SIERRA ROSE JENSEN selected works
R
aised in the East Tennessee hills by a family of New Jersey transplants, Sierra has never identified to one place or one thing. Natured by her mother’s rightdominated brain while structured by her father’s left, past costume changes have diverted from tutus to rugby cleats. Sierra’s tools of choice have varied from paintbrushes, piano keys, brayers, and radio deejay microphones. Sierra finds comfortability in this “gray area”--the places undefined. Call it ambiguous, but this doesn’t stem from uncertainty but rather curiousity. In praise of the unveiled, this middle ground has led her to varying roles and interests, but more importantly has led her to this--to here.
SIERRA ROSE JENSEN sierrarosejensen@gmail.com | 865.659.6083
STUDIO mediated elsewheres leap collaborative appalachian quilt center kaartin maneesi media mainspring
05 15 29 39 49
OTHER beardsley community farm 59 defensible honey 69 rajamaki church 77
PERSONAL ruusu 83
| 05
I. MEDIATED ELSEWHERES
06 |
| 07
MEDIATED ELSEWHERES thesis | spring 2016| new york city non architecture competition “sleeping” finalist FINALIST utk design excellence review EXHIBITED “sleeping--non architectural hotels” book PUBLISHED
08 |
GOOGLE BILLBOARD | -106’
TKTS BOOTH | -16’
POWER | -3’ CABLE | -10’ WATER | -15’ STEAM | -18’
GAS | -25’ SUBWAY STATION | -37’ SUBWAY LINE | -56’
SEWAGE | -84’
Times Square section | 1”=32’
| 09
MEDIATED ELSEWHERES
T
his project began with an interest in the language and evolution of our framed mediums and man’s history of immersion with representations of space and time perhaps more so than our directly lived environment. Through the evolution of our framed apparatus—from window, painting, photograph, film and now to the screen—we have been consumed from the still image to the moving image and now to the haptic rapidity of many overlapping moving images. The evolution of the framed image has informed our roles in society—from the symbol, we became speakers and listeners, the printing press allowed us to be readers and consumers and now with the contemporary screen and technology—we have all become publishers, archivists and self-exhibitionists. Being habitually drawn to the spectacle and ideas of ambient reality—today we are grappling with our existential engagements with the frame as screen, which affects our interactions with man and man, as well as man and environment. I see the multiplicity of the spectacle to be inevitable. The question I reduced this down to is what happens at the intersection of the mediated frame and direct experience? Overall, I see the frame as an apparatus for viewing the elsewhere. The frame acts as a membrane between here and there, you and I, this and that and more contemporarily between our physical and virtual selves. On a larger scope, this thesis is an exploration on how we will react and house the invisible frame. Over time our framed mediums have inhabited and informed architectural typologies, where the painting created galleries and the film created temples of distraction, such as the movie theater—the contemporary screen has allowed us to become the mobile spectator—as we infiltrate all typologies with it. What typologies does the contemporary screen create and how does architecture mediate the invisible forces of the frame into a physical home? The program will embrace these dualities--being a hotel and a micro data center. The hotel acts as a metaphor for the temporary home for our physical self, where the micro data center acts as a permanent home for the virtual self.
s
10 |
| 11
1180’
160’
0’
01 |
-56’
Over time, man has been consumed by mediums of immersion. As these mediums evolve, our hesitations should not stem from why we immerse ourselves in thesemediums, but exploiting the potential of the widened frame. This thesis seeks to exploit the autonomy of the spectacle. Today we are grappling with changes in interactions between man and image, but also man and man. This, in turn, questions the next evolution in the spaces we inhabit–both physical and virtual. The immersion of the spectacle begins to question our ideas of public and private space, as well as our physical and virtual identities.
