lauren mccarty by Lauren McCarty

lauren lee mccarty selected works

lauren lee mccarty laurenmccarty@me.com

The University of Tennessee College of Architecture and Design Bachelor of Architecture Rhode Island School of Design MA in Interior Architecture + Adaptive Reuse

Architecture 4

Resonance

Contrast

Hidden and Revealed

4-H Environmental Education Center Interiors, Installation, and Sculpture

Living Light

The Kiosk as a Metaphor

Fixed Movement Adaptive Reuse

Architecture as a Palimpsest

Impermanence and Permanence

On a New Track

Street Car Parade Jazz Funeral The Proposed Site Louis Armstrong Park and the bar next door to the site_Places for Jazz and the Blues St. Louis Cemetery #2

Resonance Site: New Orleans, LA Course: Self Directed Studio Spring 2012 The University of Tennessee Professor Tricia Stuth Faculty Letter of Excellence

The thesis is a study of experiencing place through sound. I analyze the relationship between space and time by exploring the importance of vibration in expanding perceptual experience. When one becomes aware of the soundscape of a place, one becomes aware of the identity of a society. The application of temporality into architecture with the use of vibration through light, sound, and movement can begin to create a cadence of spaces that seem to oscillate, change, and awaken, immersing the visitor in the experience of place. This leads to the built form as a story board with a variety of complex spatial experiences that provide the inhabitant with a less static experience of space, turning the architecture into a built musical composition, synthesizing the inherent qualities of each art form, space and time. The site is New Orleans, the birth place of Jazz- emerging from the sounds of the hymns and the sounds of the blues through the melding of the sacred and the profane. The sound of the street car and its constantly ringing bells embody the energy of the city itself. Sounds of the streets interact with sounds of the built form to create the music of everyday and the interaction of humanity. Here, I hope to explore how architecture can heighten the experience of place through sound with the study of a bus stop and a church. Both are places for congregation or reflection, where stories of a culture are written; stories of music escaping from an open door of a bar or of those waiting for the streetcar and the lone worshiper in the chapel. The ringing of the bell not only symbolizes the call to worship, but also the passing of time or the arrival of a streetcar, all semblances of a specific place. People in the bar, waiters for the bus, and worshipers in the chapel hear the same sound; however, the meaning is not in the sound, it is in the ear. The sounds create the blank pages, and the ear provides the fiction.

The progression through the sacred space is, like Jazz, about the individual and the people, the sacred and the profane. There is an overlap and oscillation of the roles of the individual. The building itself serves as the orchestration for this performance. The experience is temporal and unique. It is different for every time of day, day of the week, month of the year. As humans, our rituals are guided by light, therefore the spaces are designed to orchestrate the natural light and sounds of the environment into a built musical composition.

The Wanderer

The Funeral Ceremony

The Parade

In the novel Coming Through Slaughter, the writer Michael Ondaatje correlates the phenomena of dolphins’ ability to make two sounds simultaneously (merging the “whistle” a pure personal signature of the dolphin, with the “squawk” an emotional expression consisting of a chaotic mixture of frequencies or pitches) to the cornet playing of Buddy Bolden from New Orleans. He describes Bolden’s unique ability to play both hymnal music and blues simultaneously. The hymnal music becomes the pure “whistle” which represents God, while the blues become the “squawk”, the devil. This interaction of God and the Devil results in a sound that intensifies and changes the meaning of the parts that created it, leading to the sounds of Jazz. The sound is one of constant improvisation and texture, never once the same, for it emerges from the environment its in, the time and season in which it resides, and the ears that hear it. Jazz becomes a representation of the culture that created it. The Jazz funeral is a direct illustration of this interaction. It begins with mourning and solemnity for family and loved ones, where music is played and chosen specifically to evoke feeling and release grief. It ends with a celebration, a transition from the hymns to the blues then to a combination of the two, a unity that is jazz. The Church stoop can serve as this connection between the Sacred and the Profane. It is a transitional place for an interaction between the exterior environment and the interior of the church space, the space for the band after a funeral. The church can then serve as the orchestration of this harmony between good and evil. The harmony between the sacred and the profane, jazz as form.

