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2017-2020
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[niklos TOLDI] I was born and raised in Memphis, TN but have lived in Knoxville for the past five years while attending the University of Tennessee. My father and brother are both engineers, geared toward logic and a firm understanding in mechanics and moving parts. While I have always felt a comfort in these principles, I am also very inspired by the arts. For this reason I decided to explore architecture as a career path after finishing my sophomore year of college. I never looked back. I draw inspiration from film and other works that use a compilation of media such as video, narrative and unique graphic qualities to move and compel audiences. This correlation exists in architecture by way of creating environments that do more than serve a functional purpose, but create experience by evoking a unique emotional response.
DESIGN VISION In May of 2019 I graduated with a bachelors degree in interior architecture and the following fall I began my masters of architecture degree at the University of Tennessee. The intersection between these disciplines is where my passion lies. I find these two sectors of design inseparable. They rely on each other by informing relations between external and internal experiences. I am interested in exploring the connection from the scale of a person sitting in a chair to the relation they have to the city context. They are of equal importance. I am also an enthusiast of nature and the outdoors and aim to respect this both in form, material and cultural appropriateness through my work.
EDUCATION University of Tennessee, Knoxville College of Architecture and Design Bachelor of Interior Architecture / Graduated May 2019 Master of Architecture / May 2021
CONTACT 901.262.6586 ntoldi@vols.utk.edu 2505 Clay Pond Dr. Oakland, TN. 38060 Resume / https://www.linkedin.com/in/niklos-toldi
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1 hollow An exploration into the dynamic relationship between the outdoors and the urban fabric of the city and how the two can work together to create a space that is both experiential and intentional in its respect to nature and its impactful qualities in relation to design. This project aims to answer how a design can incorporate natural elements in a more holistic way and use them as a fundamental design decision
fall 2018 4th year interior architecture prof. Lisa Mullikan
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rather than an external application. This speculative outdoor community center located in Knoxville’s Worlds Fair L&N Station studies the use of daylight as an informative part of the design process in order to activate both the exterior and interior environments. This once hidden space now has the ability to become a welcome mat into the city and serve as an example of using nature in a functional and aesthetic way.
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aluminum studs
embedded OLED
copper panel
reflective white panel
modular panel
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Knoxville has a rich connection and love of the outdoors. Situated at the foothills of the Smoky Mountains in East Tennessee, it is home to countless enthusiasts including hikers, bikers, kayakers, backpackers, climbers and general outdoors lovers. It is also a main thoroughfare for the Tennessee river a resource whose importance cannot be understated. The
city boasts a tremendous array of green ways, river lines and park systems. This map begins to break down these sectors and the following project intends to take the outlying outdoor communities and draw them into the city center. This will allow for people of all backgrounds to have more exposure to the wide variety of natural resources Knoxville has to offer.
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_01 sun paths
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_02 permanence
_03 void/solid
_04 line of sight
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My design process began by studying sun path diagrams in order to determine how the sun interacted with the building both internally and externally. By determining the intersections of these various sun paths at varying times of the day and year, a clear path through the building was defined. The goal was to allow sunlight not only to pierce through the facade, but penetrate deep within the interior spaces. Therefore, I made the decision to remove the entirety of the identified space creating a hole through the center of the building. The resulting hole was replaced with an intervention made of a series of fiberglass panels designed and cut specifically to gather southern sunlight and reflect them into the adjacent interior spaces which is further perpetuated by a similar interior intervention made of reflecting white panels that bounce the light around and force it into the other areas of the interior.
interior architecture
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_01 0700 hours
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2 react Annapurna pictures is a high energy, collaborative film company with ideas and loads of creativity. Because of this, they are in need of the resources and technology that support their work flow. Attributes such as open environments, shoulder to shoulder work flow, spaces for both work and community and a theatre for showcasing their work, are essential to this process. At around 30,000 sq.ft., this proposal gives
fall 2017 3rd year interior architecture prof. David Matthews
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them all that and more. Inspired by the movement, light and organization of a bio-luminescent organism, the design is meant to not only promote creativity, but be uniquely creative itself. The fluid organic structure, translucency and lighting control, each individually contribute to creating a dynamic environment that is not only inspiring, but also responsive to the environment in it’s essence.