12 |
| 13
02 | “How the world is framed may be as important as what is contained within that frame� --Beatriz Colomina
14 |
| 15
II. LEAP COLLABORATIVE
16 |
| 17
LEAP COLLABORATIVE fall 2014| knoxville, tn | project with david berry aia/acsa cote top ten for students 2015 WINNER exhibition of undergraduate research 2015 RECIPIENT aia convention 2015 | atlanta, georgia EXHIBITED
18 |
ATIVE
Berry
ED
precedents
her environmental and building specialists. Business District on West Church Avenue. a landscape element. Relating to LEAP’s a linear office bar along the east|west axis entral courtyard shape. This office building olumes inhabit the more public, active lab green roof terrace for LEAP employees to a shorter two floor building. The hovering is to start the path of landscape from the een wall trellis that covers the west facade he glass volume. This space is intended to es as the roof terrace. Additionally, there is allery space. Vehicular access is from the oom, accessible parking, carpool-intended ortation to get to work. Also, with only ten ated adjacent to the open plaza underneath
er to show hierarchy of spaces.
01 beacon
Leed Credits: 24
| 19
1 5 6 1 3 2 1 1 1 1 1 1
Sustainable Sites
Credit 1 Site Selection Credit 2 Development Density and Community Connectivity Credit 4.1 Alternative Transportation- Public Transportation Access Credit 4.2 Alternative Transporation- Bicycle Storage and Changing Rooms Credit 4.3 Alternative Transportation- Low-Emitting and Fuel-Efficient Vehicles Credit 4.4 Alternative Transporation- Parking Capacity Credit 5.2 Site Development- Maximize Open Space Credit 6.1 Stormwater Design- Quantity Control Credit 6.2 Stormwater Design- Quality Control Credit 7.1 Heat Island Effect- Non-roof Credit 7.2 Heat Island Effect- Roof Credit 8 Light Pollution Reduction
LEAP COLLABORATIVE
walnut st. entrance + garden
design core [floors 4+5] mechanical room
administrative core [floors 1-3]
lab + demo space exterior community bike repair conference room experimental green roof
retail volume [bike shop + cafe]
L
EAP Collaborative is a sustainability consulting firm consisting of mechanical engineers, architects and landscape architects. Hypothetically looking to relocate in Knoxville, TN, the site for this office building and public retail space will be located within the downtown’s Central Business District on West Church Avenue. The program is seeking public retail space, an office building to house the firm at a minimum of four stories and parking for ten users. Relating to LEAP’s primary goals, the conceptual design covers much of the site, as well as lower terraced roofs, as sustainable landscaped areas. Creating a linear office bar along the east|west axis and a shorter retail piece that occupies the street edge, this form not only is sustainable from a solar standpoint, but creates an implied central courtyard shape. This office building volume shows hierarchy through the form with large glass extrusions that hover over the plaza. These large, glass volumes inhabit the more public, active lab and resource library space, as well as a large double-height conference room. The retail volume is only one level with a experimental green roof for LEAP employees to practice and experiment with green strategies above it. The hovering glass lab space is to the west and has a metal grated catwalk that connects to the experimental roof garden above the retail. The intent is to start the path of landscape from the plaza level all the way to the office roof. This starts with the plaza, consisting of permeable pavers. An arcade is created through a green wall trellis that covers the west facade of the glass library volume for solar shading that touches the plaza’s ground. This trellis visually connects to the rooftop garden above the glass volume. This space is intended to be used as a semi-private exterior space for the office workers, as well as aids to the solar mass of the building. This greenery continues as the roof terrace. Additionally, there is a green roof terrace above the vehicular entry on the second floor, which acts as a Walnut Street entry to the second-floor lobby and gallery space. Vehicular access is from the Walnut Street side and into ninety-degree parking beneath the cantilevered office building above it. Here, there is a large mechanical room, accessible parking, carpool-intended parking and a loading space. The intention is that with only ten spots, many office workers will be motivated to bike or use public transportation to get to work. Overall, the building itself is focused on being an example of sustainability to the greater Knoxville area.