Elevation from Street

First Level Plan

11 5

7 8

1 Courtyard at sanctuary doors, place for jazz band during jazz funeral 2 Coffee room 3 Sanctuary 4 Baptistery 5 Alter 6 Priestâ&#x20AC;&#x2122;s quarters 7 Private morning courtyard, dove release for funeral 8 Wayside chapel, funerary chapel 9 Evening chapel (below) 10 Street Car Stop 11 Bell tower and endless prayer space (below)

In the forming phase of the process, inspiration was drawn from the design of musical instruments. The spaces are designed so that each becomes a resonant void within a solid form. The building therefore exists quietly within the urban fabric and through subtle interactions of spaces within and without, offers an unexpected journey of sound and light. The building is part of the culture that surrounds it and is connected to the passing of time, allowing the visitor to feel part of something larger than themselves, a spiritual experience in itself. The plan of the church carries the visitor from light to dark, from silence to music, and back again. There are three different chapels: the main sanctuary, the funerary and wayside chapel, and the evening chapel below. Each space is unique in its light quality and sound. The footprint of the church extends across the boulevard of Rampart Street, marking the spot through both sound and sight with the bell tower. On the Second Level, there is extra seating for the sanctuary, the choir loft above the alter, and the choir practice space above the coffee room. Here, one can see how the many connecting voids serve as instruments of light, guiding the sun as well as the sound to be used as a material within the design of the spaces and providing an unexpected overlap of space and glimpses into the different places and rituals of the church.

The Evening Chapel_ Time 1800

Section through the evening Chapel

A place to listen is isolated from visual contact with the world, and therefore the auditory sense is heightened. At first silent, the space is activated when the light enters it around 4:30 PM when the streetcar stop, the bar next door, and the street life become more activated, and so begins the performance. This allows for a strong experience of place and culture through sound.

Time lapse of Evening Chapel

Wayside Chapel_ Time 1000

Section through the Morning/Wayside and Funerary Chapel

The funerary/wayside chapel and courtyard is a place for silence, a place for the doves and whispered prayer. This space is washed by light in the morning hours, when the city itself is still and just the sounds of the choir trespass into the space. After a funeral, the family would proceed from the funerary chapel to the private courtyard where the doves will be released and prayers said. After, the band would be awaiting the family in the front courtyard to begin their parade to the cemetery.

Time lapse of Wayside Chapel

Sanctuary_ Time 1200

Section through the Sanctuary

On a Sunday morning, during the regular worship service, the sanctuary becomes flooded with light from the light wells above the alter and baptistery. After the service is over, the large doors facing the front courtyard will open and everyone will filter out, the sounds of the organ and hymns behind them.

Time lapse of Sanctuary

Contrast Site: Alcoa, TN Course: Programming Studio Fall 2011 The University of Tennessee Professor James Rose

By utilizing the effect of contrast within architecture in the form of light, sound, and texture, architecture can begin to connect the inhabitant to self, place, and environment by continually awakening them to the specific and unique spaces that they inhabit. I intend to implement this idea into family housing for the workers of Alcoa, TN. Historically, the town of Alcoa has been both created and dominated by the aluminum Industry. This relationship between the industry and the community can be viewed as both detrimental and beneficial. The aluminum company provides employment, jobs, and even parks for the community, but it also represents the harshness of the modern world. This site provides a juxtaposition between the positive and negative aspects of the industryâ&#x20AC;&#x2122;s dominance in the community. With the heart of the industry and most of its infrastructure directly adjacent to the site, the position of the park on the opposite side serves as a counterbalance and a reminder of the beauty and simplicity of nature, as well as the livelihood that this industry has brought to the community. The housing units themselves illustrate the possible harmony between industry and the idea of a home as a place for healing, nourishing, and sensual connectivity through the use of light and texture.

S L E E P

C O U R T Y A R D

B A T H

W O R K

S L E E P B A T H

C O O K

A N D

D I N E

B A T H

L I V I N G

Construction sequence

Excavation

Each unit consists of 3 precast concrete cores that are connected by lightweight steel construction and glass. Each Core holds different functions of the home. Though prefabricated, the goal is not to lose any of the personal connection with the inhabitant.

Installation of Concrete Cores

The entry core contains a half bath, a pantry, the laundry closet, as well as a hearth. The master bedroom core holds the bedroom, master bath and closet, as well as the cabinetry for the adjacent kitchen. Lastly, the secondary bedroom core holds the bedroom, closet, cabinetry for the adjacent living area, as well as a private office that looks into the lowered private garden. Each of the spaces are unique in their qualities of light and materiality. This allows for each space to be fitted to its purpose by nourishing specific experiences and emotions.

