port folio
L i n d say E l i z a b e t h C l a r k
2015 ‑ 2018
I’m a designer, writer, and Knoxville native. This collection represents three years of an evolving design sensibility, explorations on many scales, and work ranging from pragmatic to abstract. The philosophy it embodies is one focused on the individual’s interaction with the built environment, how the psyche shapes and is shaped by design, and how the impact of a collective can range from the smallest detail to a global network. It is my belief that great design acknowledges the quotidian and responds to it with sensitive, critical methods.
l i n d s a y e l i z a b e t h c l a r k @ g m a i l . c o m | 8 6 5 . 3 6 8 . 1 8 9 1 | 5 2 3 E O a k H i l l Av e , K n o x v i l l e , T N 3 7 9 1 7
c o n t e n ts
04
16
Borrowing & Lending
Intracatastrophic Urbanism
Spring 2017
Fall 2016
A new branch for the New York Public Library, which was submitted to the Lyceum Foundation competition as part of an Integrations studio led by Professor Tricia Stuth.
An urban design for a hypothetical city poised to survive the harsh conditions of a future fraught with catastrophe, part of an Urbanism studio taught by 2016 UTK Fellow, Darius Ammon.
26
36
Folie a Deux
Beardsley Farm
Fall 2017
Fall 2015
A speculative proposal for a new spa complex tucked into the Smoky Mountains, in response to research conducted in a studio taught by Professor Micah Rutenberg, titled, “Database Natures.�
A contribution to the last leg of a two-year design/build project at the University of Tennessee Knoxville led by Professor Jennifer Akerman.
02 / 03
b o r r ow i n g & L e n d i n g
The Washington Heights neighborhood of Manhattan has experienced a diverse and sometimes rocky past and has inspired its inhabitants for over two centuries. However, before Manhattan was the metropolis it is now, Washington Heights was mostly marshlands. One of the only reminders of this time in history is the Audubon Terrace, named for naturalist John James Audubon, who documented the numerous bird species living on the island. Despite the terrace’s prominent location along Broadway, most of the community is only faintly aware it exists. This project, part of an Integrations studio taught by Tricia Stuth, AIA, was submitted to the Lyceum Fellowship competition, which in 2017 requested designs for a new branch of the New York Public Library situated in an empty lot on the Audubon Terrace. The main goal of this design is to reintroduce Washington Height’s history to its residents, integrating old and new through a library that bridges the gap. spring 2017 Prof. tricia stuth
04 / 05
The glitz and glamour, the nitty gritty This is how my Uptown Gets down And I’m sure you’ve heard of us Maybe even seen it But believe me When I tell you, Whatever view You’ve got is scenic I’ve lived it In this hustler’s paradise Where everyday is a gamble And fates got a grip on the Heights In the words of one of our very own A slow, slow strangle And it’s audible in the air Cacophonous nightly car chases Up Audobon fill the darkness With their red and blue lights And illuminate and play to the beat of the night And I, already know the words to that song Paddy wagons full of lost souls And my city’s bastard children Barrel down the avenue Looking to victimize me and mine while we chillin’ And you wonder why were cynics See, I’m not about that life but I’ve lived it Sirens blaring down Dyckman and St nick Are merely white noises as mundane as the tick ticking of the clock That accounts for lost hours and lives Fallen children and abandoned wives The struggling mother of 5 Who works herself to death to keep hope alive, for her seeds Who have dreams of one day being Stick up kids already got greed in their eyes Now ain’t that some shit But luckily, Lucky Me I run with the innovators and dopeboys Intellectuals and thugs Musicians, souls on a mission Artists and dealers Writers and hustlers Young mothers just trying to make it and look what that made me I’m so uptown I know females who’ve lost their lives to the life they carry within themselves I know mothers who’ve lost children to these mean streets To senseless beef And somehow still believe in the power of God Nosotros Somos Soldados I know people who truly hustle Out of a sense of desperation With a sick fuckin’ tunnel vision Whom the education system failed Who will never know legal money Never even have a tax write off So tell me something Where do you get off telling me what’s right and what’s wrong? Mr. Officer with all due respect, I don’t think you’ve the slightest idea As to what’s going on In the midst of everything they’ve tried to force down our throats They forgot to teach us our history And here we stand years later Just trying to make it on our own We are the seeds who were never sewn Fuck the status quo We are the dreamers of dreams With hopes and a dogged tenacity running through our veins… Not satisfied with the mundane Or the technicalities of an Uptown ill-defined This is our life This is my city, my love My heart and soul So I’ll be damned if I’m told That she and I won’t grow This is the ballad of me and my love The end all be all of all Love stories And all the guts and glory This is what it sounds like when doves cry This is Love on fire A wicked tale of my trip through the mire and so it goes And I suppose that by now You’ve gotten a good glimpse and you can see How deep her essence flows within her streets Within me, with we Maybe even feel my beef But you will never understand how much my Uptown means to me We may walk in the same shoes But see, I got an awkward step I box left And it’s all thanks to Her So thank you 184th thank you Hillside and Thayer thank you Arden and Ellwood thank you Audubon and Broadway for molding your legends in the making Oh Uptown, my Uptown My Hearts Infinity She is the most beautiful thing I’ve ever known She’s my home She boasts stories of victories Trials and injustice But I love it Shes got an electricity in her that runs dozens upon dozens of blocks deep Has a nightly battle with the cops and it never fades… She is always all sorts of hot and I just can’t get enough Tougher than all the sum of her parts With a gangsters heart and a poets tongue She’s birthed legends And if heavens got a ghetto It’s not as perfect as my Hood Not as beautiful as my Uptown Not as complex as my Dyckman And certainly Not as a real as my Heights Uptown, you molded me And I will forever be indebted to you I’ll take you everywhere with me When my dreams come true So Uptown, my Uptown In the meantime and in between time I will dream, oh yes
1910
1841
1930 1960
2000
A new branch library, nestled between the dormant history of the Audubon Terrace and the quotidian territory of 156th Street, will become a bridge between street and terrace, present and past, enabling and empowering the thriving community outside.
