my portfolio
DESCRIPTION
My portfolio is a compilation of selected architecture, graphic design, and photography work from my education at the University of Tennessee, College of Architecture and Design.TRANSCRIPT
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alyssa c. nealonuniversity of tennessee, college of architecture and design
bachelors of architecture, spring 20132812 berkshire lane, kingsport, tennessee 37660
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architecturea community birth center fall 2012
post-fossil ranch house spring 2011the chinati foundation: desert oasis spring 2010
l.e.a.p. collaborative office building fall 2011
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This project will provide East Knoxville with a specialized medical facility in a lower-class dominated area facing development plans. Though a birthing center is open to all back-grounds of people, it still has a particular client-base; regardless, this building type will
bring a new wave of consumers into the local community and economy. The success of a
birth center could lead to growth in medical facilities, could jump-start the development, and affirm good health in this disadvantaged area. This project will be used to understand the needs of the client, user, and community as well as how these factors directly influence
the program and environment. With conclusions drawn from interviews and research, the
goal is to produce a design for the users, while finding a successful balance of functionality and form. Additionally, this project will drive the creation of a programmatic inventory that
must benefit staff, patients, and their families, and inadvertently, the local community.
a community birth centerknoxville, tennessee
professor john mcrae
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Though the site is in an urban setting, the overall context as you approach the site is sub-
urban. Homes and businesses are pulled off the street allowing for greenspace or parking
before you reach the building. The surrounding neighborhoods have mature trees and vegetation, giving character and charm to the area. However, the commercial buildings at the west of the site are in poor condition. That is addressed in the design of the facility.
The site offers opportunities to benefit the birthing center and similarly, the center’s services will benefit the community through providing a new specialized healthcare facility. With the
rise of new construction, the area will begin to thrive.
site plan
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8transformation diagram
sequence of spaces
The program can be divided into two main
categories: business and healthcare. While
the business branch manages the facility,
the entirety of the healthcare program is cut
across by the concepts of care, education,
and community.
As a client enters, the first space occupied
must be a waiting room with contact to the
receptionist. After this area, the three divi-
sions—Birth Center, Women’s Health Clinic,
and Pediatric Clinic—segregate some of
the program. The natural flow of circulation
should guide visitors from the entry, through
the building to the intended service, and to
the main exit with ease.
The sequence of spaces for the staff must maintain the efficiency and accessibility
necessary to complete tasks and to interact
with clients as their job description sees fit. Staff circle through the program while guid-ing the client during their visit. Circulation
between client and staff areas can overlap
as long as efficiency and quality of care is maintained.
Entry &Reception
Centralized Program
Women’s Health
Birthing Center Pediatric Clinic
Business
Labor & Delivery
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floor plan
Women’s Health
Birthing Center Centralized Program
Pediatric Clinic
Entry &ReceptionBusiness
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The organization of the building was driven by the necessary relationships of programmatic
elements. The wings of the facility are further modified by shifts of program on the exterior
of each bar. A dramatic, daylight-lit circulation axis ties these pieces together. At the inter-
section of the two perpendicular corridors, program opens, allowing lower ceilings and a
change in floor material to visually define these spaces.
The materials act as a nod to the residential building type in the surrounding area; a natural
wood rainscreen is the main exterior cladding, large picture windows frame the landscape
beyond the walls of the facility. A trellis-like solar shading bar wraps the entirety of the build-
ing further enhancing the horizontal motif of the facade. The building acts as a backdrop for
vegetated privacy screens and the natural landscape on the remainder of the site.
south elevation
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perspective: main hallway from entry
perspective: main hallway to birthing center
perspective: main hallway to women’s health view of private garden
view from martin luther king, jr. ave
view of circulation axis
approach to main entry
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post-fossil ranch houseknoxville, tennessee
professor hansjörg göritz
The goal of the project was to explore the issues, challenges, and opportunities related to a post-fossil ranch house project as a revision and rethinking of the American dream of rural life in suburbia. The ultimate goal was to create new, enduring ways in design with little
need for fossil fuels, similar to the Eichler homes in southern California.
The site for our neighborhood development, UT Alcoa Farm is a pristine resource of land with mountain views to the south. As a class, we collaborated in designing a master plan for
a quasi self-sufficient, rural/vernacular residential community in which the residents would
live in architecturally diverse homes with connections to the landscape. We were to design the house for the typical East Tennessee family--2 bedrooms, 2 bathrooms--with an equiva-
lent emphasis on land treatment and landscape integrating all necessary infrastructure with sustainability in mind.
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The building form began as a rectangular shape but then was influenced by the landscape
and programmatic relationships. The garage pulls apart leaving a covered patio or carport;
the remainder of the building splits the private and public sections of the house. The plumb-ing core is the link between these two pieces. This formal break and shift in the plan allows for the program to shift and reveal views to the landscape beyond.
