Trey McMillon | Architecture + Graphic Design Portfolio

architecture & graphic design portfolio

treymcmillon.com

selected works 2012-2021

C O N T E N TS 03

Resumé

04

Sutherland Corridor

10

SYNC - NYC

16

Interpreting the Landscape

Spring 17

24

Armature House

Spring 16

30

Deconstruct the Box

Fall 15

36

United States Federal Courthouse

Spring 15

42

Gerhard Richter Art Gallery

Fall 12

46

Federal Reserve Bank of Atlanta

Spring 12

Big Ideas for Small Lots Competition

Big Ideas for Small Lots Competition

ARCH 5994 | Research + Thesis

ARCH 5716 with K. Edge

ARCH 5715 with K. Edge

ARCH 4012 with A. Economou

ARCH 3011 with J. LeBlanc

ARCH 2012 with D. Baerlecken, K. Johnson, & C. Hunter

Fall 20

Knoxville, TN

Spring 19

New York City, NY

Niobrara, NE

Blacksburg, VA

Fairlawn, VA

Greenville, SC

Atlanta, GA

Atlanta, GA

01

treymcmillon.com

T R E Y M c M I L LO N EXPERIENCE

AIA

Project Architect

September 2019 - Present

Architectural Designer

May 2017 - April 2019

Graduate Assistant

October 2015 - May 2017

Architectural Intern

May 2016 - August 2016

Interior Design Intern

May 2015 - August 2015

American Institute of Architects

October 2020 - Present

United Way of Greater Knoxville

October 2019 - Present

PARK(ing) Day Knoxville

June 2018 - Present

Master of Architecture

August 2015 - May 2017

Bachelor of Science in Architecture

August 2010 - May 2015

BarberMcMurry Architects Involved in owner/client and internal meetings, participated in reviews, and code compliance Coordinated work of multidisciplinary teams through multiple phases of projects Produced full presentation packages, construction documents, and project schedules

C3 Studio Acted as project manager from schematics to construction on all commercial and civic work Developed concepts and presentations for $1M+ redevelopment along South Knox Waterfront Improved project scheduling and budgeting efficiency via new tracking methods

The Global Forum on Urban & Regional Resilience Generated visualizations for urban and financial research initiatives Participated in community-oriented design strategies for campus resiliency Initiated campus infrastructure research project that was presented internationally

McMillan Pazdan Smith Assisted in three-dimensional BIM and two-dimensional construction drawings Participated in early design process of new projects and fostered client relations Reviewed drawings and construction process through site visits with architects

Cortland Developed and implemented company standards for CAD and project delivery Provided design insight for multi-family community renovations Produced comprehensive interior drawings for construction

LEADERSHIP

East Tennessee Chapter | Community Outreach Committee Programmed educational and awareness outreach activities Composed annual calendar for the committee activities including critical dates Acted as a sounding board for community-focused messages and public relations

Campaign Chair Organized in-office campaign for BarberMcMurry Architects Planned marketing and communications strategy Achieved 100% employee participation and raised more than $22,000

Executive Committee Coordinated 30+ organizations in city-wide community/design event Advertised event through range of platforms and media outlets Managed day-of procedures including set-up, operations, and clean-up