1980
This library must borrow and lend spaces from and to its surroundings. Interiors belong to neither street nor terrace, but to the physical and intellectual movement between. Via a floating pathway, passersby may wander through these spaces without entering them and may arrive at the terrace having been a part of and apart from the library. Lower levels celebrate community with open, adaptable spaces. As the building climbs, the individual can find his or her own quiet workspace as well as broadening views. As the newest descendant in a long lineage of libraries, it will both borrow and lend new meaning to its future purpose.
06 / 07
"without libraries, what have we? we have no past & no future." -Ray bradbury
01
02
N
Cross Section Looking South
156th Street
parapet flashing 12” structural concrete wall 1” rigid insulation + moisture barrier 2” precast concrete panel as interior finish cant strip metal decking + moisture barrier 10” rigid insulation
steel roof framing, W12x26 ceiling: 2” batt insulation + 1” gyp board
01
02
4” concrete spandrel TecCrete raised access flor panel TecCrete raised access floor pedestal 5” concrete on metal deck 6” rigid insulation steel channel, C 12x30 ceiling: 2” batt insulation + 1” gyp board
10 / 11
AUDUBON TERRACE
down
community space / public lounge / observation deck
mech. wc
info
wc
circulation
up
public seating
desk
office
children’s reading room
156th STREET
AUDUBON TERRACE
open to below mech.
mech. outdoor patio
wc
wc wc
young adult reading room
adult reading room
156th STREET
left:
plan of third floor — entrance from terrace, information desk children’s reading room, community lounge/observation deck
above: (left) plan of fourth floor — young adult reading room, (right) plan of fifth floor — adult reading room, outdoor patio
12 / 13
i n t r acatas t r o p h i c u r b a n i s m
Part of an urbanism studio focused on the concept of aleatory design, which utilizes chance or a “roll of the dice� as a design tactic, this project explored the effects of natural disaster on an urban-scale design. Early experiments with calcium carbonate, limestone, and cheesecloth developed into explorations of the natural topography of the San Andreas Fault. The result is a concept for a partially subterranean community poised to withstand sandstorms and floods in a hypothetical, intracatastrophic future. This studio was led by University of Tennessee Fellow, Darius Ammon, and my teammate during the design process was Summer Abston.
fall 2016 Prof. darius ammon
16 / 17
The aleatory process began with a series of material explorations in circular and square petri dishes. I conducted experiments with limestone, calcium carbonate, India ink, and cheesecloth. The goal of this “game� quickly became to focus on themes of layering, striation, and distortion.
18 / 19
this page: photo of the site, near San Andreas Fault, California opposite page:
plan drawing of urban condition
this page: exploded study of 3D Rhino model opposite page: section drawing of urban condition 22 / 23
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F o li e a d e u x
Folie Á Deux, or shared psychosis, is a psychiatric term for a condition in which a set of delusions are transmitted from one individual to another. Pigeon Forge, Tennessee and its neighboring communities are currently engaged in such a condition, and they are acting. The result of a semester-long study of the urban condition along Dolly Parton Parkway, this speculative intervention aims to make the area aware of itself and its database identity. The project began by teasing out a series of relationships between selected cabin resorts’ physical presences and their digital counterparts using The Database (Google) as a medium, and grew into a proposal for a new spa complex for Sherwood Forest Cabin Resort. The spa draws inspiration from database objects like pumpkin spice-flavored moonshine, as well as themes of disorientation and “authenticity.”
