Annie Phillips Portfolio - M.Arch Spring 2022 by Annie Phillips

ANNIE PHILLIPS 2022 PORTFOLIO M.ARCH 2022 I.ARCH 2021

CONTACT aphilldesign@gmail.com 423 262 9365

ABOUT ME During my previous roles as an architectural & interior design intern, I used a variety of software, tools, conceptual skills, spatial planning, input and ideation to contribute to the growth of the companies and firms. I am an expert in Revit and Illustrator but can pick up on new software quickly by taking advantage of the tutorials the web provides. I was raised around the world of design, therefore my understanding of the hard-work and appreciation for how designers shape everyday lives has only grown through my education and previous internship experiences. This appreciation carried me to The University of Tennessee, Knoxville College of Architecture + Design where I’ve been able to receive constructive criticism well through pinups and reviews. Due to my past internships, my communication skills have only improved. I was able to manage construction documents and design spatial layouts- two very big tasks that required equal amounts of attention and became skilled at concept boards and finish selections. My exposure to professional practice and my academic education have well equipped me with the skills I need in the field.

TABLE OF CONTENTS

01 SITE LINES

1-4

FALL 2016

02 MICROSCHOOL

5 - 22

FALL 2018

03 UNDERGROUND

23 - 38

SPRING 2019

04 INSTITUTIONAL SPACE

39 - 50

SPRING 2020

05 DELINEATION

51 - 56

FALL 2019

06 FUNICULAR VAULT

57 - 62

FALL 2019

07 0N AIR

63 - 67

FALL 2020

08 APPALACHIAN

68 - 88

FALL 2021

09 URBAN EDGE

89 - 102

SPRING 2021

ARRESTING NOVELTY

BUILDING CONTINUTY Based on a traveled experience to Chicago, Illinois, the representation of a carved landscape is differed by reference to monumental scenes or structures that have an impact on the city user. These drawings are a representation of a journey through the city relating the scale, time of day and reference. The scale, shadows and buildings are necessary to include based on the navigation intakes. As buildings take on their own elevations, the city creates its own scape that can be later experienced through different graphic representations. You can pathfind your way through the city in these drawings. By scoping in on the distinct path, it captures the amount of city-scape versus green-scape this portion of the city portrays. Careful attention to cropping the city was crucial to its understanding carried from the experience. Represnting the buildings as simple masses symbolizes a likeness that is offset by the depths of shadows the buildings create. They start to be diagramed not only as their own masses but also how they react to one another as built siblings or adjacencies.

WATER CONTEXT. This representation starts to capture the potential views from Lake Michigan as one passes Navy Pier and Milton Lee Olive Park comes into sight.

DRONE VIEW. An aerial view gives a better grasp on the landscape, showing relationships between streetscape, landscape and building-scape. 4

MUSIC MICROSCHOOL

INVERTED LANDSCAPES

This space is a controlled environment that works as a machine to produce interactive sound in order to promote sensual awareness for students ranging in age. The microschool is designed in a space with neighboring intersections and commercialized spaces making it a prime location for a range of visually impaired students. The microschool is a communal space inviting students to mentor one another in an open space. Yellow is used as a signifying color because it is typically the last color a person can see before losing total vision. This project aims to accommodate students through a controlled environment.

SONIFEROUS EXTERIOR The site engages a range of sounds that project both to and from the surrounding area. By engaging these decibels and taking them into account, one is able to identify ‘danger zones’ for a visually impaired user. These are areas that might be higher traffic or areas that facilitate moving vehicles. The research began with a three layer diagram: a base with a thickness, a grid overlaying that base and linework that mimics decibel outputs. By manipulating these layers, a formwork transformed into an object that could be created and brought into existence at large. A grasshopper script and microphone were taken to the site to gather decibel information, leading to the discovery of the ‘danger zones.’

FOAM GRID

GLASS

CONCRETE

POLYVINYL CHLORIDE

RUBBER

BIRCHWOOD 11

MATERIALS. The hardness of birch lends itself well to the manufacture of large, flat sheets of unbroken birch veneer that make excellent and affordable plywood. Rubber is slip resistant, shock-absorbing and carries natural acoustic properties that control noise pollution. Polyvinyl chloride is durable, dependable, and lighweight, so it’s an appropriate material to use for the reverberation pipes.