EDUCATION

Virginia Polytechnic Institute & State University

RECOGNITION

Graphics

Adobe Creative Suite ArcGIS AutoCAD Sketching

BIM + 3D Enscape Revit Rhino 3D SketchUp

Knoxville, TN

Knoxville, TN

Blacksburg, VA

Atlanta, GA

Atlanta, GA

Knoxville, TN

Knoxville, TN

Knoxville, TN

Blacksburg, VA

Georgia Institute of Technology

SKILLS

trey.mcmillon@gmail.com 706.974.0606

Atlanta, GA

Project Management Budgeting Collaboration Scheduling Specifications

Other

Bluebeam Dynamo Microsoft Office Model Making

Selected Works Published

October 2020

Featured Artist

April 2019 - Present

Design Jury Finalist

December 2017

Visual Communication for Architects and Designers

Dogwood Arts Festival Chalk Walk

Passageways 2.0 Alleyway Activation Challenge

Atlanta, GA

Knoxville, TN

Chattanooga, TN

Sutherland Ave Corridor

S U T H E R L A N D AV E C O R R I D O R East Tennessee Community Design Center

YEAR LOCATION PROJECT

2020 Knoxville, TN Community Collaborative | with C. Boetger, A. Cahill M. Travis, & O. Poston This proposal seeks not only to anticipate the needs of an expanding urban environment, but to invest in healthy and sustainable relationships through public spaces. Anticipating an influx of families and young professionals to this area of Marble City, various living typologies will intermingle across the site, connecting through public walkways and community gardens.

Each living environment is designed as a prefabricated modular system; to encourage and ease the process of expanding in future developments. Mixed use buildings face the now pedestrian centric Sutherland and Cary street-scapes, creating intersecting corridors of retail and entertainment. This new urban scale mixed with generous private and public spaces brings added value for both the individual and the community.

The 9.88 acre site has been divided in half by retaining Cary Street as a shared corridor for pedestrians, bicycles, and vehicles. A series of courtyards create community gardens to be shared by residents and farm-to-table restaurants located along Sutherland Avenue and Division Street.

The first townhouse sits on a gentle incline. Inside the entry, moments of activity are framed in the shadowbox window, while the private spaces face the walkways and community gardens. Along the front facade, balconies provide views of the community park and gardens.

The exterior of the townhouses are wrapped in standing seam metal while the interior spaces are framed in locally sourced timber. The metal wrap is pulled back on the exterior corners to reveal the transition to the green ways.

This project was completed at BarberMcMurry Architects.

04

Community Collaborative | with C. Boetger, A. Cahill, M. Travis, & O. Poston

Sutherland Ave Corridor

06

Community Collaborative | with C. Boetger, A. Cahill, M. Travis, & O. Poston

Townhouse 01 | 1 Bedroom + Roof Terrace

Townhouse 02 | 3 Bedroom + Roof Terrace

07

SYNC - NYC

SY N C - N YC Big Ideas for Small Lots

YEAR

2019

LOCATION

New York City, NY

PROJECT

Competition Entry

The intent of SYNC — NYC is to provide an affordable housing option to nearly 25 small and undeveloped lots throughout New York City. The common themes of transparency, light, and connectivity link the sites to each other, to the city, and to the conceptual design that SYNC — NYC offers. The dense urban fabric of New York City is the ideal condition to explore the benefit of offering residents an affordable housing option that seeks to more strongly connect them to the environs of the city, while also providing privacy and security in an engaging way. The proposed solution creates a synchrony between the individual sites and their development in a way that enhances the streetscape and the lives of those who will take up residency.

The design goal of SYNC — NYC is to provide as much light as possible to the individual units as well as introduce a layer of transparency uncommonly found in residential projects.

The primary circulation operates both vertically and horizontally through the building and functions as a large lightwell that directs sunlight in to each unit via translucent openings from the stairwell to the units. The stairs also provide a subtle barrier between indoor and outdoor spaces, while encouraging interactions between the tenants.

Internally, the units are optimized to work at a standardized 11’-6” width. Each of the units are also designed so that spaces stack vertically with rooms in the same location on each floor - eliminating the need to reconfigure by lot and prefabricate as much as possible to reduce cost. The main corridor through each unit is placed so that, although the front door to the apartments are in different locations, the main entry feels natural and welcoming to whichever portion of the unit you are entering.

