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Por t folio Thomas Anderson Agee III thomasagee3@gmail.com issuu.com/thomasandersonageeiii University of Tennessee Knoxville
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In this selection of works from various years and in various media of expression, I intend to express my development toward a deeper awareness and understanding of the conceptual and physical qualities of architecture. I believe in the value of cross-disciplinary pollination, and that collaboration can continue to push boundaries in new, creative ways that design for an intelligent future. I believe in the power of the concept to inform design. In my design process I depend upon the fastpaced interactions of sketch to physical or digital translation to develop ideas as far as they can go. In my time at the University of Tennessee, I have sought as many ways as possible to extend my skills into the community and college, maintaining a solid work ethic balancing school, work, family, and the joys of life.
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01 architecture 1.1
Reflect Translation | University of Virginia Pavilion XII | Second year | Chuck Draper
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Confabulatore Nocturni | UVA Secret Society of Poe(ts) | Second year | Chuck Draper 14
1.3
Paths All Traveled By | Market Hall | Fourth year | James Rose
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1.4
Sleep Box | A&A install | Fourth year | Ryann Aoukar
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Cognate Fragment | 18th St. Arts Center | Fourth year | Lawrence Scarpa
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Permission Field Network | Medium-Mega Superscape | Fifth year | Keith Kaseman 50
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02 design-build 2.1
Freedom By Design | Skeen Residence | Third year
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2.2
Freedom By Design | Bielke Residence | Fourth year
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Pallet Stop | Knoxville Area Transit | Fourth year| Lawrence Scarpa
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03 visual arts 3.1
Graphic Design
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3.2
Photography
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1.1
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
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Inversely related, they do everything in spite of each other, but still it is involving the other. They display their sides, yet opposites attract.
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Taking a step back and paying respect, while making a statement of your won presence in acknowledgment of prestige and seniority.
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“When an object moves away from us, light is shifted to the red end of the spectrum; moving closer, light moves to the blue end of the spectrum.�
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1.2
Confabulatore Nocturni
Also on the University of Virginia’s campus, on the back range of the Lawn lies the old dormitory of the famous writer, Edgar Allen Poe. Given the program of a secret society of educated writers, the concept was humble to the site in that it disappears in elevation along the colonnade. Once again being respectful of context in relation to the existing and the history; overlapping the public and preserved realms. The pieces fragment across the yard in derivation of the golden rectangle and are placed upon tracks for a interactive sculptural aspect that also act as a puzzle key for members to unlock and travel below to do things.
UVA Secret Society of Poe(ts) Second year |Charles Draper
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There is an interaction between the pieces, people, and place, and therefore, themselves. The bold reserve makes an inquiry of their existence.
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Monument in the pane of secrecy, and sculpting right in plane view, it is such a plain sight. Refuge hides under the darkness of the night.
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A tomb to the memory of excellence and commemoration. Passing, alongside the meaning of his works. One can only speculate and study.
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1.3
Paths All Traveled By
I 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
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A break in he silence, a moment for the noticing. Parallel to the grain of the passerby. “The worst thing in the world you can be is normal.�
The transition gets us to our destination. It is the in between that tells us the story of our arrival, as well as our roots; an escape of both.
Context occurs not only in the immediate relevance, but the mediation of past and present. Creation is in the intermediate acts of the hands.
The parts relate to the parts, and, therefore, the whole. An idea begins in section. A plant sprouts from a 1/2� bolt. Each piece is the foundation.
In hindsight, we view existence in the form of perspective, from a unique, singular perspective, visualizing our prospect in remembrance of possibility.
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“God is in the details,� therefore, we are but a detail only capable of detailing the spectrum of an infinite reality, leaving us to the details.
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1.4
Break Box
The second part to a furniture design course, focuses on the design of an installation project within the Art and Architecture building, in which one must identify any issue or inefficiency as a user of said space and purpose a solution. Such as the lack of visual communication between the school and visitors, minimal presentation space, and non existing resting or escaping space. The break box frees up the space in the atrium by combining seating, information, presentation, and solitude all in one clean move. Being conscious of affordability and ease of construction this project demonstrates problem solving on a local and practical scale.