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The plans to the left show the typical layout for the office spaces. The office’s on each floor are divided by department and feature two private breakout rooms as well an ideation wall and break space. These open spaces allow for large amount of collaboration and give the users the opportunity to arrange the space in the way that works best for their individual purposes.
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The diagrams to the right are perhaps the most important part of this project. This facade system mimics the movement of the original bioluminecsent organism via a series of panels that turn and twist based on the position of the sun relative to the building. This regulates total heat gain as well as cost and efficiency of the overall space. fully open
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3 balance Balance is designed to engage two users in a codependent seating experience. The offset seating pads provides those engaging with the seat two clearly distinguished seating options. This clarity not only provides direction but plays an integral piece in the ‘team’ component of the seat. The rocking base forces the two users to sit simultaneously in order for the seat to be level. If only one sits, the seat becomes to tilted for comfort. The bench is made from maple and is
fall 2018 4th year interior architecture furniture design
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completely cut and shaped by hand. The spindles are hand turned on the lathe and soaked in an ammonia bath in order to give a worn and darker appearance to contrast the rest of the bench. The spindles have splines hammered into the end in order to expand the joint and ensure a tight fit. Finally, the seat is upholstered in contrasting colors to drive home the idea that this is a bench made for multiple people.
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[concept photo]
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[detail oriented]
[upholstered seat]
[hand turned spindles]
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4 tilt The tilt is a stool designed for the fidget-er in mind. Quick interactions at the office, informal common spaces or an alternative for traditional chairs, the tilt can accommodate them all. By using geometric forms as inspiration, the stool can tilt in all directions, the angle of which is dependent on the side. It can also be flipped, meaning there is no top or bottom. The tilt is a fun alternative to those scenarios where you just can’t sit still. It was constructed
fall 2018 4th year interior architecture furniture design
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using both digital and traditional woodworking methods. The two large blocks are made of hard maple and were layered and milled using a CNC machine. The frame is made from hand-cut red oak which are jointed together using a domino. The two are then attached via holes which hold the 4 vertical corners in place. This combination of methods adds a level of uniqueness and precision in craft which were both challenging and exciting.
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[concept photo]
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[detail oriented]
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5 h a l t homelessness This project is the product of the 2018 summer intern class at Gensler, San Francisco . We were tasked with designing three typologies of homeless shelters to address the growing population of people experiencing homelessness in the bay area. We worked with an organization called Halt Homelessness, who is looking to end homelessness in one move by combining the skills, resources and money of multidisciplinary corporations. Gensler
summer 2018 internship gensler, san francisco group project
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has joined this coalition and challenged the intern class to take the first swing at what these revolutionary shelters might offer and how they can address what those in the past have failed to provide. This project was compiled into a book and delivered as marketing material for potential investors. In collaboration with: Shan Wang, Gabby Li, Andy Anderson, Morgan Novacek, Joyce Choi, Nour Mourad, Brian Chan + Bhavana Shyam
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The large site prototype integrates the necessary functions of a shelter around a shared community space. Residential and support spaces follow a circulation loop through the site intended to foster a sense of belonging from residents. By creating a walkable area on nearly every surface, higher levels of autonomy and security can be maintained for all users of the facility. The space pro grammatically supports each individual’s path to recovery, rehabilitation and reintegration through use of spatial sequencing.
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The shelter is intended to be sleek and relaxing. More than anything the homeless need autonomy, belonging and a restoration of their humanity.
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Typical floor plan of the living spaces within the facility. All are equipped with: 1. Bed quadrants to allow for smaller communities within the larger facility. 2. Common area for gathering communities 3. Bathroom facilities 4. Access to roof gardens and track.