Installation of Steel Structure

Roof Installation

Curtain Wall Installation

Cooking and Dining

Living

Courtyard

This space is for nourishment and energy. The use of daylight will symbolize the important nourishment that nature, namely the sun, can give you. The textures will be hard and smooth providing a stable, grounding, and energizing feel to the space. This is where food and drink will be prepared as well as eaten.

This will be a gathering space for conversation and contact with others. It should allow for comfortable conversation and the feeling of belonging with family and friends. The lighting will be neutral, so that harsh light will not serve as a distraction. The textures will be soft to promote a feeling of ease and comfort to allow for friendly and meaningful connections between individuals. There will be a connection with the outdoors. The room will be able to adapt. The traditional couch and chairs, laid out in a rigid manner will be replaced with soft movable cushions that allow for a more flexible experience. The space can adapt to the need of the individuals within the space .

The space is about openness within. It is the negative space of the home, the familyâ&#x20AC;&#x2122;s personal piece of nature. The space can be enclosed to allow for individual reflection with nature, or opened to allow for a more comprehensive connection with the environment, each other, and the rest of the home.

Working

Bathing

Sleeping

This is the space for morning coffee and evening tea. Primarily lit by daylight, the daily rituals within this space will be guided by the sun.

In the Evening, this space provides cleansing for rest. The light will be warm, and the textures rough and hard. The reflective surfaces and roughness will elicit sensations resulting in the resident becoming more aware of their own body and their position in space and the environment, rekindling their connection with self and place.

As humans our rituals are guided by the sun. Here, one will be able to fall asleep with the sun and wake with its return. The intent of this space is quieting and resting, and the textures will be soft as well as the light, evoking a sense of calm.

Light originates from the small window that looks out into the private courtyard and rests on the desk top as a soft diffused light, allowing for more focus and less distraction. This space is quiet but still connected visually to the outdoors. The only sounds would be that of pen on paper, the tick of the clock, and the occasional sound of rain.

In the morning, the space will utilize the natural focused light and simple rough textures to enliven the senses and stimulate the mind into a wakeful state to face the day. The simplicity will allow for less of a distraction that will help to refocus for the day to come. This will be the final moment in the process of waking.

The Hidden and The Revealed Site: Peabody College, Nashville, TN Course: Fall 2009 The University of Tennessee Professor Mark Schimmenti

This project explores a familiar concept but explores it in greater depth. The public and private realm of inhabited space are often completely separate, but there is spatial tension and subtle connection that can be expressed through design within the two realms. The task was to create a Secret Society House with the addition of a public program intertwined. The solution consists of a public thesis library and study space that is set apart, yet the presence of the secret society house is always felt within the same form. The wall lining the pedestrian path acts as a foundation and datum of the design, serving as a visual and physical connection between the two opposing parts of the program. Approaching the building, it appears that this wall is all that holds up the alabaster form. It serves as the connection between the Secret Society House and the public path, eventually extending into the private water garden. As one walks through the path there are many openings in the wall. When one is initiated into the society he or she becomes aware of the importance of the wall and the openings where the water from beside the path passes though into the water garden. The wall marks the transition point from the offices and gardens of the house to the ceremonial ritual room.

1 Cafe 2 Library 3 Entry Hall 4 Private Courtyard 5 Conference Room 6 Offices 7 Water garden 8 Ritual Room

Connecting Wall

2 1

5 6

Connecting Wall

The public portion of the design consists of a thesis library and a place to study. This program resides in an alabaster structure that seems to float above the transparent gallery space below. The form becomes a lantern at night as people study within. During the day, the study space is lit naturally through the light well that connects to the secret ritual space below, as well as through the translucent alabaster walls, allowing a muted and soft light to trespass it. This creates a well lit environment for study, soft but focused, with little distraction. The lower level, built into the hillside, holds the secret society house. Within this area is a kitchen and living space which provides an isolated place for the members of the society to visit and have banquets or gatherings. This space looks out into an interior, isolated courtyard with a water garden. The water garden can be glimpsed from the public walkway above, and a stream of water flows down the connecting wall, serving as a hint of the private realm below. In the Secret Society House, when one passes through the opening in the wall, he or she enters into the Ritual Room. The Ritual Room is a primary element of the house, where new members are initiated, and it serves as the home for many other rituals and assemblies. The lightwell from the public library above is materialized within this space as a spot light on the stage.

