Annie Phillips Portfolio - M.ARCH Spring 2021 by Annie Phillips

PORTFOLIO MARCH 2022 BSIA 2020

ANNIE PHILLIPS During my time in undergraduate interior architecture I gained a better understanding of design and the importance of the role of a designer in the built environment. I’ve been inspired by discussions concerning social and political agencies, urban agendas, and new modes of representation that shape the world around us and speak from a unique vantage point. As a citizen in society, taking on the role of being a designer is not something I take lightly because through my academic career, I’ve been educated to influence and impact lives through shaping an artificial landscape. I’m passionate about emphasizing detail-oriented

drawings by means of digital representation to convey ideas and serve as a tool for dialogue. There is a desire growing within me to encourage engagement with diverse disciplines and to consider differing institutions to be allies, to engage them in ways that promote design awareness and conversation. During my previous role as an architectural intern/ design intern, I used a variety of software, tools, conceptual skills, spatial planning, input and ideation to contribute to the growth of the firm. I’m interested in spaces, edges, thicknesses and how exterior, interior and landscape meet one another.

table of contents

SITE LINES

FALL 2016

MICROSCHOOL

FALL 2018

UNDERGROUND

SPRING 2019

FUNICULAR VAULT

SPRING 2020

DELINEATION

FALL 2019

INSTITUTIONALSPACE

FALL 2019

SITE LINES

06 6

ARRESTING NOVELTY

SITE LINES

BUILDING CONTINUITY based on a traveled experience to chicago, illinois, carved landscape is differed by reference to monumental scenes or structures that have an impact on the city user. an experiential journey is illustrated by relating the scale, time of day and reference. depiction is necessary based on the navigation intakes and as buildings take on their own elevations, the city creates it’s own edge that can be experienced through different graphic representations. by representing this spatial experience at a scale that is comprehensible,

allows viewers to path find as they wish. scoping in on the distinct path based on travel captures the amount of city-scape versus green-scape this portion of the city portrays. careful attention to cropping the city is crucial to it’s understanding carried from the experience. by representing the buildings as simple masses symbolizes a likeness that is offset by the depths of shadows the buildings create. they start to be diagrammed not only as their own masses, but also how they react to one another as siblings or adjacencies.

SITE LINES

+ WATER CONTEXT STATIONED IN SIGHT

SITE LINES

+ DRONE VIEW

AERIAL GRASP ON THE LANDSCAPE

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SONIFEROUS INTERIORS

06 14

MUSIC MICROSCHOOL

MICROSCHOOL

INVERTED LANDSCAPES

this space is a controlled environment working as a machine to produce interactive sound, promoting sensual awareness for students ranging in age. working with a range of visual impairments is designed in a space with neighboring intersections and commercialized spaces making it a prime location. the microschool is a communal space inviting agents to mentor one another in open space, such as exaggerated yellow hue signifying the typical last color an agent can see before the loss of total vision. this project aims to accommodate agents through the controlled environment.

MICROSCHOOL

SONIFEROUS EXTERIOR the relationship between a typology and air waves that carry sound are diagrammed using software that relates graph and wave. as waves spiral out, sound is represented as a continued force. the graph is manipulated in areas that are impacted by sound as it meets the edges of it’s capacity. grappling with this relationship digitally starts to allow the site to hold and give away more information when the diagram

process is applied. the site engages a range of sounds that project both to and from the space. by engaging these decibels that are a result of the existing urban environment, and taking them into account, one is able to identify ‘danger zones’ for a visually impaired user. as an academic institution, this program is in proximity to resources, so allowing accessible routes helps the agents get what they might need safely.

MICROSCHOOL

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 agents 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.

MICROSCHOOL

+ PLAN

TILE SYSTEM INTEGRATED

MICROSCHOOL

+ RCP

PIPE MACHINE INTEGRATED

MICROSCHOOL

+ CLASSROOM

OFFICE, LISTENING POD

MICROSCHOOL

+ COMMUNAL WORK

ENTRY SPACE, PIPE ORGAN MACHINE

MICROSCHOOL

+ LISTENING POD STEEL JOIST

holds the structure in place. acts as a support system for mdf and sheetrock. steel.

BIRCH VENEER

a manufactured board. a thin material that allows for malleability when formed. glued to a stable substrate, not prone to warping or splitting.