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6 bent A new multi-use complex in midtown Atlanta, adjacent to public transit, the High Museum and the booming arts and tourist district. This facility will add an additional 250 residences to the area ranging from 900 sq ft. studios to 2,000 sq ft. three bedroom apartment units. The bottom floor will serve as a farmers market that will maintain open boundaries between the market and
fall 2019 1st year MArch prof. James Rose
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pedestrian sidewalk, as well as permanent restaurant tenants. The structure is meant to be a testament to the beauty of form as an object but also using form as a means of function. This project is intended for blue color residences, suggesting that good design and affordability are not mutualy exclusive.
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The site sits at the corner of the Hi Museum in downtown Atlanta. The break in the building is intended to reconnect the arts district to the commercial and residential areas of midtown. The project
boasts a central courtyard that is open to the public. Its green roof also functions as a point of sustainability, relaxation and a much needed respite form the concrete jungle of downtown Atlanta.
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The form of the building was derived from a few crucial steps. Given its sectional complexity, the plan is intended to read very simply. The foot print of the building is an extrusion of the site boundaries as a typical courtyard typology. However, a pedestrian path, open to both residents and the public, cuts the plan in half, connecting the arts district and the northern portion of the site. The two resulting volumes are then bent to match the angle of southern sun that will allow the center courtyard to get the maximum amount of sunlight and the rooftop balconies to enjoy sunlight throughout the
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year. The primary entrance to the apartments exist where the volumes leave the ground, creating a large overhang and dramatic entrance both into the apartments and into the courtyard. The facade is a louver system that is 18” on center. Enough space for adequate daylight and views from the apartments but also allows the two volumes to read as stereotomic mass that are seemingly defying gravity as they hover above the street scape. This form not only serves a functional purpose, but also adds an incredible addition to the bold arts district of midtown Atlanta.
upper level
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The plan is concentric in nature. Each floor plate is identical to the one below as it follows a pattern of apartments up to the top floor. The core is pushed to the corners of the two block and fire stairs are at the ends and scattered as necessary throughout. Additionally, the bottom floor acts a rental retail for local restaurants or vendors to set up shop throughout the week in a rotating farmers market. This hopes to engage the surrounding community and draw them from the arts district and into the surrounding area.
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A view of the dramatic entrance into the central public courtyard. The apartment entrance is located to the left and the restaurant/retail rental space is encased to the right.
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7 MCMA Knoxville College’s roots run deep throughout Mechanicsville, Knoxville and the fight for civil rights throughout this country. Its history is worthy of preservation as well as its collective culture and educational efforts. KC has always been forced to be insular, focusing on internal growth and not within the community. Our project attempts to
spring 2020 1st year MArch prof. Tricia Stuth
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maintain these levels of preservation while introducing something new, something that opens Knoxville College and allows the community to engage their resources as they were originally intended. Team Member: Zachary Standley
2020
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Our program is a theatrical performing space intended for activities such as acrobatics, theatre and concert. The current conditions of Colston Center of the Performing arts, and the college, is a state of despair, resulting in a barrier that has prevented the community from engaging with the campus for several years. Through our proposal, we intend to change that. We seek to introduce movement to an otherwise stagnant site, both in form and program. This is seen in three ways: in plan through circulation, in section through form and in the program of performing arts. We hope to activate the community into a collective space to celebrate the rich history of Knoxville College.
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We used the principles of tensegrity for our primary structural concept. We wanted to create the allusion that the roof structure was floating above the existing architecture. This was for two reasons. The first is that we wanted to respect the bones of the building and the historical significance of the street scape. Additionally, we wanted to lean into our concept of movement. The idea that the
roof structure could ‘move’ and was essentially self supporting, closed the circle from program to form on integrating our concept into almost every aspect of the building. In the end, we created a modified version of tensegrity using cables and light coves to create the appearance and motions that were at the core of our concept.
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outdoor educational areas. We do not want to spread the preservation thin. Through this method we are able to celebrate one of the buildings that provided life and energy to Knoxville College even in its most trying time.