Connection through light Library

Connecting Wall

Connection through water

4-H Environmental Education Center Site: Crossville, TN Course: Fall 2010 The University of Tennessee Professor Robert French

The 4-H nature center is an institution that allows children to begin to study and experience the natural world. Through my design I want to emphasize the two vital aspects of learning and developing: indirect academic learning, and direct experiential learning. The site itself represents this interaction of the structured and the natural. There are two main axis for the camp, the orthogonal and the divergent. Both of these axis open up to the forest and fields beyond.

6 1

1896

1895

1894

1893

1892

1 Entry/Gallery 2 Offices 3 Classroom 4 Lab 5 Greenhouse 6 Library 7 Auditorium 8 Water Garden and Collection

The form is derived from the two major axes of the existing campsite. The orthogonal representing the structure, the divergent representing the free, and the intersection of the two geometries. This intersection will serve as a transition from the rigid parts of the program to the flexible, reaching out to the fields and woods of the campsite beyond. The classrooms, labs, and other spaces specifically involved with indirect learning will be within the structured bar of the program. When the two geometries collide, the form of the library, water garden, and auditorium emerge, representing the more experiential aspects of learning and the intersection of the two to create an ideal learning environment. This is also the place for circulation to the classrooms below. The library, wrapping the perimeter of the auditorium, provides a place for students to read and study alone while looking out on the apple orchard. Progression though the building results in the visitor approaching the other buildings of the camp and being released surrounded by an open field and a view of the forest.

The main idea of the building is to connect the students to nature in both an academic and personal way, allowing for both learning through study and learning through experience to build on a childâ&#x20AC;&#x2122;s understanding of the world that surrounds them. Though separate processes, both indirect and direct learning are vital to the development of a child. My design is about this harmony between the structured and the free.

Living Light Course: Solar Decathlon Studio Fall 2010 The University of Tennessee Professor James Rose + Edgar Stach

My fourth year in architecture school I was part of the Universityâ&#x20AC;&#x2122;s team for the Department of Energyâ&#x20AC;&#x2122;s Solar Decathlon. I first became involved in the conceptual stage of the project and worked on the solar house to completion at the Decathlon as well as after the competition was over when I was involved with outreach, grant writing, and fundraising for the continuation of the research and life of the house. My involvement was wide-ranging, beginning as a member of the student team focusing on the house interior. My primary job was the lead designer of the kitchen cabinetry, and a shared responsibility for the other aspects of the house. For the competition we were asked to give tours of the home, have another team over for dinner, and host a movie night. Focusing on the modular furniture and cabinetry in the design, we provided a place that can be a comfortable place to live, entertain, and rest, giving the resident complete control over the atmosphere of the home. After completion, I worked as a research assistant for Professor Edgar Stach, writing grant proposals promoting educational uses for the Solar House and accompanied the house to Washington, D.C. for the Smithsonian Folklife Festival, where our student group lead tours and shared the importance of sustainable building practices and the importance of design and collaboration in this process.

Kitchen Core construction drawings

Kitchen and Bedroom cores

Bedroom Core

Kitchen Core

The interior of the solar decathlon house is about â&#x20AC;&#x153;living lightâ&#x20AC;? and making the most livable and functional space possible out of limited square footage. Multi-functional elements are used to create a comfortable and simple living experience for the residents. The cabinetry is an essential element to the design that houses the kitchen, the bedroom, and the entertainment area. The modular furniture can be arranged to accommodate for every aspect of living, whether it be for the essentials of everyday life or for the residentâ&#x20AC;&#x2122;s entertainment and enjoyment, and the cabinetry can be completely closed off to hide it from view and become one solid core.

Existing Condition

Rest

Shelter

Kiosk as a Metaphor Site: Newport, RI Course: Winter session 2014 Rhode Island School of Design Professor Jonathan Stevens + Ernesto Aparicio

This design for a Kiosk in Newport, RI at the city Visitorâ&#x20AC;&#x2122;s Center is meant to not only convey information but also provide a place for rest and a place for shelter. The visitorâ&#x20AC;&#x2122;s Center itself is full of screens conveying information that can be overwhelming. This design is meant to highlight important information in a more tactile and simple way, inviting interaction and creating a place to occupy, as opposed to a merely visual display of information. The wood panelized structure is inspired by the rich sailing culture and history residing in Newport. Each panel is rotated slightly from the one before it, creating a dynamic form that begins to recall the wind and waves associated with the ocean. The movement also allows for the structure to convey information when vertical, while also providing seating or shelter when horizontal, for people to enjoy while waiting to catch a bus. This project was a short term project in which I partnered with a graphic design student who assisted with the graphic display of information for the structure.