The repetitive structural elements, and use of wood construction, makes the building economically advantageous. Similarly, by consolidating the plumbing into one area of the
house, the cost of construction is kept low.
site plan with design as prototype
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top: transformation diagram; the process by which the final form was achieved.
bottom left: processional diagram; the form of the building and landscape elements guide visitors in and through the building.
bottom right: structural diagram; the design is based on a four foot module, utilizing post and beam construction.
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A garageB utility roomC carport/covered patioD living roomE kitchenF dining roomG hall bathroomH master bathroomI bedroomJ master bedroomK outdoor courtyard
G
C
J
I
K
K
H
F E
D
A
B
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STANDING SEAM METAL ROOF
RIGID INSULATION
WATERPROOF MEMBRANE
LATH OR WOOD STRUCTURE
RAFTER
RAINSCREEN (HORIZONTAL WOOD PANELING)
AIR SPACE AND FURRING BOARD
WATERPROOF MEMBRANE
DOUBLE PANE, METAL FRAME WINDOW
SHEATHING
WOOD STRUCTURE
GYPSUM BOARD
FLASHING
CONCRETE FOOTING, FOUNDATION AND SLAB
DRAIN SURROUNDED BY GRAVEL
GRAVEL
RIGID INSULATION
WATERPROOF MEMBRANE
CMU BLOCK WALL
CONCRETE SLAB ON-GRADE
CONCRETE FOOTING
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row one: exterior contextual palette
row two: interior materials palette
row three: exterior materials palette
The various material palettes (above) are meant to give a general idea of the context, exte-
rior, and interior materials of the design. The design focused on materials both with compli-
menting natural and man-made elements. For example, the paved patios are constructed with concrete tiles allowing grass to grow between and preventing extensive rainfall runoff.
As with the Eichler homes in southern California, a poster for marketing purposes was used
to popularize the unique development of an architecturally innovative community in East Tennessee. The poster design states the original formal and programmatic moves that
influenced the final design of the home.
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left: marketing poster design; describes the relationship of the building to the landscape while stating reasons for specific programmatic moves.
these moves stated below:• private space offers expansive views to exterior• private program for meditation• programmatic core offers physical connection to exterior• functional core connects public and private program• public space offers framed views to exterior• public program for entertaining• plan encompasses nature in evolving courtyard• visual separation of programmatic spaces with the
ability to combine the spaces• a courtyard brings landscape interior as a place of
meditation and entertainment• home as a cloister
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The Chinati Foundation, seen by some as a cultural and artistic oasis in the Texas desert. Through the work of the minimalist artist Donald Judd, and his occupation of several abandoned military buildings at Fort Russell, an artist colony was created in Marfa, Texas.
Though artistically and culturally self-reliant in its rural edge condition, the colony still
depends on the urban infrastructure of downtown Marfa for water, food, and waste removal. This project entails the design of a self-sufficient small-scale educational farm within the arid climate constraints of the Texas desert. With the design of the Oasis Desert Farm, not
only will the Chinati Foundation become self-reliant, it will have the ability to teach the art
community about radical sustainability. The project’s design requires: the sculpting of the landscape to collect rainfall; the use of boxcars as storage units or to create space; and
space to educate about radical sustainability.
the chinati foundation desert oasismarfa, texas
visiting lecturer shane elliot
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By overlapping the two grids of the city, a common point of intersection became the center
by which my design revolved. The geometric shape of the building form is a nod to the
modern sculptures in the remainder of the foundation. However, the curves of the building form counteract the straight edges of the minimalist artwork.
The grids and circular templates were used for sculpting the topography and landscape.
Boxcars, located along drainage lines, helped define the grid as well as guide collected rainwater to the storage basin. The greenhouse elements are oriented to take advantage of
the southern sun and topography.
site plan
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above: this building parti diagram shows the range of programmatic elements and the topography changes applied to the natural landscape of the Texan desert.
below: the relationship between the overlapping grids and parti of the building.
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A
DEF
G
HI
K
L
L
L
L
L
L
JJJ
CB
A receptionB restroomC officesD meetingE kitchenF vehicle storageG vehicle maintenanceH materials storageI shipping/receivingJ greenhouseK sheltered courtyardL boxcars
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The building is meant to be a sculpture in
the barren landscape of the desert. The
boxcars sit in the landscape and overlap the
boundary of interior and exterior space.
As shown in the section below, the roofs of
the building form are sloped, allowing as
much rainwater as possible to be collected
and saved for future use. The landscape
also reflects this by sloping to direct water
into storage.
