I believe that architecture goes far beyond good design, it is problem solving.
I am interested in breaking
the idea that “architecture� is only concerned with designing
buildings,
each
project should strive to
serve a purpose. What are
the long term goals of the design? Architecture can
be more than a profession, it can become an action. Ground-breaking architec-
ture surpasses the realm of construction and begins to
create a social change. Our
work is a service to society, the users are the foundation of the design.
WILLIAM ROSS HARVELL 901.606.9277
wrharvell@yahoo.com 6 2 9 2 O a k Wa l k L a n e
Memphis, TN 38135
ARCHITECTURE
STUDY ABROAD
COMPOSITION
Relief Horizons Amplify Nest
Finland Studio Photography
Graphic Design Document
page 4
page 36
page 52
ARCHITECTURE The following projects give insight into my architectural
interests. In my design process, I believe that the concept is just as important as the details, and I try to carry the ideas to the end of the project. These projects show design
that uses program for social means and technology that
serves the society. I enjoy designing for an audience that is normally ignored, and the majority of the time are the ones in need. The profession of architecture is ultimately for a user and through my work I focus on the people as much as the details of making the design work.
4
RELIEF page 6
HORIZONS page 16
AMPLIFY page 22
NEST page 30
5
RELIEF Knoxville, TN Fall 2015 | Professor James Rose Collaboration with: Johanna Coetzee & Jonathan Ruiz Aw a rd s : 1 s t P l a c e A I A M i d d l e T N Runner-up Brewer Ingram Fuller
6
A
dditive manufacturing’s robust material properties, efficiency, adaptability, sustainability, and cost effectiveness make it a compelling new construction method for micro housing. Micro housing allows for density within an urban condition while establishing the importance of place over space. Considering the potentials of both this construction method and building type resulted in the exploration of Relief Housing. Relief Housing provides a solution to different types of distress: militant, refugee, disaster, and impoverished urban conditions. Through designing an additively manufactured, micro housing unit, Relief Housing begins to lay the foundation for rehabilitation. Additive manufacturing allows for each of the Relief types to be addressed through an innovative kit of parts system. These parts can be arranged in various permutations to satisfy the Relief occupant’s needs. This need in Knoxville is the downtown’s substantial homeless population. Placing the modules in the heart of downtown would provide housing for both the homeless and the UT social work students. The integration between these inhabitants and the downtown citizens is the first step toward independence and growth for these types of residents.
7
9
10
13
11
12
1
2
3 4
The kit of parts system was highly designed with both construction and the user in mind. Each part is 3D printed separately, then assembled before being used. Additive manufacturing allowed us to design the connection details within the parts themselves. For example, printing the holes for the screws speeds up production, thus allowing Relief Housing to be available on demand. The kit of parts system also allows for the parts to be assembled differently depending on where it is being deployed. The layers of material through the wall, for example, can be arranged differently depending on the climate, making it more energy efficient.
8
5
8
7
1
LED Ambient Lighting
2
Furniture Panels
3
Floor panels (perforation optional)
4
Spray-in Insulation
5
3D printed ring (half exploded)
6
Ninja Flex
7
Tension Rods
8
Complete Ring
9
Bolts
10
PV Panel
11
Adjustable Risers
12
Roof Panel (PV, walkable, or vegetated)
13
Ceiling
perforated floor
6
built in planter boxes
3D printed translucent material
built in window seat
5” wet wall
12’
green
bedroom
light well
bathroom
kitchen
living
entry
30’ 9
HOMELESS HOUSING
FAMILY HOUSING FOR DISASTERS
Not only can the kit of parts be arranged in various ways, but the program rings can also. This allows for Relief Housing to be customizable depending on the type of relief. It can become a studio apartment, barracks for soldiers, or a single family home depending on the arrangement of the spaces.
MILITARY BARRACKS
10
Due to the limits of the 3D printer, all pieces were designed based off how they would be printed. Many of the forms created were a response to these restrictions, such as no cantilevers and all horizontals must be supported. Forms became curved and sloped not only respond to the printer but also environmental issues and sustainability.