Existing Visitorâ&#x20AC;&#x2122;s Center

Bus Stop

Site Plan

Section looking towards Visitorâ&#x20AC;&#x2122;s Center entry

Elevation from Park

Park

The new structure provides information while also creating spaces for shelter and rest while waiting for a bus. The park I developed on the opposite side of the bus stop will assist in making this an interactive structure, providing activity as well as information.

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View towards bus stop

View towards visitorâ&#x20AC;&#x2122;s center

Fixed Movement Course: C+MP Digital Production and Fabrication Spring 2014 Rhode Island School of Design Professor Michael Beaman

This sculpture was generated through grasshopper software with the manipulation of three different curves. When multiplied and altered, the curves began to generate a shape. This shape was then cut into sections, multiplied, and fabricated using the laser cutter. The original concept driving the form was two rigid connections that stay fixed on the ends while allowing for movement and flexibility within these points.

Architecture as a Palimpsest A place to listen, a place to respond, a place to make a mark Site: Copenhagen, Denmark Course: DIS Summer Studio Summer 2013 The Danish Institute for Study Abroad Rhode Island School of Design Professor Markus Berger

The following is my design for a place to listen to the writings of the Danish philosopher, Kierkegaard within an existing fortress in Copenhagen, Denmark. Kierkegaardâ&#x20AC;&#x2122;s ideas about individual identity and the human need to feel the reality of existence are illustrated in his obsession with writing journals. Through his journals, we can get a glimpse into his memory and the experiences and thoughts that have shaped his views. His journals show us the process of forming his identity. This is a place to listen to these journals. The history of this building is evident in many ways. Its memory is expressed through the faint trace of the lifts that used to exist, and the chipped off paint that reveals the brick underneath. There is trash from the past under the existing floors. This trash forms an archive of the people who produced it, a representation of their lives and culture. The design is intended to also become an archive, allowing people to leave an imprint on the building, through interaction and inhabitation, but also through response and expression within the exhibit itself. Building as a memory. Each interaction will be recorded by the building, creating a memory, or an archive, of the person who inhabits it. As time passes, the copper material will age and begin to show their use. The space will be a place to listen as well as a place to respond. A massive, yet translucent archive wall will separate the listeners from the speaker, providing a place for reflection and reaction, promoting the individual identity that Kierkegaard so adamantly desired. Each visitor can leave a thought, a response to what they hear or see by scratching, writing, or slipping a piece of paper into the perforations of the wall. It will be a physical archive, just as Kierkegaardâ&#x20AC;&#x2122;s journals left a faint trace of his life and history, what influenced him as a writer and philosopher. These responses will leave a trace of each inhabitant, a proof of their existence in the space.

Partial Plan 1 Reading Platform 2 Lapidarium 3 Walking and listening platform

Section through listening platform and archive wall

Section through listening platform and speaker platform

Memory Sketches

Light Model Montages

Impermanence + Permanence Site: Boston, MA Course: Private Realms Studio Fall 2013 Rhode Island School of Design Professor Jeffrey Katz

The following is my proposal for a combined tattoo parlor and hostel. In my project I am accommodating for a young demographic. The hostel would allow for an inexpensive place for young adults to stay when visiting Boston or coming for a specific tattoo artist. Making this space a hostel, the lines between the public and private realms can be blurred, creating an environment that allows for the interweaving of activity and architecture. I started the design process by developing a specific memory through sketches., trying to capture moments through sketching them. The memory I chose to interpret was an experience I had walking through the countryside in a small village in Switzerland, while visiting the ruins of a small Roman Theatre. What I remembered was mostly an atmosphere of changing sound and light. Therefore, my sketches became very influenced by qualities of light, of pathways and spaces created and changed by the changing quality and movement of light through time. The sketches are meant to capture this temporal moment, the moment that changes with time and the temporal qualities of sound and light. Therefore, viewed in sequence, these sketches become a spatial experience guided and influenced by light, pathways and spaces defined by it. I began to take this idea of space defined by light as I developed memory models from these sketches. Through this, I created a series of light boxes and captured images of moments when the light created certain spatial qualities. Therefore, the actual spatial qualities are constantly changing, but the images and sketches I made capture a moment, impermanence made permanent. I saw these sketches and photographs as capturing something ephemeral, the permanent reflection of something as impermanent as light. To me, a tattoo can be seen in the same way, as a permanent reflection of a memory, something temporary. The concept driving my design began to be about this relationship between impermanence and permanence, of a temporary memory and the permanent reflection of that memory.