20 |
| 21
Site plan 1”=40’
22 |
| 23
03 |
The western wing of the courtyard is framed by a community bike shop, which doubles as a covered entrance into the LEAP Collaborative office building.
24 |
| 25
04 the think tank
26 |
| 27
03 makeshop
28 |
| 29
III. APPALACHIAN QUILT CENTER
30 |
| 31
APPALACHIAN QUILT CENTER spring 2013| manchester, ky | project with alexis porten
32 |
| 33
APPALACHIAN QUILT CENTER
M
anchester, Kentucky is a small town within Clay Country where the depleting population and poor living conditions are threatening the existence of the town. Though the young population that is leaving Manchester typically leaves for bigger, more urban environments, the population that remains is deep-rooted in tradition. Manchester is in need of a revitalization of their small downtown area, as well as a place to gather as a community. Manchester lies along the Quilt Trail and throughout the farms and barns within the town, you can find these images of quilt patterns that exist along the trail. The design proposal exists as a center for craft, where workshops exist, as well as a quilt gallery and a tea room that offer communal
34 |
| 35
04 | The workshop room holds scheduled classes but also acts as an open work space for the community. Down the hall, smaller workshop spaces line the hall included with dyeing rooms and storage for bolts of fabric.
36 |
winter fall
clyfford still museum allied work architects denver, co 2011
spring summer
textile
roof is removed to reveal woven ceiling.
exhibit
the warm appalachian hardwoods suspend the quilts .
05 | support
glulaminated timber rests inside a concrete shell.
| 37
As herbs and plants are grown to naturally dye fabrics, tea is also grown within the grounds. The tea room serves as another piece of program to promote community gathering within Manchester.
38 |
| 39
IV. KAARTIN MANEESI
40 |
| 41
KAARTIN MANEESI summer 2014| helsinki, finland hnedak bobo global design award SECOND PLACE
42 |
| 43
KAARTIN MANEESI
T
he Kaartin Maneesi Exhibition Hall + Make Shop is an adaptive reuse project that is proposed as an addition to the already established Helsinki Design District. By creating a building within a building, this project identifies the areas of rift and disparity within the old and new volumes. By dividing the program in half, exhibition hall + make shop, the interior experience becomes a contrasting breach between the concrete, open gallery and the wooden, enclosed makeshop box. As the makeshop volume finds opportunity for its workshops with the pre-existing board formed slabs and columns, the exhibition hall is planned to circumambulate around the old structure. The user enters the building on axis with the old structure within a triple height space atrium, seeing the historical truss and windows above and directly in front. To the user’s left contains the exhibition hall program. To the right, the user sees a wooden object within the space--the make shop. These two core pieces of program create a dialog between the rift, as the exhibtion hall is a quiet, wandering space, the make shop is filled with activity and noise. Wrapping around the make shop program, the exhibition hall contains galleries, offices, seminar rooms and an archive. Reusing the board formed concrete slabs and columns, the makeshop box is wrapped in horizontal wooden louvers, containing a double-height wood, metal and ceramics shop in the lowest floor; computer and photography lab on the ground floor; jewelry, glass and sewing studio on the second floor; and artist residences on the top floor. Overall, this building proposes to reuse the abandoned Kaartin Maneesi by creating two new objects within the building, creating a dialog between the two, as well as a dialog between old and new.
44 |
| 45
46 |
07 | A public cafe and gift shop are extruded toward the design district.
EXHIBITION HALL plan | 1:300
08 | The volumes are carved for entry,
09 | The make shop box is extruded upward to house artist residences.
tRANSFORMATION dIAGRAM
make shop shop make exhibition hall + archive exhibition hall + archive seminar rooms rooms seminar administration administration
The make shop box stands almost as its own building within the kaartin maneesi. As the program becomes more private vertically, the wooden horizontal louvers that wrap the building become more closely spaced, ultimately becoming opaque cladding at the residences.