A&A Building Installation
Fourth year | Ryann Aoukor
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Sometimes it is the most subtle smile or a surprising ethereal detail of which makes our lives (function) better. Only a problem solves a problem.
Within spaces there are always forgotten spaces where opportunity lies, the opportunity for more space, and, therefore, a more efficient space.
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1.5
Cognate Fragment
In collaboration with Matthew Barnett and the endowed professorship of a prestigious architect, Lawrence Scarpa. The 18th St. Arts Center is a place/ organization that temporarily harbors beginning artists from all fields in a close knit community. In light of accommodating 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 art and 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
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With modularity and simplification comes a parallel and proportional open ended function, creating universal versatility. The basis of beauty.
A frame for the various creations and activities within hold the view of the inhabitants and their habitations for the entire world to see.
Monogamy in the form of translation extends the uniform in a clean, concise, and constructive manor, providing a visual cohesive clarity.
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The singularity fickles in the intermediate-the realm between comfort and curiosity-teasing their compatibility, a sanctuary for the both of them.
1.6
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
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reverberations e
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An interweaving web of multiplicity simplified via transportation. You cannot discuss the journey until you reach your destination.
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The permission of space and its inhabitants. Adaptive to the surroundings the program becomes whatever it needs to be in order to survive.
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2.1
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
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The constructive process defines design and its susceptible mutability. The end result is, therefore, a more efficient and successful ending.
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2.2
Beilke Residence
Further developing my skills as a leader in a volunteer organization, as project manager, I learned a whole new set of values and problem solving skills.. This project replaced deteriorating existing access conditions with a project that reflects the clients personality, impacts the community, and follows all impacting codes/regulations. A front and rear deck abiding by the concept of a slender wall on either side that divides space, creates privacy, provides activity, and installs aesthetic with a purpose. The use of a monogamous material selection is contrasted by details and finishes.
AIAS | Freedom By Design
Fourth year | UTK
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From beginning to end, one cannot fathom the obstacles to overcome, but we still get up each day; each night perseverance is preserved.
A basis for the division of space, highlighting the space within itself, attributes are then consequently affirmed, declaring their own honesty.
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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
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It is the moments we share that define us. Making intimate space informs the user of their own intimacy, influencing their curious instinct.
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3.1
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
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Movement
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Magazine Spread
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
BARCELONA M I E S VA N D E R R O H E
C lu Co lumn n Dettai aill | Be B nch h view ew to re rear ar..
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D ag Di agra raam rama maati t c Co C ll llag a e. ag
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.
Bench and grid detail.
Towards main pavilion.
“GOD IS IN THE DE TAILS”
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Event Campaign
TAAST S 2015 0
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PRODUCED BY ANV UTK PRODUCT
SATURDAY Kickball
03.01.15
SUNDAY
THURSDAY
Lecture | Marc Neveu
03.02.15
Interview Days Dunford Hall
Thumbtack Throwing Contest | CSI
Silent Auction | DSAC Can Drive ends
Banner hanging | DSAC
FRIDAY
Reading Room 5:30
Fourth floor balcony 7:00pm
MONDAY
Lecture | Alberto Perez-Gomez
03.03.15
03.04.15
Dunford Hall
Lecture | Peter Cardew | General Shale
SATURDAY Beaux Arts Ball
SUNDAY
Silent Auction
4:00pm
NOMAS event
Atrium 6:00pm
Interview days
03.08.15
Sassy Ann’s 8:00pm
Showcase Reception | ID
WEDNESDAY
03.07.15
Humanities Plaza 11:00am
Silent Auction ends
Silent Auction begins Can Drive begins | DSAC Interview Days | ASID
Can-structarama | DSAC Room 109 5:30pm
Room 109 5:30pm
TUESDAY
03.06.15
Room 109 5:30pm
Cherokee Park 11:00 am
03.09.15
03.05.15
Dunford Hall
Newlywed Game | AIAS 7:00pm
Silent Auction
PRODUCED BY AN UTK PRODUCT
PRODUCED BY AN UTK PRODUCT PRODUCED BY AN UTK PRODUCT
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3.2
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
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New York City
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Salk Institute | San Diego
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Robie House | Chicago
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SCAD | Savannah
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Savannah
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Disney Concert Hall | Los Angeles
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