse Tower and train station as a means of inviting spatial diversity â&#x20AC;&#x201D; the mixing of urban program and users.

Surface Treatment

The ground plane orchestrates moments of rest and movement through the dynamic play of a tartan gird. Level, raised, and slightly lowered planes respond directly to the surrounding urban fabric by means of maintaining street hierarchies, providing internal surfaces to linger about, and adequate space for spontaneous gathering.

Thoughts on Placemaking The intention of the work is to move beyond the iconic to the extraordinary of everyday life â&#x20AC;&#x201D; to refocus the aggressive nature of the tower with a platform that excites and animates the simple happenings of urban spontaneity. The architecture enables design that excites people, that makes them feel empowered, important, and critical to the character of the places they inhabit in their daily lives. Energized public spaces reaffirm that enlightenment comes form the free exchange of ideas, the causal glances or conversations shared amongst strangers, and celebration of genuine locale.

The work hopes to direct a conversation amongst person, place, and atmosphere â&#x20AC;&#x201D; amongst the intimate relationship between street and bodies. A conscience awareness towards urban patterns, such as street hierarchies, path to room relations, or horizontal and vertical fabric folds, helps establish the differences between formal ordering and actual movement in space. The Waiting Room is meant to be messy, it is meant to be malleable, it is meant to moderate the passage of weather, time, and people. The work humbly acknowledges that as designers, we make the frame, but then life takes over. 35

Brand New Heavies 5 Park Follies

Cumberland Park, Nashville, TN Fall 2015, Neal Robinson, AIA, University of Michigan A series of field embedded monuments evoke the collective memory of man’s reign and the symptoms of humanity inevitably present amongst governmental policies and actions. The site serves as a catalyst for the celebration of various emotive characteristics associated with leadership and the memory of the consequences prescribed by difficult decision making imposed upon the presidency. The concrete shelled totems serve as resonators of five affects associated with the presidency we wish to remember and attempt to forget. Monuments of “Gratitude,” "Absolution,” “Fortitude,” “Loss,” and “Doubt,” (as experienced through a series of expressive paths) govern the emotive remembrance of a human application of power. The monuments serve as sanctuaries of action and reflection: spaces that invite one to ponder, and in response perform as a gesture towards the overwhelming effects one’s character has on the humanness of a nation.

path | totem | memory path (n): the means to how one experiences a memorial or monument is dependent upon the journey of which is laid before them. A path can create points, or nodes, of intersection of which offer the traveler an alternative destination. A path can also propel oneâ&#x20AC;&#x2122;s movement without hesitation. Travelers begin to experience the weight of such ephemeral structures from the play of vast and secret views offered from the way of the path. totem (n): an object that embodies an ephemeral entity. Such structures are called to move the mind, body, and spirit of a visitor, doing so with their play of the elements â&#x20AC;&#x201D; their vulnerability to water, wind, and light. Through honest design and an awareness of various materiality gestures, the presidential totems seek to embody an emotive memory of manâ&#x20AC;&#x2122;s time and history. memory (n): the scattering of five totems along the Cumberland Riverfront serves as a communal territory of action and reflection. Such spaces are meant to be animated by individuals who explore its grounds and seek to celebrate the memories of a nation, whose history is defined by a series of difficult decisions made by men and women of great power and responsibility.

A Study of Monumentality The Form of Legacy

Brand New Heavies is a project that attempts to challenge the typology of a presidential library. Case studies of the existing thirteen presidential libraries were informative in regards to the breath of information such buildings have to offer the public at large, as well as what they lack. A presidential library should provide more than just an archive of past historical occurrences â&#x20AC;&#x201D; it should challenge the presidency to provide a catalyst of activity and learning for a nation. The following studies illustrate initial attempts to formalizing the monumental nature of the presidency. 41

gratitude (n): the architectural gesture emphasizes the notion of looking up and out: a physical manipulation of the human body in recognition of alternative begins of support. The presidency is not a one man organization â&#x20AC;&#x201D; it takes many to make possible the aspirations of one.

absolution (n): the architectural gesture engulfs the body in a Elizabethan style theater â&#x20AC;&#x201D; encouraging an overwhelming sense of confession and understanding.

fortitude (n): the architectural gesture prepares the body to seem small upon arrival, only to encounter a grand, shaft of glass prisms spiraling along the belly within. The notion encourages a sense of exploration and wonder.