INSTALLATION CONSTRUCTION. The listening pod above acts as a station to absorb the pipe organ machine that powers the microschool. It’s accompanied by sound umbrellas that project their own decibels when users interact with it. Furthermore, the wall system highlighted acts as a tactile surface area and storage space for the students themselves. The construction of the system itself exhibits concrete and attachment, but the tactile surface is engaged with the foam cylinders that jut out spatially.

PLAN N.T.S.

TILE SYSTEM INTEGRATED. The studio was sponsored by Crossville Tile Inc. which prompted the detail to tile placement in the floor plan. The tile is partnered with a rubber grip that assists the visually impaired. 13

RCP N.T.S.

PIPE MACHINE INTEGRATED. When the pipe organ machine is played, it acts as the main stimulus in this space due to the pipes’ physical vibration integration throughout the space vertically and horizontally. 14

CLASSROOM N.T.S.

OFFICE, LISTENING POD. This section showcases the classroom area where the students gather for group settings. The space is centered in the interior to create a base meeting point that is easily accessible to all students. The reverberation pipes are above head to create vibration, with little to no sound. 15

COMMUNAL WORK N.T.S.

ENTRY SPACE, PIPE ORGAN MACHINE. The entry space houses a front desk followed by the main classroom space and leads to the pipe organ machine. On this wall there are tactile foam spaces that can be used for storage and act as a high-tactile area for the students to interact with. 16

LISTENING POD STEEL JOIST. Holds the structure in place and acts as a support system for materials like mdf, sheetrock and steel. BIRCHWOOD VENEER. A manufactured board. This is a thin material that allows for malleability when formed. It’s glued to a stable substrate, not prone to warping or splitting.

INSULATION COIL. These coils act as the insulation that allows for sound absorption. REVERBERATION COIL. When the resistance frequency of the coil is equal to the frequency of the sound that travels through the pipe, the vibrations are the most intense.

SOUND UMBREALLA. This addition acts as a source of individual sound that allows or private hearings of programmed musical instruments throughout the space.

CLASSROOM

LAB. WORKSHOP. The classroom space has stationary seating that rotates, allowing the students to turn to speak with one another. The workspace surfaces are divided by yellow indicators that extrude from the surface. By placing significant amounts of rubber here, the students can tell this is a higher traffic area of importance.

ENTRYWAY

PERSONAL STORAGE SPACE. The environment immediately changes when entering the school because to a student that is not visually impaired, the space is very tactile, causing one to want to touch the surfaces that line the structure, including the ground plain. To a visually impaired student, the space is inviting with the rubber surfaces that lead along the higher traffic paths of the microschool.

COMMUNAL SPACE

AREAS OF PERSONAL IMPACT. Mentoring is a vital aspect to this microschool. This space allows students to adhere to one another, gaining new skills based off of their own interpretive instincts that vary among the students. Desk space provides hard surfaces to explore materials on a flat plane and the seating made out of tubes sits on its own track, adjustable and allowing for more space.

PIPE ORGAN MACHINE Moments of gathering to share the same environmental experiences becomes an essential aspect in this microschool that is centered around sound by creating it, verbalizing it, and listening to it. Students are able to interact with one another in adjacency with one another, coming together in a forced proximity. This is where the school allows students and their mentors to listen in on what is being produced during the educational program.

SOUND UMBREALLA. This addition acts as a source of seating grounds that allows for personal hearings of programmed musical instruments within the space. 21

UNDERGROUND

URBAN SUBSTRATUM The underground in Atlanta, Georgia is a site that has outsiders curious because it doesn’t answer questions that can be seen from an eye-level This project takes an exploration to uncover the unknowns. Urban Substratum brings curiosity from underneath the concrete surfaces to the levels above. Ideas of exposed vs. hidden landscape have an extensive load on the understanding of this site. This project explores questions such as, how can architecture develop into a synopsis of inquisitive brain activity through physical interaction? By exploring kinetic, everchanging functions, manipulated by seen and unseen interaction, the curiosity of this site grows. This is about thinking futuristically.

PHASE 01

PHASE 02

PHASE 03

SUBSTRATUM

JUXTAPOSITION

DEVIATION

PIR SENSOR. A passive infrared sensor (PIR sensor) is an electronic sensor that measures infrared (IR) light radiating from objects in its field of view. The radius of a human entity’s infared radius indicates the reaction of sensor detection by breaking the boundary.

