Reflect Translation On the University of Virginia campus’s famous Lawn lies an opportunity for a twelfth pavilion. In such sacred space minimalism is almost necessary, in this display of contextual relations and historic respects. The completely proportional and relative parts features a series of intersecting spaces that play off one another to provide shading, privacy, and a reciprocated parti. The lawn-level, copper trapezoid, lours in the user and provides a visual procession. The second sneaks its way onto this plane and protrudes out to the site below/behind with an offset louvered concrete enclosure. The lantern on the lawn.
University of Virginia Pavilion XII
Second year | Charles Draper
Paths All Traveled By In collaboration with J.P. Baron. The integrations studio, which features a focus on the technicalities of building alongside design, programed a proposal for market hall and culinary institute. Meant to extend the activity of Market Square into an adjacent park, a clean response of public space in respect to the context of the existing culture and location is proposed. The base parti forms along a distribution of lines stemming from a single point which dictates circulation and structure throughout. The green wall divides the outdoors and the threshold to the enclosed, protecting them as well, that features a single enticing,curious moment.
Knoxville Market Hall
Fourth year | James Rose
Cognate Fragment In collaboration with Matthew Barnett and the endowed professorship with Lawrence Scarpa. The 18th St. Arts Center is an organization that temporarily harbors beginning artists in a close knit community. In light of accommodating for as many aspects as possible of the site, program, and activity, a modular was created to form ultimate versatility. The idea of the frame varies throughout to accompany all mediums of expression. On the facade it allows for the display of the user from within. In the landscape it highlights the activities of landscape as well as framing the other programmatic aspects of site and company.
18th St. Arts Center, LA
Fourth year | Lawrence Scarpa
Permissible Field Network In a studio focused on designing for future possibilities focusing on the creative and innovative design process of doing so in uncomfortable/new ways unchartered territory is reached. Developing from a bank of spatially indicative/enticing vocabulary, a new bridging network of ambiguous explorations and connections works to reconnect the people with space and people with each other within space. Creating a realm for increased possibilities. Functions take place as defined by specific moments in time in a field of permissibility, desegregating the city and the cities within.
Medium-Mega Superscape Fifth year | Keith Kaseman
Skeen Residence In company and cooperation of University of Tennessee AIAS | FBD, the city of Knoxville, and client, this project sought to provide access to the home via vehicular entrance with a concrete ramp adjacent to existing parking which leads to a wrap around deck that provides access to both entries and is framed by the planting bars which make re use of used railroad ties in a functionally beautiful layout highlighted by material contrast and detail. In a completely student-ran, extracurricular organization, qualities such as leadership, cooperation, and professionalism are necessary as well as developed.
AIAS | Freedom By Design
Third year | UTK
Pallet Stop In collaboration with Matthew Barnett, and in junction with the Lawrence Scarpa endowment, featured a project locating any issue one may notice within Knoxville as a user of the city and installing a solution. The problem is the lack of shelter as well as indicators within Knoxville Area Transit. Presented, is a solution that accommodates both these aspects, as well as recycling, aesthetic, and affordability. The final sculpture, made use of shipping pallets and used tires, which symbolized the transportation of the user. The site and configuration supported the interactive element of the user with the object, its function, as well as other users. Partner project with Matthew Barnett.