doubt (v): the architectural gesture manifests as a series of heavily, polished stone panels, suspended by an ever shifting scaffolding skeleton. The monument is self-conscious of its spatial and aesthetic configuration.

loss (n): the architectural gesture is dark and foreboding. Dabs of light illuminate the chamber as a steady pulse of water claps against the concrete shell â&#x20AC;&#x201D; echoing the passage of time.

gratitude

fortitude

The Memory of Time Shaping Temporal Nature and Place

The five monuments serve as evolving remnants of the past and cautious celebrations of the future. Their concrete shells exist as reminders and advocates of the passage of time â&#x20AC;&#x201D; warning the inevitability of change. Acknowledging the temporal nature of the presidency in its ability to act, make decisions, and fulfill promises remains the intention of the work. The monuments mark defining gestures of the presidency over time â&#x20AC;&#x201D; evidence of the struggle between human and power. 44

absolution

doubt

loss

“As we express our gratitude, we must never forget that the highest appreciation is not to utter words, but to live by them.” John F. Kennedy (35th US President)

“Confidence...thrives only on honesty, on honor, on the sacredness of obligation, on faithful performance. Without them we cannot live.” Franklin D. Roosevelt (32nd US President)

“The only man who makes no mistakes is the man who does nothing.” Theodore Roosevelt (26th US President)

“A president’s hardest task is not to do what is right, but to know what is right.” Lyndon B. Johnson (36th US President)

Maker|Space Urban Library + Chapel

Columbia Heights, Washington, D.C. Spring 2015, Julie Kim, AIA, The Catholic University of America *Collaborative Project: Julia Dallas + Stephen Klinges + David Pelton + Matthew Simeone

The Comprehensive Building Design Studio challenged students to re-imagine the typology of a library in modern contexts. Libraries, in an increasingly technology driven society, are called to serve by means beyond just the communication of knowledge harnessed by text. Such a facility has the responsibility to directly impact a neighborhood by providing its community with the breath of resources they personally lack. A library is a beacon of knowledge in all forms â&#x20AC;&#x201D; those developed from resources of a historical past and those as a result of modern, innovative thinking. The proposed design for the Columbia Heights community library seeks to illustrate the unity between spaces of reflection and spaces of action. Makerspaces are designed as dynamic, flexible territories of which animate the spatial layout and face of the library through articulated extrusions. A chapel (commemorating the dedication to knowledge expressed throughout the pillars of the Jesuit order) is nestled beneath the stacks of which seem to be suspended in a chamber of light. 49

collide | makerspace | fracture collide (v): embracing overlap and fostering new relationships amongst seemingly juxtaposed entities of learning. Establishing a new paradigm for the library called for a greater understanding of how people retain knowledge. Spaces of absorption, application, and contemplation were cross pollinated as a means of creating a place that stimulated all aspects of learning. makerspace (n): a flexible, creative space providing a community with the opportunity to engage in a wide variety of craftsman and technological activities. Such a space houses machines and tools for one to apply knowledge absorbed through textual and visual mediums. fracture (n): a visible and physical fissure enforced as a means of curating a duel perspective. The break designates the two personalities of the library - the animated and ambitious makerspaces and the quiet, reflective nature of the stacks and supporting chapel. The fracture illustrates tension between the light, glass curtains of the makerspaces and concrete shell wrapping the stacks and chapel.

15th t nw

stree

w dn

lu co

oa ar

A Beacon of Curiosity + Creation Manifestation of Social Responsibility to Community

The Maker|Space Library supplies an underprivileged community with two mediums it currently lacks â&#x20AC;&#x201D; the opportunity to enhance one's skill sets and the space to do so. Columbia Heights is a neighborhood of Washington, D.C. considered to be the city's most ethnically and economically diverse community. Though the region has much to offer in terms of commercial leisure, the territory is heavily populated with elementary and charter schools of which lack healthy after-school environments. The library is designed for the children, supporting families, and homeless community of Columbia Heights as a beacon of curiosity and creation. 53

massing

2 fracture

extend

chapel/sanctuary

servic

ce core

makerspaces

Intensive Green Roof Deep earth planters and grass line the patio space on the roof. The green roof is used for proposed outdoor makerspaces emphasizing techniques of gardening and seasonal harvesting.