10

Urban Infill Design Competition | Competition Entry

1 Att 13 W ach est ed 136 I nte th rior Stre

et W Att est ach 130 ed th I nte Stre rior et

4 Att 63 E ach ast ed 159 I nte th rior Stre et

W Att est ach 129 ed th S I nte tre rior et W Att est ach 126 ed th S I nte tre rior et W Att est ach 119 ed th S I nte tree rior t

P Att utna ach m ed Ave I nte nue rior

2 Att 334 ach Ti l ed den I nte Av rior e

7 Att 08 H ach an ed coc I nte k S rior tree t 7 Att 06A ach Ha ed nco I nte ck rior Stre et 4 Att 05 E ach ast ed 161 I nte st S rior tree t

4 Att 06 N ach os ed tran Co d A rne ven r 1 Att 612 L ach exi ed ngto Co n A rne ve r nue

ue

1 De 3 ta

12

en

ue

R Sh ocka al lo wa w yB

ou

S Sh t. Ma al lo rk’ w s Av en

ue

8 Sh 29 F al lo ree w ma

+E ast

Ne w

nS tre

Yor k

lev ard

Ave n

ue

et

S De outh tac Ra he i l ro d ad

Str e

et (B

)

S De outh tac Ra he i l ro d ad

Str e

et (A

)

T De angle tac wo he od d D

rive

H De arbo tac r R he oad d

M De etrop tac ol he itan d Ave n

ue

H De ighv tac iew he d Aven

ue

33 t ach h Ave ed nue

13

SYNC - NYC

14

Urban Infill Design Competition | Competition Entry

113

15

Interpreting the Landscape

ARCH 5994 | Research + Thesis

I N T E R P R E T I N G T H E L A N D S CA P E Cartographic Re-Presentation

YEAR LOCATION PROJECT

2017 Niobrara, NE ARCH 5994 | Research + Thesis

There is a disconnect between how one experiences the landscape and how one represents the landscape. There are physical objects and quantitative data that define a landscape, or site to put it in architectural terms. However, there are also ethereal impressions and representative abstractions that define the site with equal influence. Although a proxy for substantive information, maps have become abstract and purely systematic methods for ordering the site in to an understandable format.

Defining political boundaries, property lines, trade routes, and natural and built environs only gives a partial interpretation of the landscape.

Similarly, the way in which these constructs are symbolized lends a hand in how the landscape is understood and managed. Mapping more theoretical topographies, such as the culture or economy, of a site becomes the new challenge – and one that we should dare to undertake in today’s political climate. Not only in how it is defined and quantified for visualization, but also in how those visualizations take shape. Unlike rivers or railroads, there are no graphic standards for how to map the emotional response that one feels when standing in a space.

To create a methodology by which a site can be understood, we can challenge these common cartographic standards on a variety of levels that influence how a designer might choose to intervene.

Due to the uniqueness of individual sites and the qualitative nature of spatial and material decisions, designs are typically tailored to its own particular site in order to avoid becoming unfit or improper. What is too steep versus what is too shallow on one site becomes a null argument on another. This is true of both the physical and metaphysical site.