11
12
nomads lack support system transitional stage own very little
gain life experiences
gain stability and independence
social work Knoxville students homeless
The program of Relief: Knoxville is split by the strong datum line of Gay Street. The first floor, below this line, is an open market. Being an extension of the farmer’s market, the retail market will also be worked by the residents living above. On the upper levels will be micro housing. Both social work students and some of Knoxville’s previously homeless will be living together. This allows both users to grow from interactions with each other.
residential
retail
gay street
13
relief module
pavers
steel bearing block
plaza deck supports tray-based sod
EPDM membrane
rigid insulation metal deck
W 12 x26
suspended lights sprinkler system
air duct
steel column
slab on grade crushed stone concrete footing compacted earth
14
G RAY WAT E R
HVAC SYSTEM
PLUMBING
ELECTRICAL SYSTEM
HORIZONS C l y d e M . Yo r k 4 - H C a m p | C r o s s v i l l e , T N Fa l l 2 0 1 4 | P ro f e s s o r S c o t t Wa l l
16
T
he Environmental Exploration Center, located within the Clyde M. York 4-H camp, in Crossville, TN will reconnect visitors to their environment. Keeping with the mission of 4-H, this Environmental Exploration Center will house indoor classrooms, workshops, and outdoor learning spaces. The project teaches and focuses on the three zones of our environment: earth, horizon, and sky. Located underground, the earth zone will contain “remains”, a classroom for teaching soil levels, “form”, a ceramics studio, and “recreate”, a center for recycled art. The horizon will be on the open field of the site. Here, “inhabitant” and “fibers” will teach the fauna and flora of the region and how to create art from it. Lastly, slipping into the forest, there is a “woodworking” workshop, that will teach craft styles of the region. The “heavens” classroom will be located on a small pond. Allowing a view upward to the stars, an opaque roof will enclose this outdoor classroom. The pond will also allow for a reflection of the clouds during the day and the stars at night.
17
[woodworking]
[fibers]
[inhabitant]
[heavens]
[form]
[remains]
[recreate]
AMPLIFY Knoxville, TN | Spring 2015 Professors Kevin Stevens + Lisa Mullikan Collaboration with: Emily Vineyard Aw a rd s : 2 0 1 5 H o n o r s E x h i b i t | U T K
22
T
he Amplify Library in Knoxville, TN is a beacon and structural advocate of the first amendment. Freedom of Speech is what this library exemplifies, embracing the history of print media and voice. The library is used as a platform that supports and encourages open debate and research as well as a resource for printing materials, publication material, video and audio labs and support. Designed for the ACSA National Steel Competition, this library’s focus is on the people. It is a new idea of what a library can be. No longer are there stacks of dusty books, but instead media libraries with computer rooms for people to obtain a high school degree. The upper platform is to serve as a billboard to the city, showcasing the strength of the people. On the lower half is the printing press and office for a local newspaper, celebrating the rich history of the library system. Feeding the everyday man, whether it be food trucks serving lunch or a place to meet and be filled with social interaction, the Amplify Library becomes a community center that strengthens the culture of Knoxville, TN. It serves as an agent in the extension of knowledge to a diverse public, from the lawman working downtown, to the homeless man down the street.
23
25
26
To the east of the Henley St. Bridge, opposite the Amplify Library, the site is developed as a tiered outdoor space. It can be used for rallies, meeting, or a place to grab lunch and enjoy the river.
27
28
29
NEST R ed Bird Mission | Clay County, Kentucky Spring 2016 | Professor John McRae
30
S
eated within the Appalachian Mountains of Eastern Kentucky, Clay County was recently name the hardest place in all of the United States to live. Factors such as education, median household income, unemployment rate, disability rate, life expectancy and obesity have ranked Clay County as one of the most overall poor counties. Due to the coal industry that boomed around 1980, many people moved to the county attaining jobs. When the coal industry left, many people were left without jobs, sinking the community into poverty. Not only did the coal industry hurt the people financially, but they were also harmed physically. Their water is contaminated with various diseases such as Ecoli. In the midst of all this darkness and heartache, Red Bird Mission has began bringing light into this dark valley. Housed within one of the valleys of the most rural part of Clay County, Red Bird provides health and wellness ministries, low-cost clothing, home refurbishment, K-12 education, and a place for craft makers can both make and sell their goods. Red Bird Mission is ready to expand, and this new community nest brings both more programmatic space and a strong community space to better enrich their home.
