2021. 2023
PORTFOLIO Sarah Dunn
4th year Interior Architecture Student
The University of Tennessee Knoxville
EXPERIENCE
CONTACT 1168 Brookside Drive
Franklin, TN 37069
Architecture and Interior Design Intern | MJM Architects
sarahdunn718@gmail.com
(615) 979-7390
Nashville, Tennessee
linkedin.com/in/sarah-dunn
issuu.com/sarahdunn718
May 2023-August 2023 | December 2023-January 2024 -Aided a small team with Pre-Design, Schematic Design, and Construction Document phases for an international coffee franchise.
EDUCATION
-Contributed to site analysis, due-diligence reports, building existing conditions Revit models, schematic drawing sets, construction drawings, and renderings.
Bachelors of Science in Interior Architecture The University of Tennessee Knoxville, TN | anticipated May of 2024
HONORS + ORGANIZATIONS Manfred and Fern Steinfeld Scholarship | 2023-2024 Gensler Brinkmann Scholarship Finalist | 2023 Tennessee Hope Scholarship | 2020-2024 IIDA Student Member | 2022-Present ASID Student Member | 2023-Present
PHILANTHROPY KnoxCon Volunteer | 2022 & 2023 South Knoxville Clean-up Volunteer | 2022 UTK CoAD Freedom By Design Volunteer | 2023 Knoxville Fall Festival Volunteer | 2023
-Created renderings and assisted with designing for the 2023 Nashville Parking Day design submission.
Interior Design Intern | Paradym Studio Brentwood, Tennessee May 2022-August 2022 -Assisted with Schematic Design, Design Development, and Construction Documentation phases for various projects. -Heavily involved in space planning, client meetings, site visits and drawings for a large multi-purpose project. -Contributed to Construction Drawings for a large religious project.
LEADERSHIP Research Assistant | UTK College of Architecture and Design August 2023-Present -As a Research Assistant to Professor Rana Abudayyeh, I participated in the design and drawings for refugee housing in Jordan and assisted with other representational drawings.
Teaching Assistant | UTK College of Architecture and Design August 2022-December 2023
SKILLS
- As a Teaching Assistant for Architecture 121 & 122 and Interior Architecture 101, I graded weekly assignments and projects, and assisted professors with lectures and activities.
Revit Enscape
4th Year Representative | IA Collaborative
Rhino/Grasshopper
January 2024-Present
Adobe Photoshop, Illustrator, InDesign
- As the 4th year representative in IA Collaborative, I collaborate with the Programming Chair and
Microsoft Office
other class representatives to plan events. In addition, I organize and facilitate graduation materials for the graduating class.
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References available upon request
CONTENTS 01.
Portable Japanese Tea House
02.
Music Micro School
03.
PATCH Up-Cycling
04.
Reimagining the World’s Fair Park Amphitheater
05.
Research
06.
2023 IIDA Threads Design
07.- 08.
Pages 3-12
Pages 13-26
Pages 27-36
Pages 37-40
Pages 41-44
Pages 45-46
Additional Works Pages 47-48
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01. PORTABLE JAPANESE
TEAHOUSE / DESIGN - BUILD
IARCH 475 // PROFESSOR JAMES DAVID MATTHEWS
This project entails a full-scale, portable Japanese Tea House that the IARCH 475 class designed and built with the intent of giving it to our clients, who are in charge of the Knoxville Asia Festival. At the beginning of the project we spent time doing research on Japanese Tea Houses, culture, and worked with our clients to understand their needs. We traveled to Rockford, Illinois to spend time in the Japanese Gardens, which entails a traditional Japanese Tea House. The design intends to use Japanese design methods with Eastern Tennessee context and construction methods. After going through many iterations, the studio landed on a design that is portable, lightweight, asymmetrical, and contains Eastern Tennessee materials and cultural context. When it came to building the design, we used locally sourced materials, which included steel, poplar wood, and corrugated plastic. With these materials, we successfully constructed the tea house, stools, and lanterns. SKILLS USED: Space planning, conceptual and cultural research, structural design, model making, 3D modeling in Rhino, Graphics done in Rhino, Adobe Photoshop, and Adobe Illustrator. Construction skills: metal grinding, steel cutting and drilling, wood work using the chop saw, table saw, planar, and sanding. 3
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PRECEDENT RESEARCH At the beginning of this project, the studio did multiple different prece� dent studies to ensure we were culturally sensitive and educated. Precedent research included visiting the Japanese Gardens in Rockford, Illinois, attending our clients’ tea ceremony at the Knoxville Asia Festival, and working with our clients to better understand their needs for the tea house.