16

Silt

Clay_Silt

Sand

Sand_Gravel

Sand

Supratype_53

Supratype_36

Supratype_47

ARCH 5994 | Research + Thesis

Supratype_86

Supratype_77

Supratype_41

Interpreting the Landscape

Clay

17

Interpreting the Landscape

Function

Function

Movement

Sequence

House

Cu lture _In te

Anticipation

Repetition

Society

Structure

Organization

Service

Surface

Interaction

ARCH 5994 | Research + Thesis

rac

tion

Customs + Traditions

Op era ti

on _C ult

ure

Church

Religion

Museum Library

Language

Cemetery Arts + Literature

Retail Government

io ract Inte r n_P ogr

Theater

am

Economy

Food + Clothing

ration

Merge

Taper

Split

Embed

Compress

Overlap

Bend

Branch

Expand

Program

Operation

m_Ope Progra

Office

18

School

Music + Dance

03_Territorial

02_Regional

01_Local

Interpreting the Landscape

Supratype_41

Supratype_47

SH_R SZ_1.5 HT_1.0 RF_G OR_Lo #_55 %KX_9.16

SH_R SZ_1.5 HT_1.0 RF_H OR_Lo #_31 %KX_5.17

Supratype_77

Supratype_36

SH_S SZ_1.5 HT_1.0 RF_H OR_N #_44 %KX_7.33

SH_R SZ_1.0 HT_1.5 RF_G OR_La #_30 %KX_5.00

Supratype_86

Supratype_53

SH_S SZ_2.0 HT_2.0 RF_HT OR_N #_44 %KX_7.33

SH_R SZ_1.5 HT_1.5 RF_G OR_Lo #_29 %KX_4.83

20

ARCH 5994 | Research + Thesis

Geometry_01

Geometry_04

Geometry_07

Geometry_10

SH_R SZ_1.5 HT_1.0 RF_G OR_Lo #_55 %KX_9.16

SH_R SZ_1.5 HT_1.0 RF_G OR_Lo #_55 %KX_9.16

SH_R SZ_1.5 HT_1.0 RF_G OR_Lo #_55 %KX_9.16

SH_R SZ_1.5 HT_1.0 RF_H OR_Lo #_31 %KX_5.17

Geometry_02

Geometry_05

Geometry_08

Geometry_11

SH_S SZ_1.5 HT_1.0 RF_H OR_N #_44 %KX_7.33

SH_S SZ_1.5 HT_1.0 RF_H OR_N #_44 %KX_7.33

SH_S SZ_1.5 HT_1.0 RF_H OR_N #_44 %KX_7.33

SH_R SZ_1.0 HT_1.5 RF_G OR_La #_30 %KX_5.00

Geometry_03

Geometry_06

Geometry_09

Geometry_12

SH_S SZ_2.0 HT_2.0 RF_HT OR_N #_44 %KX_7.33

SH_S SZ_2.0 HT_2.0 RF_HT OR_N #_44 %KX_7.33

SH_S SZ_2.0 HT_2.0 RF_HT OR_N #_44 %KX_7.33

SH_R SZ_1.5 HT_1.5 RF_G OR_Lo #_29 %KX_4.83

21

As a built object, the structure works to allow views around and through the site to see the extending landscape.

By creating voids shaped that are shaped by the programmatic elements, there are remaining spaces that expose the exterior space and frame the landscape and horizon. This allows the site to become an extension of the building and an object that works with the space in order to enhance the understanding of its surroundings.

23

Armature House

A R M AT U R E H O U S E Live | Work | Sell

YEAR LOCATION PROJECT

2016 Blacksburg, VA ARCH 5716 | with K. Edge

The process for this project was divided in to three major sections: Site + Form Analysis, Form Selection + General Concept, and Material + Structure. These three separate, but related process of analyzing, evaluating, and designing the site allowed for a greater range of influence in approaching the project. The project started with an in depth understanding and analysis of the site. Two lots just one block off of South Main Street in Blacksburg, Virginia provided the land for the project. Understanding the way in which Blacksburg breaks down in to zones and districts was the foundation of the site analysis and ultimately reoccurring theme in the overall project.

The program for the project stemmed from a new arts district in Blacksburg known as the Live | Work | Sell Zone, an existing residential zone that allows home owners and leasees to combine a living area, studio, and gallery in to one space. Given the opportunity to pick an artist to inhabit the space, the studio was charged with the task of combining these three programs in to a single building suitable for the chosen artist.

Ideas about connection, whether physical or not, became important in the project.

Regardless of physical intersection in the space, there needed to be a clear connection or view to the space in order for the building to work. The house began to revolve around the idea of separate spaces being intruded on either by a common space or by views from another area of the house. The necessity to separate the spaces entirely was due to a level of respect for private versus public spaces.