06 |
Cafe + gift shop cafe+gift shop
tRANSFORMATION dIAGRAM
organization of program
sTUDIO plan | 1:300
| 47
The program is organized to promote the concept of a building within a building. The building within is the makeshop to which exhibition hall circumambulates. louverthe system
48 |
| 49
V. MEDIA MAINSPRING
50 |
| 51
MEDIA MAINSPRING fall 2013| knoxville, tn exhibition of undergraduate research 2014 EXHIBITED
52 |
0
| 53
8
20
36
MEDIA MAINSPRING
S
een as the face of Knoxville’s downtown from the interstate, the current silhouette of Summit Hill offers a false impression of what lies within the downtown area. In reaction, this reveals the unused geographic potential of Summit Hill. MEDIA In an effort to revitalize the dormant area of Summit Hill, focused residency in the form ofMECCA live-work housing will be applied. Locating the site, Summit Hill is surrounded by a specific culture and demographic. Seeing the flourishing Jackson Avenue and Old City to the north and central downtown to the south, Summit Hill acts as a metaphysical midpoint between these two culturally prosperous areas. This location becomes an auspicious area. Evaluating Knoxville as a whole, recognizable companies such as Scripps and AC Entertainment stand out, offering jobs to many free-lance media and music professionals. Seeing Summit Hill as an opportune space to be involved in the hub of Knoxville, live-work housing can reshape and revitalize this area by further expanding Knoxville’s potential of being a national media and production core.
The program is split between the long bar of live-work homes, as well as the media tower. The media tower is split into concentrated areas of program. The first two floors focus on film, including a theater and editing rooms. The third and fourth floors focus on reference, such as library, archives and computer labs. The fifth and sixth floors focus on production, including green screen rooms and recording rooms. The seventh and eighth floors focus on broadcast, which houses the radio station. The top of the tower acts as a roof garden and observation deck. The green plaza to the south of the livework units house space for outdoor film screenings and a home to “Fourth Fridays,” where the artists can exhibit their multimedia work.
s
54 |
| 55
56 |
07 | Within the resource tower, a media wall connects the floors through a small atrium which broadcasts different projects being worked on within the tower.
| 57
58 |
| 59
VI. B E A R D S L E Y C O M M U N I T Y FA R M
60 |
PROJECT THESIS: ROCK AND TREE
| 61
B E A R D S L E Y C O M M U N I T Y FA R M spring 2015| knoxville, tn | project with utk dbei completed spring 2016 DESIGN BUILD
62 |
PREFIN STANDING SEAM MTL ROOF
WOOD COL. TYP.
5/8" FIBER CEMENT PANEL
5/8" POLYCARBONATE PANEL SKYLIGHT
5/8" POLYCARBONATE PANEL CLERESTORY WOOD TOOL CAB SEE SHOP DRAWINGS
HVAC CONDENSER SEE M 1.1
FACE BRICK FLEMISH BOND WOOD COL. TYP.
108
WOOD TOOL CAB SEE SHOP DRAWINGS
WOOD BENCH SEE SHOP DRAWINGS
WOOD DOOR + H.M. FRAME
UNIVERSITY OF TENNESSEE COLLEGE OF ARCHITECTURE AND DESIGN
1
A3.3
2
2
A3.3
A3.3
1
A3.3 5/8" POLYCARBONATE PANEL CLERESTORY
12
12
24 GA PREFIN MTL GUTTER
WOOD COL. TYP.