fall 2017 Prof. micah rutenberg
26 / 27
left: map outlining urban condition of the site above: photograph of site entrance taken from The Database 28 / 29
The representation of the site condition and the spa design rely on constantly shifting between three scales: the region, the community, and the building. Each of these scalar shifts require both drawing and modeling. The drawing on the opposite page diagrammatically shows the sequence of spaces within the spa. Based loosely on the plan of the Labyrinth at Versailles, the procession intends to disorient while it prepares the visitor to experience extreme authenticity, which comes in the form of a hot tub park cascading down the adjacent hillside. The exterior of the spa complex borrows abstracted forms from the Sherwood Forest Cabin Resort without giving clues as to what can be found within. The spa controls visibility, assuring only the most picturesque views for the discerning visitor to the Smoky Mountains. Just as the lyrics to Robert Mitchum’s “Ballad of Thunder Road” are embedded into the landscape on the previous page, Appalachian culture remains the implicit moonshine framework used to house the spa’s explicit pumpkin spice supplement.
this page:
model of spa complex — basswood, towel, mirrored paper, pink slime
opposite page: (top left) model of resort community — basswood, 3D printed lot line (other three) model of region — CNC milled pine, vacuum formed acrylic, chartpak tape 34 / 35
b e a r d s l e y fa r m
During my first full semester in the Graduate Architecture program at the University of Tennessee, I joined the last leg of the two-year Beardsley Farm design-build project. During this elective class, I was the leader of the team in charge of all millwork. My team, Mark Nickell and Nicholas Zath, and I revisited designs from previous semesters for the layout and scope of the cabinetry, optimized them, sourced materials, and ultimately built the cabinets within the education center. I was solely responsible for the design of the cabinet door handles and the selection of paint colors to be used in the open shelving. With invaluable leadership and critique from Professor Jennifer Akerman and constant support from my peers, this project taught me new fabrication and digital skills that would serve as a firm foundation for the rest of my architectural education.
fall 2017 Prof. jennifer akerman
36 / 37
Although the design of the Beardsley Farm Education Center had been through numerous iterations and had already passed through the hands of many students before my team and I began working on the millwork, there were still plenty of details left to optimize. Our process began with communicating with the farm staff about their specific storage needs and adjusting the arrangement of the cabinets to meet them. After speaking with Blum about the project, I was able to secure a donation for every soft-closing hinge used in the millwork. My team and I prototyped the door handles and then began construction. Lauren Buntemeyer helped us in the construction phase of the process. After the semester ended, I prepared construction drawings to aid those building the rest of the cabinets. An example of these fabrication instructions can be found in the following spreads.
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A
b
c
opposite page: elevation of largest cabinets, which are pictured on previous spread. all smaller cabinets are based on the design logic of this portion.
All photography by Bruce Cole
40 / 41
1'-7 1/4"
1'-8"
1'-8"
6'-2"
1'-8"
1'-8" 2'-4 1/2"
A TOP 1 1'-8"
A Verticals A bottom
1'-6"
2
7'-9 7/16"
1'-7 3/4" 3'-11 3/16"
3 1'-0 1/4"
1 1'
Al top back
4 2
3
7'-9 7/16"
Al low back
5 1'-7 1/4"
A2 Hidden Verticals
1'
1'-8"
1.5
2.5
1'
1'
2'-11 1/2"
A r back 2'-11 1/2"
2'-11 1/2"
Ar shelf 1
Al shelf 1
Al shelf 2
Al shelf 3
Ar shelf 2
Ar shelf 3
Ar shelf 4 3'-0 1/4"
1'-8"
1'-8"
3'-3 1/4"
Cl top back
2'-1"
1'-8"
1'-11 1/16"
CR back
1'-7 1/4"
1'-7 1/4"
C L 2.1
C 1.1
1'-7 1/4"
2'-4 7/16"
C r 2.1 3'-10 7/16"
C Verticals Cl low back
2'-1"
C L 2.3
C 1.3
7'-9 7/16"
C Hidden Verticals
C r 2.2
1'-8 1/2"
C r 2.3
1'-0 1/4"
C r 2.4
1'-11 1/16"
1'-8"
2'-1"
CR shelf 1
5'-3 13/16"
3'-3 1/4"
CR shelf 2
Cl shelf 1
CR shelf 3
Cl shelf 2
1'
1'-8"
1'-8"
C TOP
1'-8"
C bottom
left and above: examples of fabrication documents for sections A and C of the cabinets illustrated on previous spread. these were used both by my team during the semester and others who continued building after the semester ended. 42 / 43