INSULATION COIL

the insulation 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 UMBRELLA

a source of individual sound that allows for private hearings of programmed musical instruments throughout the space.

MICROSCHOOL

+ CLASSROOM

MICROSCHOOL

+ LISTENING POD

in a microschool centered around sound, creating it, verbalizing it, listening to it, moments of gathering to share the same environmental experience to be developed in it’s own way becomes an essential, vocal point to the school. agents are able to interact with one another in adjacency, coming together in a forced proximity. this is where the school allows agents and their higher agencies to listen in on what is being produced during the program. agents are able to focus their awareness in on the sound in this communal space.

+ COMMUNAL S

the environment immediately cha the street. to an agent that is not causing one to want to touch the the ground plane. to a visually im become in contact with the surfa rior. the tile guides agents by act of tiles references a common spa

SPACE

anges when entering the microschool off of t visually impaired, the space is very tactile, surfaces that line the structure, including mpaired agent, the space is inviting one to aces that lead one along the paths of the inteting as a manipulated grid, a closer proximity ace of travel or common space of fellowship.

MICROSCHOOL

+ IND. WORKSPACE

mentoring is a vital aspect to this microschool. visually impaired agents working with clear-eyed agents mentor one another in order to further develop their music skills. this space allows agents to adhere to one another, gaining new skills based off of their own interpretive instincts that vary among the agents. desk space provides hard surfaces to explore materials on a flat plane. the tubes of seating are attached to their own track, being adjustable, allowing control over space.

MICROSCHOOL

PIPE ORGAN MACHINE

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UNDERGROUND

06 34

UNDERGROUND

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 perspective- it takes exploration to uncover the unknowns. therefore, I aim to bring the curiosity from underneath the concrete surfaces to the levels above. exposed versus hidden has an extensive load on this question of how architecture starts to become more curious. how can architecture develop into a synopsis of inquisitive brain activity? by exploring kinetic, ever-changing functions, manipulated by seen and unseen interaction, the curiosity of this site will grow. by developing a site with built question, new attention will be brought to the area. this is about thinking futuristically and allowing users to engage with their built environment.

UNDERGROUND

PHASE 01

PHASE 02

UNDERGROUND

PHASE 03

UNDERGROUND

SUBSTRATUM

JUXTAPOSITION

UNDERGROUND

DEVIATION

UNDERGROUND

P. I. R. S E N S O R 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 infrared radius indicates the reaction of sensor detection by breaking the boundary.

UNDERGROUND

MODES of DEVIATION

UNDERGROUND

OSCILLATING CONTEXT the below and above ground relationship of the site sets up a mode of divided horizontal planes with no physical connection. for this area, a site analysis leads to an urban story that tells the history of downtown atlanta, georgia being that the underground is cladded with storefronts that once scaled to the above ground. the developed road system led to the abandonment of the original ground level street, burying the spaces, cutting the atmospheres circulation to those once active storefronts. by addressing the active streets that surround the site, users perspectives are crucial to the

development of the urbanscape. interactive structures line the perimeter, becoming the landscape and the platform becomes the sidewalk and deteriorates the boundary between pedestrian and interactive user. the parking adjacent to the space allows users convenient site accessibility from their vehicles as well as keeping space open for the existing bus stop on peachtree. by keeping and restoring the existing stairs, the site is able to hold it’s history while implementing a new grid system adds to it. the edge of the grid meets the interactive zones characterized by textural differences and ever-changing structures.

UNDERGROUND

VARIABLES INTERACTIVE VARIANCES WITHIN THE SITE

V.01

V.08

UNDERGROUND

V.03

V.04

V.06

UNDERGROUND

GROUND + ABOVE PUSH PINS ACT AS OBSTACLES TO ENGAGE

UNDERGROUND

GROUND + BELOW PUSH PINS REACT TO ENGAGEMENT

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FUNICULAR VAULT

06 52

FUNICULAR VAULT

GROUP PROJECT: ANNIE PHILLIPS, BLAIR BICKMAN, KRISTIN PITTS

FUNICULAR

+ PLASTER FORM FINDING

the process of working with plaster dealt with using a scaled 2D drawing of the site in order to place material where there is support and pin it in order to create it’s 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. iterations were developed. promoted 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.