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The client for your project, LEAP Collaborative, is a progressive sustainability consulting firm looking to relocate its headquarters to Downtown Knoxville. This multi-disciplinary group of mechanical engineers, architects, landscape architects, and other environmental specialists
work as consultants to architects, owners, and engineers on a wide variety of environmen-
tally-minded building projects. It is meant to evoke their commitment to environmentally progressive action through design.
There are two primary program components to be accommodated on the office floors:
administrative and clerical office uses; engineering design and production offices. Administrative offices occupy less than one-half of the total net square footage; design and
production offices occupy the remaining building area. In general, all workspaces should be designed so that they are equally adaptable to the needs of all components.
l.e.a.p. collaborative office buildingknoxville, tennessee
professor william martella
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site context
In addition to designing a building that is formally and functionally efficient, the focus of the
class also encompassed the technical realm of design through the integration of building
systems—for example, HVAC and structure—and sustainable principles.
The building form consists of basically two buildings connected by the core elements in
an L-shaped form. This specific form continues the urban context by defining the street
and corner. The point at which the two elements meet, reveal an atrium lobby for the entire office building. The program of the building interlock; at these moments, dramatic sectional
changes take place.
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EMPLOYEEE PPMPPLOYEEPPMMEE PLOPP
above: first floor plan; the main program includes office marketing and reception, retail, restaurant, and mechanical systems.
bottom: typical office floor plan (third floor); the floor includes small and large scale meeting space, individual workspaces, and private offices.
RETAIL
RETAIL #2
MAIL &
RESTAURANT & CAFE
WEST CHURCH AVENUE
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parti diagram; series of interlocking program
daylight penetration diagram
Due to the regularity of the downtown grid,
the basic orientation was determined. The
building has a main orientation along the
East-West axis to promote day-lighting; how-
ever the south and west elevation will need
horizontal and vertical solar shading added
to prevent glare and, therefore, heat gain.
In an attempt to promote day-lighting, atria
and double height spaces punch through
floor plates; perimeter walled offices will
be defined by glass walls to allow light to
penetrate into the floor plate.
The remainder of the site—which also
resembles an L-shape—is reserved for a
major landscape features. The plan utilizes
a combination of hard-scape and soft-scape to define programmatic areas and intents.
The entire landscape feature is open to the
public, but within this area is a gradient of public, semi-private, and private zones.
The landscape has three entrances off
of Walnut Street and Church Avenue to encourage the public to use the landscape. The private and public ends will integrate
with the use of a water feature, plants, and
built-in seating. The landscape is also meant to be an extension of the restaurant, espe-cially during the evening hours. This zone
will incorporate movable planters and tables
that can change with the use of the space.
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longitudinal building section
RECEPTION
RECEPTION
RETAIL
CONFERENCE
CONFERENCE
CONFERENCE
GALLERY
CONFERENCE
COPY & PRINT ROOM
EMPLOYEE BREAK ROOMBBREBBR
CONFERENCE CCCON
CUPIABLE ROOF GARDENPPOCC PIABPPOCCUPIABPOCCUPIABPARAPET
Both vegetation and high reflectance materials will cover the roof of the building, these help
reduce the heat island effect that commonly plague urban buildings. Photovoltaic panel
system will also be incorporated to the roof design.
The energy efficient HVAC system is a combination of geothermal wells and chiller to an
under-floor air distribution system. The return air is behind the lights to help pull heat from
the lights, further helping the efficiency of the HVAC system.
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perspective: corner of clinch avenue and walnut street
For the façade, the lowest 1.5 floors of the building will have a terra-cotta rain screen treat-
ment to signify a base with a different program. Retail and a restaurant on the ground floor
are immediately off the street, so they will promote public circulation on the sidewalks and throughout the landscape. As the building rises, the façade will open up with a glass curtain wall to promote day-lighting in the office spaces. The glass façade will combine transpar-
ent glass for views and spandrel glass to visually define the location of floor plates. Solar
louvers will shade the glass to lower the heat gain in the building, and also to prevent glare caused by a large amount of direct light.
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12113454467ENCLOSURE: GLAZING
kawneer curtain wall system fixed window ground floor
storefront doors ground floor: retail and restaurant entry
ENCLOSURE: OPAQUE
terra cotta rainscreen system boston valley terra cotta
STRUCTURE: ROOF
steel beams (primary) W16 steel joists (secondary) W12
STRUCTURE: SLAB
steel decking 1.5” thick concrete slab 3” thick
STRUCTURE: FRAME
steel columns W8 steel beams (primary) W14 steel joists (secondary) W12 concrete bearing wall
STRUCTURE: FOUNDATION
structural concrete slab 6” slab with turn-down edges
STRUCTURE: FOUNDATION
concrete spread footings for columns
concrete strip footings for bearing walls
exploded axon (left): structure vs. enclosure
the adjacent diagram shows the technical relationship between the skeleton and skin systems in the building design; the sequence of the categories of these two systems are labeled.