Exterior Concrete Shell The shell is used to structurally support the hanging stacks. Slit openings enable sunlight to penetrate to the base of the chapel and illuminate the frosted glass flooring to the stacks.

Entry Cladding Wall Panel This wall type pinches the entrance height to emphasize the interior void space. The panel is a woven tapestry of concrete, wood, and glass embedded against a supported aluminum sheet.

Sunscreen

Exterior metal mesh screens foster a duality of solidness and protection during the day, while offering a glistening, permeable nature in the evening.

Building Core Contains the necessary, support spaces for the library, including: circulation cores, offices, study rooms, and restrooms.

Knowledge Viewed Through + Above The proposed design for a Columbia Heights community library evolved upon the distillation of three main categories of knowledge: that of which can be absorbed, applied, and contemplated. Knowledge that is absorbed can be done so through the presentation of material in the form of text or auditory instructions. The act of applying knowledge is that of taking what has been digested through the eyes, and transferring that knowledge to the manipulation of the hand. The notion of contemplative knowledge is activated through the design of a meditative space which enables one to reflect and wonder.

The image illustrates the view of ascension from the chapel to the suspended stacks above. The view offers a quiet moment of collision amongst various aspects of learning â&#x20AC;&#x201D; that of which can be encapsulated in books, and another of whose power is more tumultuous when manifested in spirit and atmosphere, rather than text. A slit of light washes the side shell of the chapel and illuminates the breath of knowledge preserved through catalog. The presence of light speaks to the multiple interpretations of knowledge fostering symptoms of enlightenment, found in the inevitable shadows of doubt and innocence. 59

Curve + Crash Boathouse

Navy Yards, Washington, D.C. Fall 2013, Carlos Reimers, AIA, The Catholic University of America The proposed design of the Anacostia River Boathouse illustrates the natural flow and graceful emergence of water as it touches the land. The boathouse builds upon the intended objectives of the future Navy Yards Development Committee: buildings and community spaces that obtain a deeper, more intimate connection with the waterfront. Curve + Crash proposes a boathouse that serves as a mediator between future site development and the water â&#x20AC;&#x201D; transitioning visitors from the daunting, vertical scale of the city, to the vast, horizontal scale of the river. The boathouse is largely in use by local high school and collegiate crew teams. The facility hosts a variety of activities and spaces for the athletes, including adequate storage for boats, tool and repair workshops, locker rooms, a small cafĂŠ, sauna, and upper level gym overlooking the wet landscape.

location | expression | form location (n): a destination, a place of intent â&#x20AC;&#x201D; or a place yet to be explored. The Navy Yards is a recently developed neighborhood of Washington, D.C. located along the banks of the Anacostia River. The site calls for a building that embraces the relationship between the river, a public bridge connecting the east and west developments, and the centralized community park. expression (n): a gesture charged with memory, aspiration, and intent. Due to the immediate connection to the Anacostia River based on-site locale, the project sought to evoke the form of water and its mediator qualities between liquid depth and land depth. The work illustrates a sense of direction, flow, and energy. form (n): a shape given to expression. The major function of the proposed project was a boathouse that invigorated a site currently dominated by weeds and "treasures" of the Anacostia. Curve + Crash exaggerates a moment of collision between water and ground.

Ready to Lift (pause) And Lift

Making Physical the Relationship Between Water, Land, and Body

In the practice of rowing, athletes are required to glide through space and water in unison â&#x20AC;&#x201D; it is a finely choreographed dance navigating instruments of water from land to the depths of the river and back again. There is an incredible sense of rigor associated with the art of rowing, a dynamic that is challenged by the often reckless nature of water. Curve + Crash aspires to articulate the dynamic between intense discipline and spontaneous, atmospheric conditions. Just as a captain announces to his mates, "ready to lift," the building aspires to lift incrementally from the river to the city beyond with a spirit of diligence and restlessness. 65

Angeled wood decking, following the slant of the natural water's edge, creates timber pathways stretching from either end of the site. The decking extends out towards the Anacostia River to form the primary ramps used to transport racing shells (rowboats used by organized crew teams) from their respective storage units to the water. In three instances, the wood decking peels itself from the surface of the water and becomes the roofs to the boathouse storage and community center. The roofs have strategic panels of wood removed where glazing is inserted allowing beams of light to enter into the space below. The technique illustrates the way in which light reflects beneath the surface of the water. The exterior landscape is composed with a similar language of wooden decking and removal. Points where the decking breaks away, light, airy dune grass is planted. The grasses form patches of river life throughout the site, and mark the main entrances of the complex with gestures of density.