Demographic

Concept Montage of Hostel Rooms

Existing Building reflected by intervention

Concept Montage of Hostel Lobby

I started to develop two contrasting experiences within my design, the temporary and ephemeral vs. the permanent and layered. The temporary and ephemeral experience would be associated with my intervention, a large open circulation core and lobby space of the hostel, while the permanent and layered would be incorporated within the existing structure, the place where the visitors sleep, spend most of their time and leave an imprint. Therefore, not only do the current activities within the hostel become expressed in the spatial experience, but so do the past experiences, leaving both a temporary mark on the hostel as they interact with the building but also a permanent one when they leave.

1 Hostel Rooms 2 Bathrooms for Hostel 3 Kitchen/Common Room on next level 4 Dining Space/Study Space on next level 5 Tattoo Parlor 6 Laundry 7 Lobby

2 3

Section through Tattoo Parlors, Lobby, and Hostel rooms

Changing light for night and day Within the intervention, there will be a grand circulation space, monumental and empty, It will serve as the entry to the hostel and the primary circulation throughout. It will become a giant empty light box, itâ&#x20AC;&#x2122;s spatial qualities greatly influenced by activity. Taking my memory sketches and memory models, I will apply them to the qualities of this space. The material would contrast with the original building through texture, a much more ephemeral feel, a simple and smooth white light filled box within a textured existing structure. Therefore, there would be a contrast between the intervention and the existing, the intervention being ephemeral and temporary, consisting of reflection and light, while the existing becomes much more ordinary and permanent, a record of itself and the activities and people that occupy it. Within the existing is where the rest of the program will reside, where the inhabitant will interact more with the space, leaving a permanent mark as well as making their temporary presence known within the intervention. Within the hostel, there will be rooms that are very open and dorm like, sharing communal bathrooms as well as smaller scale and more private rooms with private bathrooms that sleep 2-4. The first floor will consist of the lobby and restaurant space that continues to the underground floor. The rooftop will become a bar.

Atrium view _night

Atrium view_day

The temporal experience, changing with time of day, time of year, or inhabitantsâ&#x20AC;&#x2122; activities would be guided by light. As people interact with the building, interact with each other, and occupy spaces, their interaction influences the spatial qualities. Lights and movement within the rooms would begin to occupy the more public parts of the program, in this case the lobby. People are therefore aware of other inhabitants within the space through changing qualities of light.

Tattoo Parlor

Hostel Room

The Spaces on the exterior of the lobby that are in contact with the existing structure will reflect the existing building. Therefore, these spaces will be much more about the texture of the existing as opposed to the new. The reflection of the existing is a permanent tattoo on the outside of the intervention, while the different activities and changing shadows within the spaces create movement and a changing quality within the space that is montaged onto the reflection of the existing, permanent structure.

Air Source Heat Pump Fujitsu Halcyon Four zone heating an cooling system 4 12,000 BTU wall mounted indoor units and one outdoor unit.

Energy Recovery Ventilator Loren Cook ERV1000 24X20 500 CFM

Heat Hot water

Boiler Needs to accommodate for 5,000 BTU Heat Loss Prestige Cascade System Up to 5,000-2,000,000 BTU

Heat Pumps on Roof Supplies air conditioning through the evaporators in each room

ERV in Utility Closet supplies ventilation

Boiler in the Basement Utility Room supplies heat by radiant panels in each room.