PROTOTYPE TEA HOUSE
In order to gain building experience and to understand the spatial qualities of a Japanese Tea house, we built a prototype tea house from an existing house’s drawings from the book “33 Japanese Tea Houses” by A+U. We used simple materials such as plywood wood and cardboard for the construction. In addition, our clients performed a tea ceremony in our prototype tea house to ensure we had the floor plan as they wanted it.
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DESIGN ITERATION 01
This first design iteration was inspired by A-Frame Cabins and the feeling of playing in an attic on a rainy day. Both of these elements were intended to portray a child-like wonder and Eastern Tennessee context. The design entailed a water wall to simulate sounds of rain, an asymmetrical A-Frame roof, and an intimate interior.
DESIGN ITERATION 02
This design iteration was inspired by A-Frame Cabins, Child-like wonder, a tree house, and a monastery. The design is less intimate in order to accomplish audience visibility, but still portrays an A-Frame like roof and asymmetrical elements. Guests will enter in a more intimate space, but the ceremony will take place in a more open space.
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VERTICAL FRAME
The frame system supports the elevated base and roof. Aesthetically, it intends to push the ide portable, we developed a design that would be able to fold into itself so it can easily be set-up a make the triangulation equilateral. This ensures a strong structure and a system that can be ea for the frames and overseeing the construction. The materials we used were 16 gage 1”x1” steel p bolts. We had to cut the pipes to the exact lengths, angles, and grinding some in order to create accomplish a points of rotation and connection throughout the frame. The drawings depicted pieces of the frame.
BASE FRAME The Base portion of the tea house intends to elevate the space from the ground to ensure decent visibility and to separate the tea house from the audience . After going through several iterations of the design, we landed on a 4-ladder system in which we would build 4 separate ladders that sat in between each vertical frame. Angle iron would be bolted into the frames, in which the ladders would sit in. In addition, the steel ladders ensure that the structure is square, which increases structural integrity. The materials used for the base are 11 gage 3”x1.5” steel pipe, 11 gage angle iron, and 3/4” angle iron. During the fabrication process, we cut the steel to the correct size, welded the frames together, and grinded down any harsh edges. The drawings below are derived from the frame construction manual, which was drawn by Anna Shoemaker.
7 Base Construction Manual Drawings by Anna Shoemaker
ROTATION JOINT EXPLODED AXON
eas of asymmetry, elegant simplicity, and intimacy. In order for the frames to be and taken down. We went through many iterations, and came up with the idea to asily folded. During the construction, I was responsible for creating the drawings pipes, 11 gage sheet steel, quick release pins, and a variety of partially threaded hex e a radius so the frames could fold. We had to drill into the metal pipes to d are some of the construction detail drawings and an axon to show all of the
The image below are the rotation joints in which help the frame fold and support the base. The image to the right depicts a variety of connections within the frame.
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ROTATION JOINT EXPLODED AXON
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ROOF STRUCTURE / PATTERN
Drawings By Kaitlyn Delp and Emmie Barnett
The design of the roof intends to portray elements of triangulation, asymmetry, and shad shadows casted and creates an intimate atmosphere for the Tea House guests. The materi and metal wing nuts. The corrugated plastic has a similar light and shadow quality to shoji more durable and can be cut more easily. The pattern cut into the roof intends to visually Photography by Emmie Barnett
NESTED SEATING As a part of the project, we built seating for the audience that sit around the Tea House during the tea ceremony. The seating needed to be compact and light enough to be transportable but still align with the design of the Tea House. We developed a stool design in which they would nest within each other and come in a variety of heights. Regarding Materiality, the wood was a regional species and locally sources. We chose poplar as the wood for the legs and a live edge poplar for the seat.