FUNICULAR

+ 3D PRINTING

once we found the form by exploring physical models, we were able to take the information and model it into the digital world. by using different softwares, 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 vornoi script, working with hexagon tiles worked. the blue and red lines show the form in tension and compression. 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 indoor-outdoor 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 vornoi tiled interaction. the idea follows- all tiles in compression work together to maintain equilibrium.

01 57

DELINEATION

06 58

DELINEATION

+ PROCESS

EARLY BENCH CONCEPT

DELINEATION

+ ITERATION 01

+ ITERATION 02

+ ITERATION 03

+ ITERATION 04

DELINEATION

BENCH:DELINEATION 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 modern, contemporary way.

DELINEATION

01 65

INSTITUTIONAL SPACE

SONIFEROUS EXTERIOR

INSTITUTIONAL SPACE

SONIFEROUS EXTERIOR

the site’s placement in knoxville, tn engages in an urban landscape, adjacent to downtown which projects a range of sounds both to and from the site. by analyzing the decibels the site is influenced by, the conceptual and schematic processes begin to reflect how the design addresses

the heavy traffic of noise. being a rehabilitation and hostel institution, privacy is crucial to the users. as a user of those two programs, questions arise concerning noise activity in reference to the time of day and even within the designed institution itself.

INSTITUTIONAL SPACE grappling with two programs in one designed institution that carry primitive sound, populating their spaces and voids, influencing one another, spiraling up and out, in between, intertwined, eventually working together for progression.

MONOLITH by exploring a new software, forms shifted from regular to more abnormal to take on the sound concept of the site. Iterations focused on sectional qualities that prompted a vertical object came into play as noise, distortion and adjustments of the x,y and z axis were manipulated based on the seperation of program.

MONOLITH

by exploring a new software, forms shifted from regular to more abnormal to take on the sound concept of the site. Iterations focused on sectional qualities that prompted a vertical object came into play as noise, distortion and adjustments of the x,y and z axis were manipulated based on the seperation of program.

MONOLITH

0203

ENTRY

_entry

SELFFLES +

+ AUTONOMIC CONGRUOUS CORRELATION _autonomic_congruous_correlation

EVALUATION

_entry

uous_correlation

+ _evaluation

DECRIMINALIZATION _decriminalization

INSTITUTIONAL SPACE

B O U N D A R Y. F O R E C A S T. E C H O L O C A T I O N.

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C O N N E C T I O N. P R O J E C T I O N. B A L A N C E.

INSTITUTIONAL SPACE 1

CIRCULATION

E D C

B A

INSTITUTIONAL SPACE

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

INSTITUTIONAL SPACE

PRIVATE QUATERS FOR HOSTEL USER SPACE & ALTERNATING REHAB SPACE

NEIGHBORING TOWERS ARE CONNECTED BY A COMMON COURTYARD SPACE ACCESSED BY MEANS OF ENTRANCE & EXIT.

WOOD VENEER

STEEL JOIST

PLYWOOD INSULATION COIL

WOOD VENEER

INTERIOR WALL DETAIL PLAN

MAIN CORES, CENTRAL CIRCLATION FLOOR ACCESS.

ACTIVATING RITUAL THROUGH NEIGHBORING TRAIN SCAPE.

A01

INSTITUTIONAL SPACE

COMMUNICATIONS SPACE

PRIVATE SPACE

COMMUNITY AREA

WORKER / PHYSICIAN SPACE

ENTRANCE TO LEVEL & TO 2ND LEVEL VIEW

PRIVATE SPACE

COMMUNICATIONS SPACE

PRIVATE SPACE

ADMITTANCE SPACE

DESK SPACE

WORKER / PHYSICIAN SPACE

COMMUNITY AREA

WAITING AREA

LEVEL 01

MULTI-USER

PUBLIC SPACE

LEVEL 02 COMMUNAL

LEVEL 03 PRIVATE

SCALE 1’ - 0” = 1/32”

the area between the towers is allows the users of the institution to commonly gather and have fellowship with one another. this promotes awareness of equal bodies relating in the same common environment. the views overlooking the space connect the users to the exterior.

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 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.

INSTITUTIONAL SPACE

THANK YOU ANNIE PHILLIPS aphill62@vols.utk.edu 423 262 9365