31
After master planning the complex, on a 30’ wide berm and in a flood plain, we dove into designing one of the programmatic pieces. The Emergency Operations Center was the key component to the project. In an event of an emergency, it would be the lifeline to the community that would otherwise be disconnected from their resources. level | 01
level | 02
33
east
The building was sited based on road access for emergency vehicles and houses spaces for both collaborative problem solving and private planning meetings. The command center, located on the second floor, overlooks the emergency vehicle garage. This allows for a larger two-story meeting and command space in times over extreme emergency.
north
west
34
south
standing seam 1/8” vapor barrier rigid insulation 3” plywood 1/2” fascia 1”x12” sub-fascia 2”x12”
wood siding 11/16” vapor barrier plywood 1/2” batt insulation 5 1/2” gypsum board 1/2” wood finish floor 3/4” plywood 1/2” batt insulation 5 1/2” gypsum board 1/2”
double pane glass
wood finish floor 3/4”
plywood 1/2”
sleeper 1 1/2”
batt insulation 5 1/2” vapor barrier
plywood 1/2”
decking 5/4”
wood joist 2”x12”
STUDY ABROAD Architecture is a global industry, so it is im-
portant to have an understanding of the world. Through experiencing other cultures, I have be-
come not only a better designer, but also a more well-rounded individual. I have traveled to ten
countries around the world, and each one has given me a better global understanding. The
following work was created during my study abroad in Finland where I attended Aalto Uni-
versity for three months in 2015. Experiencing a culture where high design is at the center of
everyday life was a learning experience. These travels have shaped my design work.
36
FINLAND STUDIO
PHOTOGRAPHY
page 38
page 48
37
FINLAND STUDIO Field Manual Mapping Memory Finnish Fragments
38
O
ur studio class at Aalto University was a three week long intensive project. First, we each created a ‘Field Manual’. This publication was to be the research for our project. We started to develop thesis words and research these ideas at a more extensive level. After completing the manual, with the ten thesis words, we were given our site. Situated between a lake and a forest’s edge, our project was to become housing for international students, like ourselves attending Aalto University. The program called for housing, a large dining hall, fire pit, and a sauna with a board walk stretching into the lake. With the time frame being so short, the project was to be a research thesis project, where we started to compile the research we obtained with the ‘Field Manual’. I looked at the idea of memories from the past and the experiences that we were making and how they can begin to form architecture. My goal was to form the project from human interaction and thought. Throughout my time in Finland, I kept a catalog of all the places we had been. A part of my final presentation consisted of these specimens, all encapsulated within a box I made from wood from an old sauna.
39
FIELD MAN UAL 03 FINLAND SUMMER ARCHITECTURE INSTITUTE
| front cover
FM 03.01 FM 03.01
ABSENCE
“Rilke wrote: ‘These trees are magnificent, but even more magnificent is the sublime and moving space between them, as though with their growth it too increased.” -Gaston Bachelard, The Poetics of Space
Sometimes we get so caught up in seeing what is right infront of us, we do not see what is not infront of us, the emptyness, the space. Our eyes have been trained to look at the physical things that surround us and analyze them. Are we comfortable? Is it beautiful? This space in between the trees that Gaston Bachelard speaks of is what truly makes a space what it is. Though the boundaries may give the room definition, that is not the essence of the room. A 30,000 square foot stadium has a different sense of space than a dark ally way in the the streets of Venice. The void is the feeling of the space.
left. Light penetrating the interior of Chapel of the Holy Cross in Turku, Finland. above. Ink Blot tests used as a personality test based on what the subject sees in the positive and negative space.
| absence 40
WILLIAM ROSS HARVELL. The final chapter to a family. A heart felt woman and a devoted provider gave him life. A childhood that never seemed to end still resides. Experiences in faith and design shaped who he would become. The continuous searching and wondering has molded his mind for creation. Passions and expectations are ever pulling him down his path, not knowing where the fork will come.