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Drawings by Hannah White and Gracie Hill
ROOF PATTERN MODEL EXPERIMENTS
dow. In addition to the roof, there is a lower ceiling that catches the ials used for the roof were poplar wood, corrugated plastic sheets, i paper, which is traditionally used Japanese Tea Houses. The plastic is portray patterns of quilts found in the Appalachian Museum.
LANTERNS As a part of the project, we designed lanterns that are meant to imitate the Tea House design and create a path to the tea house. The materials used are Poplar wood and corrugated plastic.
STOOL CONSTRUCTION PROCESS
Drawings by Maddie Tisdale and Olivia Hussey
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Photography by Emmie Barnett and Professor Matthews
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02. MUSIC MICRO SCHOOL IARCH 376 // RANA ABUDAYYEH // SPRING 2023
The Music-Micro School located on Cumberland Avenue in Knoxville, Tennessee intends to integrate music into general education for ages 13-18. At the start of this project, I studied the acoustical qualities of moss and its growth cycle as well as the intensity and dispersion of sound in an educational setting based on the time of day and activity. In addition, I observed how urban wildernesses in Knoxville act as sound buffers in areas of high activity. From these studies, I designed a conceptual model that represents sound fluctuation. When translating this model into the site, I integrated its textural qualities to inform furniture, planters, and mainly a biological concrete panel system for moss growth that acts as an acoustic material. These panels are located in high areas of activity to prevent sound from traveling to other areas of the school. To accommodate quiet practice and performance spaces, the plan is partially modular. To connect the modular spaces, I introduced a box truss-like frame system that supports planters, lighting, furniture, and brings down the scale of the ceiling plane. Overall, this design integrates moss growth in the Music-Micro School to improve the students’ quality of learning and to provide efficient spaces for music education.
SKILLS USED: Space planning, conceptual research, 3D modeling with Revit, Rhino, and Grasshopper. Graphics with Adobe Photoshop and Illustrator. 13
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These images depict the study of moss growths in different contexts. The contrast in each image is intended to highlight the qualities of moss in each scenario. I found that moss grows and spreads within a few weeks, which makes it very effective for the use of it being to dampen sound in an interior environment.
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The drawing depicted is meant to visually show the dispersion and intensity of sound in an educational based on levels of activity and time of day. 16
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The left-most drawing is an axonometric of the conceptual model I designed in Grasshopper. The model is intended to show varying intensities of sound. The higher points that are extrudes display higher levels of sound. The drawing to the right depicts a conceptual configuration of the grasshopper model within the site. I used the textural qualities of the model to define spaces, inform furniture, lighting, planters, and the moss panel system. 18
The left-mos urban wilder how they da activity they
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st drawing is intended to investigate rnesses in Knoxville, Tennessee and ampen sound in the areas of high y are next to.
The drawing above depicts the growth stages of moss over a period of 4 weeks and how it affects the quality of sound within the conceptual design. 20
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The left dra materials co blue, yellow different sp
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awing depicts the materials used in my design. The majority of the onsist of steel, wood, and concrete, which is contrasted with bright w, and pink accents. These colors are intended to partly define paces within the school and to create visual stimulation.