WOOD DOOR + H.M. FRAME
WALKWAY
FIBER CEMENT JOINT DETAIL
SCALE: 3"=1'-0"
BUILDING ELEVATIONS
6
A2.1
24 GA PREFIN MTL GUTTER
5
A2.1
02.23.2015
03.02.2015
CONTROL JOINT DETAIL
SCALE: 1 1/2"=1'-0"
GENERAL NOTES: 1. ELEVATIONS EXCLUDE BAMBOO SCREEN AND CISTERNS 2. DIMENSIONS A.F.F. TYP.
| 63
03.13.2015
04.09.2014
HVAC CONDENSER SEE M 1.1
A2.1
B E A R D S L E Y C O M M U N I T Y FA R M
B
eardsley Community Farm is an urban demonstration farm within Knoxville, TN. Their goal is to provide healthy food access to the Knoxville food dessert area with help from volunteers and the community. Fresh produce is donated year-round to relief organizations in the area. However, Beardsley exists on land where there is no secure office or space to provide educational workshops and food prep. The University of Tennessee began a design-build initiative to create an office space and educational space for the Beardsley Community Farm. As of April 2016, the educational center is complete and being used by the Beardsley Community Farm workers and volunteers. Having the pleasure of being a part of this vision for three courses, I helped design and build parts of the exisiting structure, as well as conceptualize and design future additions to Beardsley Community Farm. My involvement included a course focused on design and construction documents, a course focused on brick-laying and labor for the construction of the building and lastly a course focused on details, such as the protective bamboo fence and enclosures for the recently vandalized bee-hives. The construction of the Beardsley Community Farm Educational Center was in collaboration with Elizabeth Eason Architecture, as well as my fellow UTK College of Architecture + Design classmates within the UTK DBEI.
s
64 |
A 8,000 GAL. CISTERN
B
C
D
℄
℄
℄
40'-0"
20'-0"
20'-0"
2'-1 9/16" F.O.B. F.O.S.
20'-0"
PER 12"
EDGE CONC. SIDEWALK
1 4"
5'-0"
REFER A5.1-2
EDGE CONC. SLAB
℄
1
E
℄
8,000 GAL. CISTERN
1'-8 3/4"
℄
℄ EQ
4'-10 9/16"
EQ
℄
GRASS
B
1'-3 5/8"
3'-5 5/8"
C
C
22'-3 5/8"
2'-1 5/8"
101
C
2'-1 5/8"
16'-0"
5'-4 3/8" M.O.
1
2'-2 3/8" M.O.
10'-2 3/8" M.O.
℄
PER 12"
2'-2 3/8" M.O.
RIVER CANE FENCING
EDGE CONC. SLAB EDGE OF ROOF ABOVE
1 4"
CONCRETE CULVERT FOR DRY WELL
A4.1
EDGE CONC. SIDEWALK
GRASS
EDGE OF CONC. SIDEWALK PRECAST WHEEL STOP TYP.
| 65
29'-1 7/8"
18'-8"
2'-11 1/2"
℄
2'-4 1/8"
℄
7'-4 3/8" M.O.
106
3 A2.1
℄
101
2
REFER AS1.2 FOR EXTENT OF SIDEWALK
EDGE CONC. SLAB
EQ
7'-4 3/8" M.O.
102
103
JANITOR'S CLO.
2'-11 5/8"
6'-7 5/8"
109
23'-11 5/8"
2'-7 5/8"
105
108
4'-8 3/8" M.O.
112
104
1'-3 5/8"
104
A4.1
GRASS
EQ
110 2
2 A2.1
2'-2 3/8" M.O.
40'-0" CONCRETE SIDEWALK
EQ
4
A4.1
4'-7 5/8"
REFER A5.1-1
108
111
PLANTER
10'-0"
℄
1
EQ
3
113
6'-5 1/2" F.O.S. F.O.B.
A4.1
3'-4 3/8" M.O.
10'-9 3/8"
℄
EDGE OF EXISTING SPORT COURT
2
08 | The bamboo fence project required many 3D modeling studies, as well as physical studies investigating the variations of connections from bamboo to the physical building and fence.