Playing With Sun + Shadow The boathouse makes itself vulnerable to the weathering elements â&#x20AC;&#x201D; it serves as an evolving composition altered by water, wind, and light. The subtle angulations along the facade add a sense of depth and intentional play with the intensity of the sun along the riverfront. Just as the wood siding adds texture to the form, the shadows enhance the reading of the building as a wooden vessel â&#x20AC;&#x201D; with grooves, panels, and rudders challenging the elements. 68

west elevation // community center, approaching from bridge

west elevation // storage facility, approaching from community center

east elevation // storage facility, approaching from park

east elevation // community center + storage facility, approaching from river

Curiosities + Explorations Additional Investigations Fall 2016 - 2017 Drawing Lines Fall 2016

Lessons on Representation Spring 2016

The Force of Things Spring 2017

traces + threads + ghosts // Drawing Lines with Jen Maigret_2016 *composite of hand drawing, photography, Illustrator, Photoshop

I Remember Clifford: New Music Notation // Drawing Lines with Jen Maigret_2016 *composite of hand drawing, watercolor, Illustrator, Photoshop, Rhinoceros 5.0

Exploring the Work of Tadao Ando // Representation with Jonathan Rule_2016 *composite of hand drawing, Illustrator, Photoshop, Rhinoceros 5.0

Paper Prelude // The Force of Things with Adam Fure_2017 *crumpled paper, binder clips, packaging tape, fishing-line, subwoofer speakers

Silicone Rise // The Force of Things with Adam Fure_2017 *poured silicone, organza fabric, grommets, fishing-line, HD projector

The Acoustic Baths An Atmospheric Operetta M.Arch Thesis

Notion, Aegean Coast of Turkey Spring 2017, Kathy Velikov, AIA, University of Michigan The thesis explores the land as an inhabitable instrument, a device capable of activating the stories of a place and time through the amplification of sound. The framework for the project, driven by a curiosity and desire for experience, articulates a complex relationship between sound, space, perception, and the body. The aspiration and intention of the work is to hear the atmospheres and spirit of a place with the body. The research, observations, and design gestures are marks of the mind and hand serving as a composer of space, a musician of land, and an architect of atmospheric forces. The thesis proposition ignites the potential of sound as a means of reflecting stories on space, enhancing the corporeal experience of space, and ultimately, bringing space to life. In doing so, the proposition organizes itself as an acoustic bath, a complex of sonically potent spaces that produce a new sense of location and manner of thinking in which sound is perceived as a medium and mass.

sound | space | atmosphere The thesis is titled The Acoustic Baths: An Atmospheric Operetta. The primary site of negotiation is that of Notion, an active archaeological site situated along the Aegean coast of Turkey. The location beacons questions of temporality in architecture and landscape: the construction of temporal imaginaries and experiential narratives, the complex and conflicting relationships between humans, technologies, and nature, and the challenge of addressing sites with deep cultural histories â&#x20AC;&#x201D; operating within the elasticity of pasts and futures. The thesis offers curiosities about a new state of engagement with past histories - a discovery and rethinking of archaeological and ancient sites as catalysts both preserving and emitting new modes of interaction with landscape and the telling of histories. The thesis was increasingly interested in the existing ancient Greek amphitheater, variable landscape conditions of the site (hilltop, coastal cliffs, middle ground), and the challenge of reactivating a landscape whose stories and histories have been buried. The idea of hidden histories / hidden voices ignited the potential for the thesis to reactivate the archaeological site through medium of sound.