MODES OF DEVIATION +0

+ 10

+ 14

+ 22

+ 12

+ 14

+ 32

OSCILLATING CONTEXT Although the site has its own unique physical characteristics, the surrounding environment plays a huge role in activating the area. The site is engaged by students from a neighboring college, activity from the aboveground and below-ground bus system, and a low-income population. By creating an interactive zone in the middle of crossing pathways, these various groups of the population can experience similar narratives. The design has changing characteristics that allow the user to view and experience something different every time they revisit or walk through the site. Each interactive installation has its own grid-defined area, surrounded by pathways that connect.

INTERACTIVE PLAY ZONE. This design is accommodating for the surrounding population. 34

VARIABLES

INTERACTIVE VARIANCES WITHIN THE SITE

V.01

V.08

V.03

V.04

V.06

ABOVE GROUND

PUSH PINS ACT AS OBSTACLES TO ENGAGE. A full-scale push pin system is activated as users press down and pull up on the protruding objects. 37

BELOW GROUND

PUSH PINS REACT TO ENGAGEMENT. As the pins are getting pushed down from above, the foam objects can be seen in the walk space below. 38

SONIFEROUS EXTERIOR

CIRCUIT PLANNING This project started by looking at and diagramming perscrptive plans that are commonly sourced for institution development. These plans are called “timesavers” and are proportional to their program. The need to unmask, decipher and reorganize the timesavers was crucial to understand the makeup of rehabilitation centers and youth hostels- the two institutions of focus. The two sets of documents diverge in both mental and physical awreness that account for dfiferentiating users. Users is a narrowing term, it defines the income and spits out the outcome. Thinking in terms of creating behaviors and how the randomized actions and encounters might affect the plan is a more directive approach to this design. By splitting up the existing timesaver and reorganizing the segemtns onto a ‘circuit’ developed a system that responds to adjacencies and likeness. This process of plan-making observes randomness as thoughtfulness,.

BEHAVIOR OUTPUTS

DYSTOPIA

DECRIMINALIZATION

MISGUIDED REPRESENTATION

SOCIAL IMPLICATIONS

DIAGRAMMATIC MAPPING The terms and vocabulary that developed from the behavior output plans were then diagrammed into collages. These collages are a representation of interior and exterior spaces that can be understood through real-world imagery with dimension and linework. They act as a conceptual exploration later translates into the development of the institution’s program. Although youth hostels and rehabilitation centers have two separate programs, they can coexist in the same block. That is why monolith was used to explore the form of the building. Monolith was programmed to divide the mass into a separated space, holding both verticalMONOLITH and MONOLITH horizontal qualities. Moving forward, sound by exploring a new software, forms by exploring a new software, forms shifted from regular to more abnormal was a large consideration due to loud noises regular to take on theshifted sound from concept of theto more abnormal take on on thesectional sound concept of the site. Iterationstofocused in the surrounding area, therefore the sound Iterations focused on sectional qualities thatsite. prompted a vertical qualities thatnoise, prompted a vertical was documented and diagrammed. object came into play as

+ _entry

_evaluation

SELFFLES +

came into playx,y as noise, distortion andobject adjustments of the distortion and adjustments and z axis were manipulated based on of the x,y axis were manipulated based on the seperationand of zprogram. the seperation of program.

+ 01

_autonomic_congruous_correlation

_decriminalization

03 01

SITE ANALYSIS. The site engages a range of sounds that project both to and from the site. By using a grasshopper script and microphone, the surrounding area’s sounds were gathered and documented. This information later determined wall thicknesses, spatial orentation and floor plan layouts. 46

OSCILLATING SOUND. Documenting the sound brought about new terminology that was diagrammed for exploration. The above diagrams represent the terms echolocation, dispersion, and boundary.

ASSIMILATING SOUND. The above diagrams represent the terms projection, connection and balance. The diagram below is a representation of the 2 dimensional sound documentation viewed as an elevation. As more sound is present, the taller the elevation appears.

CONCEPT EXPLORATION

CIRCULATION. The monolith studies lead to a final form that consisted of two towers joined by one roof. Both institution users are forced to cross paths upon entry and have moments of transparency in their privacy driven spaces. 49

CIRCULATION

E D C

B A

TRANSPARENT, energy safe

TRANSLUCENT, fogged glass CONCRETE COLUMNS

CONCRETE PODS | PAINTED PODS ORANGE IS RECOMMENDED IN HEALING ENVIRONMENTS

CONCRETE CORES, encasing elevators TRANSPARENT GLASS, energy safe

PRECAST CONCRETE

THE FORM OF THE STRUCTURE IS ALL PRECAST CONCRETE, REINFORCED

PUBLIC SPACE

MOMENTS OF INTERACTION. The public space was influenced by youth hostels and rehabilitation institutions existing as primarily private space. Public space allows the users to interact and gain exposure to the elements. The floor plans show the wall thicknesses getting heavier in spaces that need more sound blockage, while the rest of the space is an open floor plan on a column grid system.