66 |
| 67
68 |
| 69
VII. D E F E N S IB L E H O N E Y
70 |
| 71
D E F E N S IB L E H O N E Y spring 2015| knoxville, tn | project with rebecca gillogly
72 |
8’9.5” | 93.5”
5’10” | 70”
elevation 1.
| 73
elevations | 1/4”=1’
elevation 2.
dappled light: D E F E N S IaB study L E H in O Nthe E Ybees’ microclimate p02: defensible honey s more studiesjensen show a concern related to climate change affecting bees rebecca gillogly + sierra and the plants bees pollinate, the need in beekeeping to create an environment that promotes an ideal microclimate for the working bees to live in is necessary. Because of this, as well as the vandalism at Beardsley Farm, we propose a beehive enclosure that provides a microclimate for the bees to live in. With this goal in mind, we focused on three aspects: water, sun and security. Water is essential to have nearby in order to dilute honey, as well as for keeping the bees cool. If just a small amount of water is nearby the hive, the bees can spend more time working and less time searching for water. For this, we chose a tapered enclosure where the rain would run down the sides while being capture into the enclosure by one of the many hexagonal openings. Additionally, bees are heavily affected by their environment’s temperature. In a wider context, bees are having a harder time every year knowing when plants begin blooming as climate change has pushed back the arrival of seasonal changes. In a more local context, bees have a hard time working in temperature under 57 degrees or over 100 degrees. To remedy this, we designed our openings of our enclosure to imitate the dappled light a tree would create, as we see that these enclosures should be able to function in any area of land, not just under trees. In addition to this, we placed hexagonal openings to respond to how light would enter it throughout the day in order to better regulate the microclimate within the enclosure. All in all, the decisions and concept behind this design focused on creating a microclimate for the bees in order to make their work and lives a little more easy.
A
s
74 |
01. 02. 03. 04. 05. section 1.
section 2.
01
outer cover
01. outer cover + innercover cover 02 inner shallow super 02. 03 shallow super excluder 04 queen 03. queen excluder deep super 05 deep super 04. 05. bottom board and hive stand
| 75
sections | 1/4�=1’
Using a Harvard VB workshop grasshopper plugin to simulate rain we were able to predict where rain would fall on indivdual surfaces of the enclosure and follow their trail down until it would fall into one of the hexagonal openings and into the enclosure itself. In the way that the hexagons are placed, it not only responds to the sun, but also almost guarantees that the rain that hits the surface will be collected with the enclosure.
Using DIVA environmental modeling we were able to measure the amount of total annual solar radiation and the illumination throughout the day on the screening system. We were then able to alter the openings in the screen to allow for maximum morning light to penetrate the hive, to help warm up the hive and wake up the bees, and minimize the strong afternoon sun, to prevent 76 | overheating the hive in the summer.
In the above diagram, the blue represents the rain where the outlined elevation is studied.
The individual diagram shows the total annual solar radiation and the animation illustrates the daily illumination on June 21st.
| 77
VIII. RAJAMAKI CHURCH
78 |
| 79
RAJAMAKI CHURCH summer 2014| helsinki, finland museum of finnish architecture EXHIBITED
80 |
| 81
RAJAMAKI CHURCH
S
pending my days walking to and from Kiljava, Finland to the Rajamaki Church, my first experiences of Finland involved triangulated documentation and recreation of the Rajamaki Church by Erkki Huttunen. My classmates and I spent the first week hand-measuring the church itself and the next two weeks compiling the information and recreating hand-renderings of elevations, plans, sections and a physical model of the Rajamaki Church. This experience resulted in an appreciation for patience, craft and most importantly, collaboration.
s
82 |
| 83
IX. RUUSU
84 |
| 85
RUUSU etsy.com/shop/ruusushop
86 |
| 87
RUUSU
R
uusu means “rose� in Finnish. Follwing my study abroad experience in Finland, I was enamored with Finnish design, culture and their love of wood. Taking my instincts to create, I began laser-cutting and assembling wooden earrings and necklaces. These creations are original designs and range from spalted maple, figured walnut, canary wood, makore and american cherry. They have been sold through my Etsy site to varying states within America. Being necklaces and earrings currently, my future steps are imagined to be bolo ties and hair pins.
s
88 |
| 89
90 |
THANK YOU