Knoxville Intervention-Installation
Fourth year | Lawrence Scarpa
PRODUCED BY AN UTK PRODUCT
PRODUCED BY AN UTK PRODUCT As part of the1929 International Exposition in Barcelona Spain, the Barcelona Pavilion, designed by Mies van der Rohe, was the display of architecture’s modern movement to the world. Originally named the German Pavilion, the pavilion was the face of Germany after WWI, emulating the nation’s progressively modern culture that was still rooted in its classical history. Its elegant and sleek design combined with rich natural
material presented Mies’ Barcelona Pavilion as a bridge into his future career, as well as architectural modernism. After several architectural triumphs in Germany, Mies was commissioned to design the German Pavilion for the International Exposition in Barcelona, Spain. The pavilion was intended to be the face of the German section that would host King Alphonso XIII of Spain and German officials at the inaugura-
tion of the exposition. Unlike other pavilions at the exposition, Mies understood his pavilion simply as a building and nothing more, it would not house art or sculpture rather the pavilion would be a place of tranquility and escape from the exposition, in effect transforming the pavilion into an inhabitable sculpture. Situated at the foot of the National Art Museum of Catalonia and Montjuic, the Barcelona Pavilion resides on a narrow
site in a quiet tucked away corner secluded from the bustling city streets of Barcelona. Raised on a plinth of travertine, the Barcelona Pavilion separates itself from it context create atmospheric and experiential effects that seem to occur in a vacuum that dissolves all consciousness of the surrounding city. The low stature of the building narrows the visitor’s line of vision forcing one to adjust to the views framed by Mies. When
walking up onto the plinth, one is forced under the low roof plane that captures the adjacent outdoor court as well as the interior moments that induce circulation throughout the pavilion. The interior of the pavilion consists of offset wall places that work with the low roof plane to encourage movement, as well as activate Mies’ architectural promenade where framed views would induce movement through the narrow passage that would
open into a larger volume. This cyclical process of moving throughout the pavilion sets in motion a process of discovery and rediscovery during ones experience; always offering up new perspectives and details that were previously unseen. Every aspect of the Barcelona Pavilion has architectural significance that can be seen at the advent of modern architecture in the 20th Century; however, one of the most important aspects of the
pavilion is the roof. The low profile of the roof appears in elevation as a floating plane above the interior volume. The appearance of floating gives the volume a sense of weightlessness that fluctuates between enclosure and canopy. The roof structure is supported by eight slender cruciform columns that allow the roof to as effortlessly floating above the volume while freeing up the interior to allow for an open plan. With the low roof projecting
out over the exterior and the openness of the pavilion, there is a blurred spatial demarcation where ht interior becomes and exterior and exterior becomes interior. The pavilion is designed as a proportional composition where the interior of the pavilion is juxtaposed to two reflecting pools. The smaller reflecting pool is located directly behind the interior space which allows for light to filter through the interior volume as well illuminate the
marble and travertine pavers. The larger, shallow reflecting pool compliments the volume as it stretches across the rest of the plinth. Its elegance and sleek lines establish a place of solitude and reflection. In addition to the design, the materials are what give the Barcelona Pavilion its true architectural essence as well as the ethereal and experiential qualities that the pavilion embodies. The pavilion meshes the man-made and the natural employ-
ing four types of marble, steel, chrome, and glass. The marble originates from the Swiss Alps and the Mediterranean. Mies’ implementation of the marble is created through a process of splitting, called broaching, that creates a symmetrical patternization that’s found in the marble. However, the most used material is the Italian travertine that wraps the plinth and the exterior walls adjacent to the reflecting pool. When exposed to the
sun, the travertine becomes illuminated almost as a secondary light source that dissolves the natural stone and washes the light over the space. The travertine’s inherent luminous qualities as well as Mies’ seamless employment of the material over the plinth adds to the dissolution of spatial demarcation transforming the pavilion into one continuous volume rather than two separate entities. In 1930, the original Barcelona Pavilion was
dismantled after the International Exposition was over; however; in 1983 a group of Catalan architects began working on rebuilding the pavilion from photographs and what little salvaged drawings that remained. Today it is open daily and can be seen in the same location as in 1929 in Mies Van Der’s
RAW
form.
–Steven B. Chambers Architects, Inc.
BARCELONA M I E S VA N D E R R O H E
Bench and grid detail.
C lu Co lumn n Dettai aill | Be B nch h view ew to re rear ar..
D ag Di agra raam rama maati t c Co C ll llag a e. ag
Towards main pavilion.
“GOD IS IN THE DE TAILS”
V
Graphic Design Continuing to seek various ways of design to expand the consciousness of which I design and operate, understanding the basics of graphic layouts, terminology, and practices seems beneficial. Under professor Diane Fox I have expanded and vastly improved my comprehension of design. From basic visuals, personal stationary design, magazine spreads, event design, to m design portfolio, each project brings a new way of understanding how ideas are portrayed and understood. These opportunities allow me to further express my ideals and personality as a designer in a more personal and relative realm.
Presentation Design I + II
Undergrad | Diane Fox
Photography Exerts from my travel across the country during my undergraduate career, this extremely condensed selection further exemplifies my unique understanding of the built environment and the multitude of perspectives the design realm holds. Being able to interpret existing conditions and their relations to the experience on a human scale is a beneficial factor and attribute to a designers point of view. A new experience leads to experience. If one can inhabit and perceive existing space in its intended form, one can better create space along similar ideals, informed by the documentation and experience of memory.
A brief selection Undergrad | UTK