03 | back cover
FM 03.02 FM 03.02
CULTURAL SUSTAINABILITY
“A nation’s culture resides in the hearts and in the soul of its people.” -Mahatma Gandhi
I believe that it is important that we experience other cultures. It is how we truely start to understand a people and a lifestyle. How can architecture be a vessel for sustaining a culture? How can it be used as a tool to showcase a culture to an outsider? 05.29.2015 | Nakkila, Finland It is reading your favorite book over and over again. Every boundary, whether it be the crisp water’s edge or the grasp of the warm handle, is like the flip of a page. Though you know what’s just around the corner, it still surprises and thrills you. It make shake you to your bones or make you sweat and grasp for air. This back and forth repetition has become a beat to the Finns. It is their marching song, their anthem, the close to their day. It balances the day, that never seems to end, with a harmonious balance between two extremes: a balance of sweat and chill bumps, a balance of steam and seeing ones own breath, and a balance of the still, quite of a room and the laughter filled forest only interrupted by taking a sip of your sauna beer.
left. Traditional loom in Eura, Finland above. Diagram illustrating how architecture could begin to draw on and reflect the roots of the place.
| cultural sustainability 41
M A P P I N G M E M ORY HARD LINE
IMPLIED LINE
INVISIBLE LINE
The hard line is the heaviest of the lines on the site. It can imply a boundary and can also define a space. It contains the memories of the place. In some cases it becomes the built walls on the site, defining rooms that allow program to fill it, and in others it can be a strong boundary, like the forest’s edge. It is the most visible line on the site. Though you do not read them as lines experientially, they are a line that can not be crossed easily.
The implied line is a middle ground. It can be a hard line, or it can almost be seen as an invisible line. The implied line is not built up on the site, but rather becomes a part of the ground of the site. It can fade over time, as a dock in the water would, or it can grow over time, like the path to the site. With every passenger, it becomes more and more apparent. The implied line can be regarded as a line that guides, but does not define.
The invisible line is a veil. It doesn’t leave an impression on the site, nor does it build upon it. You can sense the invisible line in your day-to-day experiences. It can move. It is the lines of communication and human interaction. The line shows a connection between people, a relationship forming. It becomes a two-way line, a communication back and forth.
42
| wall installation
43
01 PARALLAX
02 CATALOG How do you make a memory last? How do you memorialize the fragments of the place you have experienced?
07 06 05
You can catalog your experiences so they become immortal, no longer will your memories fade with time.
04
Memories can compile over the years, each person documenting their fragment. This catalog becomes a museum, the sea becomes the collector.
02
03
01
A forest of pines surround me. In a place that seems familiar to me, I become lost. The field of columns points me no where, I have no memory of which way I came. This lostness still puts me at peace. I am content being lost. It is time to wander.
04 APPROACH The first time you enter a new place your senses are flooded. Everything around you is an exciting new experience. The more and more you take this same path, or go to the same place, this sense of awe begins to fade. Likewise, over time our memories begin to fade. How do you keep something from becoming mundane? Can you? Would it have to change frequently to keep you guessing? Are we satisfied with going through the same motions everyday?
44
05 STILLNESS When dealing with memory, a place to be still and reflect is necessary. There is no reason to have memories if we do not recall upon them. A quite place filled with absence can evoke thought. Thought turns us inward to examine ourselves, our past, and the ever-dwelling idea of the future.
03 CONNECT The wall has always defined where human interaction can occur. Four walls can define a space for communication, for play, and for touch. Both outdoor and indoor space are defined by the built environment. What if it were not walls defining a space, but rather interaction? If we trace the connection between people it starts to form a space, maybe a space that is more suited for telling a story, or passing a dinner plate.
20:00 PM
06 CULTURE The quickest distance between two things is a straight line. The two ends of the line become polar opposites. There is a sense of balance between them. You can go from one side to the other and back again, ritually. This is the sauna of Finland. The line is the wood dock beneath your feet. At one end is an icy chill running up my spine, and at the other is the loss of breath as the heat takes over.
This presentation was constructed on a wall, with a hand drawn map of the site. Using three different weights of red thread, I began to map out the memories and an architecture began to form. Six tags with thesis words and graphics began to explain each of the areas on the map.