INSTITUTIONAL SPACE By addressing rehabilitation centers and youth hostels, a new identity of the intentions comes to surface when the two merge in behavioral analysis. The structure exists on the lower level of an aqueduct and levels over the existing bridge. As people cross the bridge, they can see the structure that invites them to come to the lower level where the public space exists. The architecture takes light in the form of communicating the analog of society’s outlook on the two institutions, focusing more so on the social implications of rehabilitation centers. Deliverance is exhibited through two objects that work sectionally to produce an obscured perception of what users are inhabiting either institution.

DELINEATION

PARTNER: KATI KIRBY

PROCESS

EARLY BENCH CONCEPT. The intention of this project was to create something new and contemporary. We started out thinking about joinery and how our legs might meet the seating space of the bench and began to sketch ideas. The elevation of the bench came from our sketches. Followed were sketches that explored ways the seating space could be ergonomically convenient while keeping the modern aesthetic.

DIGITAL ITERATIONS

MATERIAL AND FORM. Our sketches became digitally 3 dimensional when we modeled them in rhino and found what physically fit together and what did not. Ultimately this is lead us to the iterations above. Each progresses into a piece transformed based on function and aesthetic. 58

PRODUCT

PRECEDENT. By taking the Hans Wegner bench as a study precedent, the repetition of slats and attention to jointery are noted. The piece is elongated by continuous slats that fit into their corresponding pieces. The delineation bench takes a look at the Hans Wegner bench in a contemporary way. 59

PHYSICAL PRODUCTION. The delineation bench was constructed from maple wood and constructed in the fabrication lab by using power tools. The legs are constructed with domino joints and the seating is cut and fitted together as an insertion. 60

FUNICULAR VAULT

PARTNER: BLAIR BICKMAN KRISTIN PITTS & MAYA PAVON

PLASTER FORM FINDING

FORM FINDING. The process of working with plaster dealt with using a scaled drawing of the site in order to place material where there is support and pin it in order to create its form. there was a desire to have supports that intrude the site, so these study models were created varying in two forms. one with one pinched support and the other with two pinched supports.

3D PRINTING

DIGITAL TO PHYSICAL. By using different software including rhino, we were able to create the form we had found physically. In order to translate this digital form-finding into a large-scaled model, we needed to manipulate grasshopper scripts to find a shape that we wanted our pieces to be 3D printed in. We found that the Voronoi script, working with hexagon tiles worked.

INTERIOR FORM Prompted with new structural exploration, we designed a funicular vault that occupies world’s fair park, Knoxville, TN. the site’s existing conditions include a stage with stadium-type seating overcome by a tensile structure. using the grasshopper plug-in Karamba, as well as other software, we were able to test the optimization based on the graphic representation of where the form is under stress and tension. the interiority of the structure exhibits total tension that arches over the seating space. the structure meets the ground in areas that allow openings to form, dispersing ways of entry and exit. the form that’s derived from the software script is positioned on the site to have reacting moments where the form becomes structurally supported in some interior areas. this indooroutdoor experience engages the surrounding water and park resources that the community as well as students gather to. this project allowed for research in form finding at a larger scale by referring to tension and compression boundaries that act on this type of Voronoi tiled interaction. the idea follows- all tiles in compression work together to maintain equilibrium. when one tile fails, the structure fails.

07 ON AIR

PARTNER FOR MOTHERSHIP: CAYCE ANTHONY & JESS SHREMSHOCK

CHANNEL FLOW During the 2020 pandemic, the quality of air was the biggest concern. Chemical air, electromagnetic air, and cultural air played a role in the year 2020 with the social and political network in constant fluctuation. Electromagnetic air is interesting because it has the ability to transmit communication, yet remain invisible. The term channel was brought to my attention regarding water, but also air. Channeling any substance is forcing it to move a certain direction, including the ability to channel electromagnetic air. By channeling electromagnetic air visually, the viewer is able to understand what might be existing in the air around them. Bringing the invisible into visible objects and images allows the viewer to understand the composition of the matter at hand.