24

ARCH 5716 | with K. Edge

Live | Work | Sell

Downtown District

Typologies + Program Arrangements

Parks + Green Space

Historic District

Overlapping Programs

Sixteen Squares

25

Armature House

26

ARCH 5716 | with K. Edge

Armature House

ARCH 5716 | with K. Edge

27

Deconstruct the Box

D E C O N ST R U C T T H E B OX Big Box Store Renovation

YEAR LOCATION PROJECT

2015 Fairlawn, VA ARCH 5715 | with K. Edge

Reuse the Box - a design studio that begins with an ordinary vacant building in a particular kind of setting. Ordinary buildings when thoughtfully addressed can create beautiful urban and suburban spaces. It is our charge (and specifically suited to our expertise) to show communities the potential of our surroundings and to fulfill a role as stewards of the environment, not only in the sense of sustainability but also in the sense of beauty.

By separating the buildings a number of design problems are solved. The site becomes more open, the buildings more intimate, and the program divides evenly between the two new forms. Nearly everything from the existing structure is retained. CMU walls, fire-proofed columns, and open web steel joists speak to the history of the building and the site. Cuts were made along the column grid and large cantilevered roofs create a horizontality that keeps the connection between the two buildings. Large glass curtain walls take the place of the void that would have been left when bisecting the structure.

This leads to a visual interest between the two buildings where three architectural spaces are created - the cafe and lobby of the auxiliary building, the outdoor procession between the buildings, and the stacks and reading space of the main library building. The 16-acre site has been carved up to more efficiently provide vehicular and pedestrian traffic.

The central parking of the existing site was not conducive to providing a walkable area. While retaining several of the surrounding buildings, along with some new construction, the green space and roadways allows for seamless movement.

30

ARCH 5715 | with K. Edge

Deconstruct the Box

Configuration Study

ARCH 5715 | with K. Edge

Column Grid

Possible Configuration

Chosen Configuration

Deconstruct the Box

Ground Floor

Northeast Elevation

Northwest Elevation

32

ARCH 5715 | with K. Edge

Mezzanine

Deconstruct the Box

ARCH 5715 | with K. Edge

Southwest Elevation

Southeast Elevation

33

United States Federal Building

ARCH 4012 | with A. Economou

U N I T E D STAT E S F E D E R A L B U I L D I N G Justice Through Equality

YEAR LOCATION PROJECT

2015 Greenville, SC ARCH 4012 | with A. Economou

A key aspect in designing a federal courthouse is that the organization of, and presentation of space, must be inherently just. The integrity of the justice system is lost if the design of its federal buildings do not reflect the same sense of democracy that the system represents.

My goal was to portray this democracy, almost in a literal way. There is a clear hierarchy among public corridors and lobbies, restricted offices, secure holding cells, and courtrooms in use by all of the above. But within those categories, equality is the defining factor in portraying to the average citizen that the U.S. government is being as fair and just as it can be.

The driving force behind my design was to keep all courtrooms on one level.

This allows for no court or judge to be given any preference over another. The courtrooms are also all on the ground floor. This is in order to keep the building simple for the public. They have a large urban yard before entering and a large lobby just within the front doors.

Only occupants who work and spend a great deal of time there need to penetrate the building further. The U.S. Marshals are given a mezzanine-like space on the 2nd floor. This gives them the security they need and symbolically gives them views of the lobby of the courthouse. Other offices, as well as the judges’ chambers, are on the 3rd floor. The judges are separated, physically and symbolically, from the general office space.

This is also the space above the plaza as keeping them in the front of the building was important to me. As the driving force of the court proceedings, they needed full dominion of the site.

36

United States Federal Building

Courthouse Modules

Courtroom

ARCH 4012 | with A. Economou

Restricted Circulation

Secure Circulation

Public Circulation

37

United States Federal Building

38

ARCH 4012 | with A. Economou

Gerhard Richter Art Gallery

ARCH 3011 | with J. LeBlanc

G E R H A R D R I C H T E R A RT G A L L E RY A New Lawn for Atlanta

YEAR LOCATION PROJECT

2012 Atlanta, GA ARCH 3011 | with J. LeBlanc

Gardens and museums have a long history. The Richter Gallery, located on a site between 10th Street and Peachtree Place introduces a public garden across from the Federal Reserve Bank of Atlanta. The idea was to draw visitors in through the strong, slightly off-center axis and lead them up to the second and third floors by use of an elevator directly along the main line of procession. The glass elevator at the rear of the building presents a strong focal point for anyone passing the building from the front or the back.