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On a site scale, we plan to celebrate the past, but not revel in it. Music and theatre were perhaps Knoxville Colleges most prized and notable educational tools. Because of this, we have elected to demo all buildings that are not currently on the National Historic register, mostly dorms and buildings deemed hazardous. This will open the back half of campus, creating a large green space for the community to gather and learn in the
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A cut through the theater. Here you can see the roof structure begin to completely envelop the space and drive home the concept of movement as it flows behind the back wall.
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A section of the program geared towards community outreach. Bringing people in and giving them a space to learn activities they might not otherwise have the opportunity to experience.
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SECTION PERSPECTIVE On a building scale we have chosen to preserve the overall geometry of the building. in plan. We felt this important as it beckons us back to a time of the college’s prosperity. We completely reconfigured its interior, for purposes of circulating community from various points on the site, hopeful that visitors will mingle and revive the culture that once was shared throughout campus. The largest imposition is the new roof. The fluidity of
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the form calls back to the introduction of movement as a common denominator throughout the project, but also provides a beacon of newness from almost every view within the building. The form is delicately sitting within the existing architecture, suggesting a mixing of the richness of historic Knoxville College and the hope of a new and exciting future.
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8 on conflict A formal study on the nature of conflict in form, representation, program and teamwork. This studio was a group project divided into three acts to study the order of operation and the natural conflicts that occur in form and the nature of working in a team. This notion was amplified in the wake of navigating university policy in the midst of Covid-19. Act 1: Individual curration of a series of ‘creatures’ that embodied a geometric principle such as plane, volume, ect..
Act II: The creation of teams and subsequent combining of the original creatures into a new and engaging form both physically and digitally based on the establish principles. Act III: Taking the established perimeters and new geometry into a proposed architecture that capitalized on the nature of conflict and programmatic differences. The following is a study of process.
Team Members: Zachary Orig, Rachel Parks & Rachel Crosslin
fall 2020 2nd year MArch prof. Jeremy Magner
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ACT I: The original creature. My creature embodied principles of the volume and created conflicting by juxtaposing material as a way of expressing movement and expansion.
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ACT I: An evaluation of the original creature, breaking down its individual geometric qualities and creating a physical manifestation of the result.
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ACT II: The first iteration of a collaborative collage. Taking printed images of our original creatures our four team members reassembled in new and interesting way, photographed and began to manipulate the 2D images digitally. This was the first instance of conflict, a conflict in modes of representation and a combination of two or more peoples work.
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ACT II: The next step in the process was create a 3D model of the resulting 2D collage. However, the second area of conflicted. Each member would systematically make changes to the model and pass it along to the next person. It was a test in giving up control and following an honest process for an honest result.
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ACT II: The final step in act two was to reverse engineer previous steps by overlaying 2D layers onto the final resultant 3D creature.
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ACT III: Through an extensive iterative process we arrived at the our final architectural proposition and the essence of conflict. Our final program consisted of a bakery, housing, archive and grain production facility. This combination of program, stoked conflict in the sense they do not typically exist near one another but also promotes a Utopian ideal of a self sufficient a cyclical community. Another point of potential conflict.
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ACT III: The final form was derived from the pulling apart and putting back together of our original creatures confined within the dimensions of two city blocks. A truly iterative process that always doubled back and followed an honest process of discovery.
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ACT III: The final step in this process was to create a model of the resulting architecture. Our group decided to embrace the conflict and create from mostly found objects. The model could be entirely dissembled and reassembled, allowing the model to become an act in and of itself and an instance in which we had to reject conflict in order to work together.
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“In memorable experiences of architecture, space, matter and time fuse into one singular dimension, into the basic substance of being, that penetrates our consciousness. We identify ourselves with this space, this place, this moment, and these dimensions become ingredients of our very existence, Architecture is the art of reconciliation between ourselves and the world, and this meditation rakes place through the senses.”
-juhani pallasmaa
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