The drawing above is a perspective that shows the entrances to the practice rooms, smaller workspaces, moss panels, and the integrated planter and lighting system. 24
The left drawing depicts construction details of the interior system and the moss wall. The axonometric shows this system as well as the skylight. The planters and lighting are intended to bring the ceiling plane down visually and to soften the natural light coming into the space. This system is partly supported by box-truss like columns and horizontal trusses, as well as chords that are suspended from the skylight supports. 25
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03. PATCH UP-CYCLING
IARCH 375 // TIM DOLAN // FALL 2022 FINALIST FOR GENSLER BRINKMANN SCHOLARSHIP FACULTY NOMINATED FOR THE 2023 ASID DESIGN AWARDS Set in the year 2030, PATCH seeks to inspire guests by up-cycling donated clothes into unique, tailored pieces. This retail space is located in the West Town Mall in Knoxville, Tennessee. This space will mainly be used by adults living a sustainable lifestyle that also enjoy unique pieces and tailored-fit clothing. The word I chose to describe my initial concept was discovery. When someone is shopping at a thrift store there is a process of sifting through everything, not knowing what they will find. I wanted to implement and elevate this experience in a commercial setting. Regarding spatial qualities, I wanted to introduce a variety of way-finding techniques that are visually translucent but are able to define space clearly and balance volumetric scale. When a guest wants to utilize PATCH, they can make an appointment online where they will be led to a site that has options for style stencils, and all of the pieces of donated clothing that are feasible to fit that style based on fabric type. When a guest arrives at the store, a stylist will have their items ready to be pieced together as desired. The guest will work with a seamstress to design their own custom piece. SKILLS USED: Space planning, conceptual research, designing effectively with materiality and color, understanding construction methods, rendering with Enscape, and 3D modeling and drawing with Rhino and Adobe Illustrator. 27
STORE FRONT ELEVATION PERSPECTIVE 28
TO MAKE A CHAIN GROCERY STORE FEEL LOCAL TO PROVIDE MORE AFFORDABLE PRODUCTS NAUTICAL DESIGN, UNIQUE PRODUCTS AND PACKAGING, AND HAND DRAWN SIGNAGE BUY PRODUCTS DIRECTLY FROM THE DISTRIBUTORS AND ARE PRIVATE ABOUT THEIR RELATIONS CONSUMER’S FEEL LIKE THEY ARE IN A LOCAL MARKET AND ENJOY BUYING UNIQUE, HEALTHY, AFFORDABLE FOODS.
TO PRODUCE INNOVATIVE AND CREATIVE VEHICLES TO BE RECOGNIZED AS A SUSTAINABLE, ENVIRONMENTALLY FRIENDLY COMPANY TECHNOLOGICAL INNOVATION THAT CREATES RELIABLE VEHICLES COMMERCIALS PUSHING INNOVATION, CREATIVITY, AND SUSTAINABILITY TOYOTA IS KNOWN FOR RELIABLE VEHICLES BUT NOT FOR INNOVATION AND CREATIVITY
TO CHANGE THE PERCEPTION OF SECOND-HAND SHOPPING FROM DEGRADING TO DIGNIFIED BUYING STYLISH CLOTHES FROM CUSTOMERS AND CREATING A BOUTIQUE-LIKE ENVIRONMENT PEOPLE ENJOY SECOND-HAND SHOPPING AND IT IS SEEN AS AN AFFORDABLE, SUSTAINABLE WAY TO SHOP
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RETAIL BRAND STUDY DIAGRAMS
TAILOR SPACE PERSPECTIVE PERSPECTIVE 30 CASH WRAP
Bright colorful threads are intertwined within steel structures to create a sculptural definition of space and meandering paths of circulation. Clothing displays run linearly along the walls for optimal organization. A stylist will guide the guest to the right pieces of donated clothing and then to the tailoring spaces to patchwork the selected clothes together. 31
GUEST CIRCULATION PATH DONOR CIRCULATION PATH STAFF CIRCULATION PATH
CASH WRAP PERSPECTIVE
CIRCULATION PLAN // NOT TO SCALE 32
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REFLECTED CEILING PLAN / /NOT TO SCALE
FLOOR PLAN // NOT TO SCALE
CIRCULATION SPACE PERSPECTIVE // THREAD CONNECTION DETAIL DRAWING 34
CIRCULATION SPACE PERSPECTIVE
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LONGITUDINAL SECTION PERSPECTIVE// NOT TO SCALE
BACK EXTERIOR OVERHANG PERSPECTIVE
TRANSVERSE SECTION PERSPECTIVE// NOT TO SCALE 36
04. RE-IMAGINING THE WORLD’S
FAIR PARK AMPHITHEATER
ARCH 557 // MAGED GUERGUIS FALL 2023
This project was designed in Architecture 557: Structures. The intent of this project was to redesign the World’s Fair Park Amphitheater with a structural system I had learned about in the class over the course of the semester. The structural system I used was a Tensile Structure. The intent of the design is to create an asymmetrical form using two different tensile structures. This allows for maximum shading and interesting shadows. To design this model, I used Grasshopper and Rhino. Grasshopper was also used to perform structural analysis to ensure it was sound. SKILLS USED: Space planning, Structural Analysis,Grasshopper, 3D moddeling in Rhino, Graphics in Adobe Photoshop and Illustrator .