Another focal point is the large cantilever, an “object floating in space,” that allows for an impressive view of the city. The large north-facing window also creates naturally lighting without causing directly sunlight to any interior spaces. The line of trees in the lawn creates a dialectic that rhymes with the roof of the museum.

A library also serves the museum on the first floor, as well as a small cafe.

After entering the lobby, visitors are encouraged to move directly to the elevator, made evident by the strong linear axis through the window on the opposite side. The elevator and stairs are both treated as objects within the space. The stairs counter the axiality on the right side by creating a tall mass that runs straight through the top of the second floor. The third floor, the Richter Gallery, acts as a mezzanine that ends just short of the window on the north face.

The museum was designed with two particular Richter pieces in mind: ‘11 Panes’ + ‘7 Standing Panes.’ These two pieces directly led to the design of the cantilever and large glass aperture to the interior of the museum. Reflecting the proportions and transparency of Richter’s art, the museum aims to bring his ideals to the exterior of the city of Atlanta.

42

Gerhard Richter Art Gallery

3rd Floor

2nd Floor

Ground Floor

Basement

44

ARCH 3011 | with J. LeBlanc

Section A-A

Section B-B

45

Federal Reserve Bank

ARCH 2012 | with D. Baerlecken, K. Johnson, & C. Hunter

F E D E R A L R E S E RV E BA N K Textile Studio

YEAR LOCATION PROJECT

2012 Atlanta, GA ARCH 2012 | with D. Baerlecken, K. Johnson, and C. Hunter

Textile-based patterns were the basis for this studio. The process began with understanding the mathematical principals behind plaiting and experimenting with a number of materials. From there, applications to the facade of the Federal Reserve Bank of Atlanta could be tested.

The interweaving structure of plaiting corresponds to the systematic duality of the Federal Reserve Banks a privately-owned, government regulated, federal establishment. Structurally, the diagonal strands provide for a rigid system which may correlate to the necessity of the bank to remain financially stable. Timber “strands” seemingly grow upward from the ground and gradually make their way to the top of the building.

New plaited surfaces are constructed and then interlocked with one another to recreate the defining enclosure. Due to the fluctuating nature of twill pattern new spaces emerge along the surface and at the corners. Highlights of a new surface draw attention to the reconnected program These changes create a new visible interest in the structure of the Federal Reserve banking system. By moving the circulation to the interstitial space between the public and private areas a clearer line can be delineated between the two programmatic areas.

The bi-modal nature of this space also for a circulation method structured around moving upward along one axis, while move downward along another axis. The resulting over/under pattern is continued by creasing or curling each element over or under itself so that it may continue to be incorporated into the pattern. When the end of a strand is reached, the pattern may be ended or continued by adhering a secondary strand to the bottom. It is at these points that additions can be made such as splitting into multiple levels.

46

Federal Reserve Bank

MS

Strand Configurations

1/1

ARCH 2012 | with D. Baerlecken, K. Johnson, & C. Hunter

ML

Needs More Strands

2/2

3/3 MS

1/2

Needs More Length

1/3

NP

2/3

Not Possible

2/4

3/4

MS

1-1

NP

MS

2-2

MS

MS

1-2

ML

ML

ALT

47

Federal Reserve Bank

10th Street Elevation

Peachtree Walk Elevation

48

ARCH 2012 | with D. Baerlecken, K. Johnson, & C. Hunter

11th Street Elevation

Peachtree Street Elevation

49

architecture & graphic design portfolio

treymcmillon.com