CHANNEL ATTRACTION

HAIR MAPPING. Based on the output of air moving across the strands of hair, crosshairs are placed to signify reaction and flow of path 71

movement. The added trail shows the highest areas of impact where the air was channeled along the surface of the hair.

HAIR RESOLUTION. Once air was channeled over the surface of the hair, there was a disruption in the order it once has. This area of disruption is diagrammed and ranges in tone and color based on the intensity of change and disruption. Darker spaces were mildly manipulated while light pink was highly manipulated. 72

CHANNEL FLOW

DIGITAL SKETCHES. By digitally modeling the foam surface and setting drop points, I was able to see the different ways substances could be channeled by the surface and flow off of the object. The drop points immediatley lose their original grid placement as they individually hit the surface as a group. 73

MOTHERSHIP

SHELL. To gain an understanding of how the shell and body are structured and connected, we built a small-scale model. The shell was CNC milled out of foam and hatched on the underside to give it the ability to bend and flex around the structure of the body. 75

BODY. The structure of the body was CNC milled out of MDF and joined together with a slat system. The various layers allow for the option of material to later exist in between. The connection of the shell and body is accomplished with a 3D printed clamp and rod that punctures the foam. 76

INFOGRAPHIC. The Mothership plays a narrative in functioning as the facilitator of the Art + Architecture building. As the Mothership oversees and gathers information, she acts out physical behaviors in response. The Motherships acts as a breathable stimulus to the interior of the building, acting as a nurturer.

MOTHERSHIP The construction of the full-scale Mothership had to be precise enough for all of the body pieces to accurately slide into one another. The size and bend of the shell had to be calculated prior to CNC millings the foam to ensure the foam would meet the body in the correct places for attachment.

INSTALLATION. The Mothership hangs attached to the HVAC system where she hovers the building’s atrium, oberving who and what enters and exists. She jiggles when she’s detects exciting imformation and blows puffs of smoke out of her nodes when she’s angry. Her behaviors are keeping the building alive. 80

APPALACHIA PARTNER: BRENDAN WALLACE & LYDIA RUSSEL

MAPPING GLOBALISM. The Appalachian Trail is know globally. It’s roughly 2,190 miles consist of 125 designated camp sites, which are mapped on the trail above. Throughout the year a variety of people come from all around to globe to hike this endeavor. The trail is a piece in the threadwork that exists along the east side of the United States and the people that venture on the trail bring with them a piece of the network. Hot Springs, North Carolina is a small town off of the trail where travelers stop in for a visit to gain the full mountain experience with the locals.

MAPPING X Hot Springs, NC is isolated from urban areas but still able to interface with others via digital communication. Map X diagrams flight paths that overlay the trail during different times of the day. These flight paths cause a disruption in the electric network of the trail. The trail exists as a natural network that’s encroached on by them human network. Map XX diagrams the seasonal wave of people that occupy the trail. The warmer months have higher activity while the colder months have little to no activity on the trail. This map also shows the electric 3G, 4G and 5G power grids in the surrounding area. Map XXX indicates the location of Hot Springs, NC in relation to the trail and shows the electromagnetic wavelengths that facilitate the air.

GAMEBOARD The studio started with a gameboard charette. Each group member would impact the board in a different way, reacting to one another as we took turns resulting in a board of geometric shapes that were extended into the rest of the space as vectors. We cut the final geometric shapes out of the board and replaced them as gameboard pieces. These pieces were given size and movement definitions ranging from small to large and slow to fast. Ultimately the smaller the pieces, the faster and the larger the piece, the slower it moved about the board. As these pieces were moved about the board dependent on size and speed, they gained a direction and pathway that defined how they would impact the other pieces in the future development of the project. The raw materials were used for a series of experimental design exercises guided by 2 distinct methodologies of collective improvisation - exquisite corpse, and tango - both with precedent in art and design history. These exercises were largely improvised, intensely negotiated, and unfold in large format using both analog and digital media. The goal of these exercises was to develop 3 distinct organizational systems as models for a prototypical community.

TOP DOWN PIECES. The gameboard pieces took for in a top down material structure as metal, wood and stone. These pieces gained their form based on how the were manipulated and how they came in contact with one another on the gameboard. 89

INHABITABLE SPACES. The pieces were placed in the site on the Appalachian trail near Hot Springs, NC. Each objects structure sits on a stone piece with metal on top and wood in between. These pieces, now habitable spaces began to develop their own program was they were placed on the site. 90

APPALACHIAN TRAIL SPACES. The three teams placed their pieces around the trail where we later on determined their system and program. The metal pieces are integrated at the top of the wood structures and act as spatial enclosures.