Recontextualizing Sound Space and sound are undeniably linked to our understanding and interaction with everyday environments. Listening as a conscience practice, leads us to greater understanding of location and our perceptual interactions within everyday spatial narratives. Sound orchestrates a condition in which the body is an integral player to the memory of a place. As vessels of circulating fluids and elements, human beings do not exist as passive receptors of either sound or space; rather, we relish in the reality that we are active creators of both.

sound|space site analysis // Notion (east)

Allowing the ears to take precedent over the eyes, one notices that auditory senses enhance a surrounding through perceptual mass. Though typically annotated (both scientifically and musically) as a linear segment, sound more accurately contains a spatial volume and weight to its presence. The ears engage a holistic observation of space which occurs â&#x20AC;&#x153;in the roundâ&#x20AC;? (like that of sculpture), sensing all directions and dimensions simultaneously. As opposed to vision, whose spatial narrative is reliant upon a series of sequenced frontal views, sound occurs all around, all at once. Sound has the power to fill â&#x20AC;&#x201D; to fill a body, a room, a territory. 85

Space as Instrument

Illustrating Sound as a Volume + Vessel

A study was conducted analyzing the sectional qualities of traditional wind instruments â&#x20AC;&#x201D; as a means of exploring carved volumes and vessels. Each of the respective instruments owe their unique aural personality and mechanical production of sound to the culmination of form and materiality. Bell shaped, brass, curved, pumped, lacquered wood, valves â&#x20AC;&#x201D; the relationship between the spatial manipulation of tubing, along with the various materials integrated through craft, are directly proportional. Since space in of itself is comprised of similar notions of carved solids and materiality, it is plausible to situate a place in which space were an instrument unto itself. 87

Stabian Baths // Pompeii, Italy (AD 79)

Small Baths of Hadrian's Villa // Tivoli, Italy (AD 117) health, community center

health, community center, institution, commercial

Cağaloğlu Hamamı // Istanbul, Turkey (1741)

Dōgo Onsen // Shikoku, Japan (1894)

Gellért Baths // Budapest, Hungary (1912)

health, community center

health, religious, pleasure

health, religious, social

Composite Studies // Overlay of Historic Bath Complexes volumes of space, planes of performance, axial relations

Baths of Caracalla // Rome, Italy (AD 216)

health, community center, institution, business

Sensual Spatial Organization Lessons from the Bath

The bathhouse served as an ideal typology offering unique moments of collision between ground and voided space â&#x20AC;&#x201D; many ancient bathhouses anchor themselves amongst land, and emerge as spatial constellations of sensual engagement. The territory is comprised of individual moments of corporal exploration strung together by a series of pathways and thresholds delineating sensual spatial transitions. As a cluster of thresholds, paths, and spatial voids, the baths offer a strikingly exemplary map in regards to the strategy of composing spaces of a sonic nature. A study was conducted as a means of exploring the spatial organization of various historic bathhouses independently shaped by cultural, spiritual, corporal, and atmospheric forces. 89

Drawing Sound|Space

Annotating Sonic Mass, Threshold, Path, and Excavation

Traditional scores are read according to elements of pitch, dynamics, duration, and timbre. The thesis seeks to animate a graphic score for the land, a notational foundation animated from elements of sonic mass, threshold, path, and excavation. A study of various hand rendered, sonic swatches was conducted testing the acoustic, graphic capacities of sound|space. The sonic mapping illustrates explored composition of space, territory, and atmospheric forces emerging from, rippling across, and colliding against the surface. What evolved is a sonic composition of the land, the territorial memory, the spatial forces â&#x20AC;&#x201D; an atmospheric operetta. 91

The Atmospheric Operetta The final work articulates dual instances of sound as a space making medium, and space as a sound inducing mass. The sound boxes illustrate both two-dimensionally the layout of the acoustic bathhouse (serving a similar function to that of an architectural plan) embedding and lifting itself from the archaeological site, in conjunction with the internal, sectional scene which articulates the materiality and volume of spaces to be explored. Concealed in each of the six boxes are speakers, voicing compiled sounds of the acoustic baths. These compositions fuse local sounds, such as archaeological digs and crashing waves, with unfamiliar entities. The sound boxes, along with the overall, gestural site model, are activated by the hidden sounds, hidden voices of the complex which together produce the atmospheric operetta.

The Whisper Gallery // sound box #2

The acoustic baths ultimately explore the manifestation of sound into physical space, producing an array of possible spatial volumes composed across a landscape. This sonic realm will become a territory of extraordinary auras, that were always in the air and ground waiting to be voiced.

Thank you for your time + consideration Julia Dallas Portfolio | 2017 Volume 1 *image from Julia Dallas, M.Arch Thesis Pamphlet: a series of essays on sound|space_available in issuu.com University of Michigan_Spring 2017