45
+ + + | 05.24.2015 |
| 07.25.2015 |
Stockholm, Sweden
K i l j a v a , Fi n l a n d
| 05.28.2015 |
N a k k i l a , Fi n l a n d
+ +
46
+
+
+ +
| 06.06.2015 |
S u o m e n l i n n a , Fi n l a n d
| 05.29.2015 |
N o o r m a r r ku , Fi n l a n d
+
| 07.01.2015 |
M u n k k i n i e m i , Fi n l a n d
+ +
47
PHOTOGRAPHY
48
A
rmed with a Nikon D3000 and a vintage Polaroid Land Camera, I began to capture my adventures around Europe. Both for my personal enjoyment and for a photography class, taught by Jari Jetsonen, a world-renowned Finnish photographer and model maker, known for his work surrounding Alvar Aalto’s architecture in Finland. In our photography class, we traveled around the southern part of Finland and photographed architecture and our everyday experiences. With occasional critique and lessons from Jari, we compiled our work into individual books. My book, ‘Katkelma’, or ‘Fragments’, contained both digital photographs and scans of my polaroids taken throughout the summer.
49
above| 06.22.2015_Helsinki
50
below | 07.09.2015_Colosseum
above| 05.24.2015_Kiljava
below |05.28.2015_Nakkila
51
COMPOSITION I grew up drawing, painting, and designing in multi media. I enjoy taking these passions and
combining them with my architectural representation. I believe that good design and compo-
sition skills can help an outside viewer better understand a project. Here are excerpts of both my graphic design work and hand rendering.
52
GRAPHIC DESIGN
DOCUMENTING
page 54
page 62
53
GRAPHIC DESIGN Plane D o u b l e Pa g e S p r e a d Individual Work
54
D
esign is an interesting skill and profession because it can stretch from designing a building to designing a magazine spread. Design disciplines can start to blend together. Skill in graphic design can help architectural design in multiple ways. One can understand space, order, and color, and these skills can enrich an architectural design. Graphic design skill can also allow me to showcase my architectural ideas and projects in a clearer, more elegant way. Strong graphic presentation can help communicate a project to your clients. The following work is from Presentation Design 1, a course I took to elevate my graphic design skills. In the course we studied ways of creating a variety of designs using with text, layout, and high quality photographs.
55
f o d l e i f
A [plane]
a graphic representation of both the
sentence describing “plane�, and the photograph depicting a plane
56
A
PE Y T OF S E N I L AND .
57
p
f
i
i
r
f
p u
o
d
e x t
l
b
t
e
a
f
n
i
o
t
l
s
m
t
l a n e
i s
o
TH E MOD COUPLE They were a magic couple, a designing duo who helped lift American style from the doldrums of the Great Depression and the patriotic inertia of World War II. Charles and Ray Eames created furniture that is casual, comfy and forwardlooking. For an increasingly mobile society, the pieces were practical yet flexible enough to suit individual tastes in the new suburbs that sprawled over the postwar landscape. Among their namesakes is the Eames Chair-simplicity itself, consisting of two pieces of molded plywood joined together by stainless-steel tubing. Another is the popular “ESU” or Eames Storage Unit, featuring a modular design of off-the-shelf materials. Other familiar objects in their wideranging repertoire include the single-shell plastic chair in a spectrum of colors, wire tables and chairs with “Eiffel Tower” legs, the body-friendly aluminum chair, and the signature lounge chair made with interlocking pieces of plywood and a companion ottoman. “I always thought as this century ends, you should look back and find things that represent the century,” said Don Albrecht, the curator of the first posthumous retrospective of the Eameses’ work. “After the 1980s’ and ‘90s’ excesses of over-designed furniture, their pieces look remarkably good and what people will know as our century.” Accompanying the show at the Library of Congress is the book of the same title, “The Work of Charles and Ray Eames: A Legacy of Invention” (Henry N. Abrams Inc., $49.50), published in 1997 to coincide with the opening of its European tour in Germany. Several years in the making, the show was organized
top: single-shell plastic arm chair left: Charles and Ray Eames
A L O O K A T C H A R L E S A N D R A Y E A M E S , T H E D U O T H A T D E F I N E S M I D - C E N T U R Y M O D E R N by Glen Elsasser
[double page spread]
a magazine spread on a designer depicting their design style
58
Eames wire chair
E