PLAYERS. Above are the game pieces prior to colliding and establishing a top down structure. The importance of craft and leaving behind the digital tolls was used in their studio, therefore these were produced after they had been joined together. Each player has it’s own complexities that keep to their material family. 93

URBAN EDGE

PARTNER: EMILY HUNDLEY

SITE INFORMATION The site is located in Old City, Knoxville, TN where it is tucked away among residential and commecial establishments. It has a rich urban fabric that is disconnected from the rest of the community. The existing warehouse that resides on the site has multiple levels and is across from a new Boys & Girls club creating traffic through the area and past the site the existing structure’s footprint is far from the street, making it feel disconnected and unwelcoming. There is no defined sidewalk that invites the user in and causes mobility issues throughout the area. Due to parking being limited in the area, there is potential for a parking garage to be built in the Boys & Girls Club parking lot across the street.

SITE PROCESS The masterplan of the site consists of two built towers that house low-income residents. Surrounded by that is minimal parking and greenspace that is typically unoccupied. The street is very important because it’s how users will see and understand the site when they first come across it. Secondly, the curb is crucial to understanding where the street starts and stops. Lastly, the sidewalk is significant to the pedestiran activity of the site.The south side of the site is where the warehouse lives as it’s embedded in the natural slope of the ground. The adjacent area is unoccupied space that has the potential for additional housing units. Sketching allows for quick iterations and exploration on how to manipulate and influence the existing site.

SITE ANALYSIS Following the overall urban plan of dispersing space, Zone 4 aims to disperse and densify housing types providing a richer and more diverse area of living and interaction. Zone 4 features Tower units, comprised of work-live one-bedroom workforce units, a reimagined residential structure comprised of 12 affordable one bedroom ground units, and 8 3-4 bedroom multi-story units, and 3 1-2 bedroom workforce units, and lastly the Community Hub, which is using the bones of the existing Broadway Carpets building to create an outdoor/indoor commercial and retail space and connects to the parkway system that continues throughout the site.

101

102

103

UNIT PLANS & ORGANIZATION

GROUND

MULTI-FAMILY UNITS

LEVEL 04

LEVEL 03

LEVEL 02

104

MULTI-FAMILY UNITS The bottom level of the units is ADA compliant while the two higher levels are accessed by stairs. There are openings for passage on the bottom to access the street and to access the existing towers. The bottom level has a vertical buffer that distinguishes this space as someone’s living residence. The windows in these units are large openings to provide lots of natural light.

ACCESSIBLE UNIT

REAR UPPER LEVEL ENTRANCES

GROUND LEVEL PASSAGEWAYS

UPPER LEVEL FRONT ENTRANCE

107

SYSTEMS

LIVE/WORK | HUB

The HVAC system was an important component to look at because the ceilings are exposed in the live/work units. This study allowed me to gain a better understanding of how these units are placed and the how much airflow can be driven throughout the space. Due to the taller ceilings and larger rooms, it was crucial to consider the size of the ductwork and amount of air supplying them.

The live/work units are open floor plan with exposed ceilings. The steel joists are exposed, presenting an industrial aesthetic, a nod to the warehouse that once existed in it’s footprint. The units face either the public space and hub area or the existing towers which can be seen through large windows. Some units have a balcony with a built-on privacy screen.

108

LIVE/WORK | HUB The live/work units are targeted to a younger consumer that has a desire to be close to public space, outdoor space and lives on their own. The underground level exists as a parking garage, the ground level houses rentable space for the residents to set up shop, and the upper levels are living units.

109

PROGRAM. The underground garage takes the place of the existing warehouse below-ground space. The joists are salvaged from the existing warehouse building and continue from inside of the rentable spaces out to the public, communal area, which creates unique shadows as the sun transitions during the day. 110

MULTI-FAMILY UNITS

112

CONTACT ANNIE PHILLIPS aphilldesign@gmail.com 423 262 9365

THANK YOU 2022 PORTFOLIO M.ARCH 2022 I.ARCH 2021

ANNIE PHILLIPS 2022 PORTFOLIO M.ARCH 2022 I.ARCH 2021