59 Sheet metal parapet, sloped to drain. Sheet Metal Protection

Paver Retention Tee Decking Aeration Layer Drainage Layer Waterproof Membrane

Soil Filter Fabric Moisture Retention Layer Insulation Root Barrier

Green Roof thermal resistance: R 27 Total Existing Condition: R 20 Green Roof Application: R 7

Sheathing 3â&#x20AC;?â&#x20AC;? Rigid Polystyrene Insulation Reinforcing Mesh Insulating Glass with Opaque Backing

The existing structure has already been resurfaced on the exterior, while the interior is all original. In order to keep the texture on the interior, exterior insulation was used. A green roof was added to the existing roof to allow more public space while also increasing the thermal envelope. This was structurally possible because of the strength inherent in this concrete masonry industrial structure.

On a New Track Division into Connection Site: Newport, RI Course: Adaptive Re-use Studio: The Point Spring 2014 Rhode Island School of Design Professor Wolfgang Rudorf

I was part of the 2014 Rhode Island School of Design INTAR Adaptive Reuse studio, considered the third element of a tripartite academic research and design undertaking. The studio was based in historic Newport, Rhode Island. The generous support of the Van Beuren Charitable Foundation, ‘dedicated to protecting and preserving the unique characteristics of Newport County and improving the quality of life for its residents’, made this year’s Adaptive Reuse studio THE POINT a very rich experience. The studio applied principals of adaptive reuse to the historic fabric of an urban area in combination with smaller scale interventions deemed capable of reinforcing the resilience of the area. Research and analysis was primarily focused on the fabric’s edge conditions that have been impacted by planning operations as well as changes in the political, social and economic realm. At the completion of the studio, we traveled to Newport to present our work to the community. The presentation was held in a historic chapel within the Point Neighborhood

Cemetery Empty Lots Before Railroad Cemetery took over Empty Lots after Railroad Railroad Farewell Street, The main road towards Downtown Newport Possible Connection Roads to Farewell Street. Halted by the development of the railroad

The development of infrastructure in Newport, Rhode Island, and the presence of an old railroad channel has had a profound impact on isolating the Point neighborhood. My design intervention solves this isolation by inserting paths, structures, and alternative modes of transportation along the railroad. This lessens the dividing effect of this infrastructure and heightens its potential to create connections, physically and socially, linking the activities and paths of locals and visitors, while providing both recreational use and infrastructure for tourism. Bridges, railroads, and streets are meant to connect, but they can often divide, creating â&#x20AC;&#x153;nowhereâ&#x20AC;? spaces that become isolated and lost within the interstitial space of larger attractions and destinations. I will focus on emphasizing the human scale within the existing large scale infrastructure previously suited for only trains, turning what has become a division back into a connection. My intervention will ideally lessen the traffic in the area instead of increasing it, decreasing the isolation of the Point, and connecting it in a beneficial way.

Possible expansion

Actual Expansion

Van Zandt Pier

Cherry Street

Downtown Link

Bus Station

Historical Buildings Connections Railroad

Downtown Newport

Old transportation New transportation

I am providing parking towers after the visitors exit the bridge to the island, allowing the area to have less car traffic as well as creating a look out tower to gain a new perspective and look at this neighborhood from above. Along the existing railroad channel there will be separate structures placed strategically to connect the cemeteries, the tracks, The Point neighborhood, and the waterfront.

Unstable Earth

Retaining Wall

Inaccessible

Ramp/Stairs

No Cross Connection

Bridge

Noise

Sound Attenuation

Flooding/Poor Drainage

Water Catchment System

Uneven Surface

Path

Lack of Human Scale/Spaces to Occupy

Seating/other structures to inhabit

Abstracted Site Plan showing Connections

Ribbon Structure breaking through topography

dividing wall broken and manipulated by force of visual and physical connections formed.

All of the intervention will be a continuous corten steel ribbon that begins to break through the topography to create connections, while also solving many inherent issues within the channel and blending into the existing landscape. The diagram here shows how connections within the city begin to develop where my interventions will take place and how I will alter the railroad channel.

Van Zandt

Cherry Street

Downtown

Van Zandt Street and Pier The Parking Towers will be located directly after the bridge to Newport. This location will provide parking, a look out tower to the area, access to the train, as well as a cross connection to the public Van Zandt Pier. Cherry Street The Middle Connection Point will provide a cross connection to the historical cemeteries as well as an entry into the Point Neighborhood, bridging over the existing railroad channel and allowing it to exist as a linear park and transportation corridor. Downtown The Final Connection will be in the place of a past road that previously lead from The Point to Downtown Newport. This will serve as an amphitheater space providing a space for entertainment and gathering as well as a reopened connection to downtown by manipulating the steep topography into a gradual slope.