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05. RESEARCH: INTERIORITY
AND DISPLACEMENT
RESEARCH ASSISTANT // RANA ABUDAYYEH // KATHRYN WEBB FALL 2023-PRESENT This research entails interiority and displacement within refugee camps in Jordan. The camp that we are specifically researching is Al-Zataari, Jordan, which was founded in 2012. Al-Zataari has about 20,000 inhabitants, who live in small caravans and have overtime adapted to these small spaces. Professor Rana Abudayyeh has studied the implications of their living conditions and how they adapt. Often, the caravans will eventually be configured into clusters, where large groups of people and families live. Kathryn Webb and I have spend the majority of the semester considering how to create a sense of place within the caravans and how to design a system that effectively divides space, creates privacy, includes storage,seating, places to eat, and counter space. Kathryn and I developed a flexible modular system that can adapt to various caravan configurations and the needs of the residents. Each module contains different attachments that are needed for different interior spaces. Currently, we are designing the system around clusters of 1 caravan, 2 caravans, and 3 caravans. This shows the flexibility that the interior system has and how it can be arranged in various ways. SKILLS USED: Space planning, conceptual and cultural research, 3D modeling in Rhino, Graphics done in Rhino, Adobe Photoshop, and Adobe Illustrator. 41
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OPENED 28 JULY 2012 POP 80,000 1800 SHOPS 25,000 PRE-FABRICATED SHELTERS 20000+ BIRTHS
This drawing depicts the different sectors of the Al-Zataar Credit: designed with Kathryn Webb
ri and its site context. 38 42
The drawing above depicts examples of how the interior furniture system can be arranged in a 1 caravan cluster.
The sketches depicted are early stages of designing the interior furniture system. 43
These sketches depict early detailing ideas and arrangements of the interior furniture system.
The drawing below depicts different arrangements of the interior furniture system in a 2 caravan cluster.
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06. 2023 IIDA TN THREADS IIDA TENNESSEE CHAPTER // OFS MADDIE TISDALE, KATHRYN WEBB, OLIVIA HUSSEY, TALIA ARMOZA, AND ABBIE SIMON FALL 2023
This project was designed for the 2023 IIDA Threads Fashion Show. The theme chosen was “Art Come Alive” and our group theme was ancient Egypt. Throughout our design process, we wanted to take inspiration from Egyptian mythology and hieroglyphs. Specifically, we took inspiration from the Egyptian Goddess “Aset,” who was depicted with majestic wings. My team and I thought that designing wings would be a great way to display OFS Fabrics and wood veneer. For the rest of the outfit, we wanted to take inspiration from traditional ancient Egyptian clothing, which were simple white linen dresses. Often, they would wear decorative neck pieces, which we thought would be a good opportunity to display their rubber mesh material that is used on their office chairs. We cut this material into the shape of a neck piece and spray painted it gold to reflect a more traditional jewelry look. The visuals we created for the show are meant to imply mystery and wonder. SKILLS USED: Conceptual design, interpreting interior materials into an article of clothing, creating the outfit with various techniques.
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The materials used in the wings are OFS Grade 2 “Allure” Textiles, often used as upholstery on their furniture. We also included OFS Wood Veneer in the wings and the dress to contrast the soft look of the fabric.
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07. DESIGN CHARRETTE
2023 GENSLER BRINKMANN SCHOLARSHIP FINALIST
This design charrette depicts an adaptive mobile workspace that is within a bus. The workspace includes rotating furniture for flexible space configurations and allows people to work from different places, rather than their stationary classrooms or office spaces.
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08.SKETCHES
PROCESS SKETCHES FROM 2021-2023
The sketches depicted are process sketches from studio projects. The left two are from “The Systematic Landscape” and the right two are from “PATCH Up-Cycling.” Sketching is a useful tool for me to visualize ideas and to iterate throughout the design process.
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THANK YOU!
1168 Brookside Drive Franklin, TN 37069 (615) 979-7390 sarahdunn718@gmail.com linkedin.com/in/sarah-dunn 32