by the library in collaboration with the Vitra Design Museum in Weil am Rhein, Germany. It will run from May 20 through Sept. 4 at the library, the first stop on the U.S. tour that will continue to New York, St. Louis, Los Angeles, Seattle and possibly Chicago’s Museum of Contemporary Art at the end of 2000 and early 2001. “If you go back, you will see the Eameses were pioneering people in the terms we all talk about today,” emphasized Albrecht, a New York-based architect and writer. “They were living in a multicultural interior with all this diversity, juxtaposing all these cultures. “There may not be a direct link to them,” he continued. “But things we find important, they found important. For instance, the whole notion that design is everywhere. Setting a dining room table is design. There also was a design choice there about dining-room tables.” Their laboratory was the Cranbrook Academy of Art, the suburban Detroit institution founded in the 1920s and dominated for decades by the Finnish-born Saarinens. Like the German Bauhaus, Cranbrook sought to meld art, design and craft with mass production to create a distinctively modern look for the 20th Century and beyond. “The aesthetic was very much a collage of the machine-made and the craft-made,” explained Albrecht. “Cranbrook operated under the belief that the machine and massproduction were here to stay but that you had to temper the machine with things made by the hands.” From the look of the interior of their house in Pacific Palisades, Calif., the Eameses achieved this ideal through the careful display of the furniture with handmade rugs, pillows and bric-a-brac, such as vases
“THEIR PIECES LOOK R E M A R K A B LY G O O D ”
Molded plywood chiar
and candlesticks. Some of their favorite objects came from Mexico, India and 19th Century America-notably toys and Shaker pieces. “They saw in historic design lessons for contemporary designers,” said Albrecht. “The 19th Century toy, for example, was truthful to its materials: What was wood, was expressed as wood, and the same for metal. These are warm to the touch just as their chairs are.” The Eameses’ house and studio, a converted garage, remain in family hands. Before Ray’s death in 1988 at age 72 (Charles died in 1978 at age 71), she talked with Charles’ daughter, Lucia, about wanting the family to take care of the place, grandson Eames Demetrios said recently. Each year, a few thousand visitors come to the steel-and-glass house and grounds, according to Demetrios, but they are not allowed inside the residence because “it just can’t take the traffic.” Lucia, an only child, now lives there. “One of the special things about the house is its relationship with nature,” Demetrios said. “It’s actually a pair of steel boxes placed next to each other and tucked behind a grove of eucalyptus trees to take care of nature and preserve the meadow.” Earlier plans had called for a bridge-style house designed by Mies van der Rohe-the modern Chicago master celebrated for his lessis-more style. But it would have destroyed the integrity of the site, the grandson explained, and was never built. From photographs, the house succeeds in uniting the outside environment with its interior.
“THEY WERE A MAGIC COUPLE”
Ray Eames with her textile design
Charles and Ray in their living room
Exterior of their home
59
pig roast | 2016
c robr b co hh oo l el e corn hole boards | 2016 60
#healthier #happier #smarter
east tennessee planning symposium logo design | 2017
#healthier #happier #smarter
healthier #happier #smarter
OX KNOX OX BLOX #
east tennessee planning symposium
ymposium
planning symposium logo design | 2017
taast theme | 2017 61
DOCUMENTING
62
T
he following drawings are from my study abroad experience. For our Documentation class, we spent three days measuring and detailing Nakkilan Kirkko, a church in Nakkila, Finland designed by Erkki Huttunen in 1937. We used traditional water levels, and other instruments to document every inch of the church, both interior and exterior. Our class constructed drawings and a 1 in =30 m scale model of the church. We split into two teams, one for the drawings and the other for the model, though we each had a hand in all of it. Our work is now displayed at the Museum of Finnish Architecture in Helsinki, Finland. We spent three weeks developing these drawings. Each drawing was created by hand using the measurements we had previously taken. The drawings were constructed with red lead, then rendered in graphite and watercolor. We completed a site plan, site section, floor plan, all four elevations, a section, and two section perspectives. Presented here are the two drawings that I created.
63
above| suoja [protection]
64
right | saapuminen [arrival]
65
THANK YOU