Van Zandt Connection Parking and look out tower Access to Public Pier

Downtown Connection Amphitheater

Connection to water

Bridge across channel

Excavate around basement

Utilize existing stair tower

Utilize existing opening for entries, exits, and patios

Existing Stair Core Roof Terrace

Cortin Steel Panels

Corten Steel Panels

4’ 18” O.C

Wooden Floor (Existing) Wooden Floor (Existing) Wooden Joist (Existing) 4”X8” Wooden Joist (existing) 4”X8”

Second Floor

Wooden Beam (Existing) Wooden Beam12”X8” (existing) 12”X8”

Wooden Wooden ColumnColumn (Existing) 8”X8”(existing) 8”X8” Street Level

Existing Floor Floor Cut-Away

Basement Level

Cherry Street Connection Utilizing an abandoned industrial building along the channel, the corten steel structure will puncture into the existing building through the existing openings, creating a pathway that leads from the tracks into the Point Neighborhood. When the structure enters the interior it becomes the stairs as well as the railing that can begin to cut through the existing floors, creating visual and physical connections within the design. The structure will then reappear at the end of the road within the existing slipway, creating a visual connection and guiding people to the water.

Section through the Point Center within the existing industrial building 1 Point Center Information 2 Cafe 3 Event Space 4 Viewing Platform

Cafe

Bridge from The Point to the cemetery

education. Summer 2013

The Danish Institute for Study Abroad

Rhode Island School of Design, Copenhagen 2013-2014

Rhode Island School of Design

Master of Arts in Interior Architecture/Adaptive Reuse, GPA 3.94 2007-2012

The University of Tennessee College of Architecture and Design Bachelor of Architecture, Suma Cum Laude

experience. Fall 2013

Teaching Assistant for Professor Jonathan Bell

INTAR 2341, Drawing for Interior Architecture, Rhode Island School of Design Summer 2013

Research Assistant for Professor Robert French

Summer 2012

Participant in the Smithsonian Folklife Festival

Spring 2012

Teaching Assistant for Professor Brian Ambroziak

Developed a programming booklet for the development of a new 4-H Center for West Tennessee. This booklet was used to facilitate a third year design studio the following semester.

The University of Tennessee’s Solar House

Architecture 102, Visual Design Theory, The University of Tennessee 2010- 2011

Research Assistant for Professor Edgar Stach.

Fall 2011

Teaching Assistant for Professor Ted Shelton and Professor Greg Spaw

Institute for Smart Structures, The University of Tennessee: An institute dedicated to the study, innovation, and application of new materials and systems for design in order to achieve a more sustainable architecture. Position involved grant writing as well as fundraising experience.

Architecture 312, Materials and Methods, The University of Tennessee 2009-2011

Intern at the East Tennessee Community Design Center

Involved in fundraising and clerical duties as well as master planning, site design, and building renovation drawings. 2009-2011

Co-Founder and Co-Captain of the AIAS Freedom by Design Chapter The University of Tennessee Chapter

2009-2011

Participant on the University of Tennessee’s Solar Decathlon 2011 team, Living Light

2009-2010

Member and Treasurer of Tau Sigma Delta, Architecture Honor’s Society The University of Tennessee Chapter

2006-2008

Intern at McCarty Holsaple McCarty Architects and Interior Designers

Study model for a University of Tennessee project as well as presentation drawings for a Laboratory Building.

honors. 2013-2014

Rhode Island School of Design

2007-2012

The University of Tennessee

2010

Presidential Scholar Graduate Fellowship Participant in the Fall Interior Architecture Show Participant in the RISD Spring Thesis Exhibit

Graduated Magna Cum Laude with a GPA of 3.74 Received a Faculty Letter of Excellence for final year, self-directed project Final project chosen by faculty for Graduate Honors Exhibition Finalist for the Tau Sigma Delta Bronze Medal Phi Eta Sigma National Honor Society Nominee for National Society of Collegiate Scholars- Top 20% of class Volunteer Scholarship

Winner of design charette competition AIAS South Quad Conference, Savannah College of Art and Design, Savannah, GA skills. Proficient: Revit, AutoCAD, Sketchup, Adobe Software: Illustrator, Indesign, Photoshop, Premier Intermediate: Rhino, Grasshopper

With Gratitude,