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graphic designmovement spring 2010
double-page spread spring 2012t.a.a.s.t. design fall 2012
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As the premiere project for the class, the project revolved around basic design principles like negative space, composition, and visual interest. Using a minimum of 20 rectangles in either black or grey, the assignment was to create a graphic composition with inher-
ent movement. The rectangles can touch and extend off the page, but may not overlap or
intersect. Later, the selected design was then replicated, complimented or continued with typography. This gave another level of complexity to the design’s composition. Unlike the rectangles, the black and grey type can overlap and intersect to enhance the composition
as a whole.
movementtypography
professor diane fox
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flip
collapse
snap
crush
float
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My compositions (left) show a wide range of studies in movement. I originally listed action
verbs, then tried to replicate those words with the composition of the rectangles. My main
goal was to show speed and displacement within the frame of the project, as if a camera captured a snapshot of the movement.
The selected composition, “crush” (above), shows the result of two forces acting against
each other, shifting and transforming the rectangles pinched between them. I mimicked this with the type; however, the nature of the type creates a three-dimensional twist under these stresses.
crush: final product with typography
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This project works with various images and a large amount of type. The requirements included: researching a building of our choice, finding an article about the building for the body of the double-page spread, and acquiring multiple, iconic images of the building to
accompany the written portion. As an added challenge, the spread is meant to mimic the
main design motifs of the building.
My building, the J. Paul Getty Museum, is located in Los Angeles. The modern building
is home to many ancient artifacts; similarly, the architect mixed the use of orthogonal and
curvilinear pieces into the design. I captured these juxtapositions from the building in the design of my spread.
double-page spreadmagazine layout
professor diane fox
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a mountaintop temple:
A work of this size and complexity is not easy to grasp, much less grade. Even a critic who has paid regular visits to the site since bulldozers began pushing the dirt around in 1987 can agreeably lose his way among the buildings, gar-dens and terraces that adorn the Getty Center’s 110 acre mountaintop. Still, the basic ingredients of this complex can be summarized brie y: 19th cen-tury concept, 20th century design, 21st century city. The Getty Center is distilled from these three slices of time. It is an old-fashioned museum,
housed within a scrupulously modern set of buildings, pitched high above a city that has seldom shown a strong inclination to shoulder
the weight of cultural memory.
Critics say that the place is overbearing. That it’s too detached from the city and its cultural needs. That it would have been
better to build it downtown or to apportion its various units among different neighborhoods. The center’s advance res-
ervations policy and limited parking will restrict public access. That even the crisp abstract geometry of its ar-
chitecture indicates an arrogant refusal to engage.
The Getty Center is the creation of the Getty Trust, a foundation created in 1982 with a $700 million
bequest from the oil billionaire J. Paul Getty. The center brings together on one campus the
major divisions operated by the trust. Of these, the best known is the J. Paul Getty
Museum, whose power of acquisition has caused curators and museum directors worldwide to turn green.
Rotunda Exterior Courtyard
where art’s future worships its past
final: first magazine spread
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It’s not so easy to enter into the life of the mind, but the Getty offers thoughtful preparation. Even before you go into the galleries, the abstract qual-ity of the architecture has in-ducted you into the world of ideas. And the ethereal light of the mountaintop helps clear the brain. From the ter-races, you see a long ribbon of skyscrapers unrolling from east to west. This is Wilshire Boulevard. But when the day is hazy, and it usually is, you may nd yourself imagin-ing that the boulevard is the nal stretch of some grand
transcontinental avenue, a North American axis extend-ing from coast to coast.
Then the Getty may strike you as the embodiment of an idea that has been dragged cross country, becoming more and more abstract as it pro-ceeds west. There is enough Roman stone to remind you that this is a European idea, a privi-leged, aristocratic idea. But the stone has been carved into panels of such thinness that it looks like a memory of all the old marble left behind.
The scale of the galleries is intimate. The upper portion of their walls slopes inward to form a square funnel shape, like the interior of a mansard roof. Natural light radiates softly downward. You have the impression that you are not simply stepping up to a painting but pre-paring to walk inside it.
Los Angeles has long had a problem balanc-ing nature and culture. Historically, nature has been the city’s main attraction: the sun, the sea, the palms, the tans, the option to live out of doors. About culture, the city has been more ambivalent. It’s not even certain that it wants to be a city. “Ignorance,” as Oscar Wilde’s Lady Bracknell says, “is like a delicate exotic fruit. Touch it, and the bloom is gone.’’
a marble mountain: as the pieces come together
Above all, Mr. Meier and Michael J. Palladino, the project’s archi-tect, had to deal with a fabulous sore thumb of a site. The Getty sits atop a western slope of the Sepulveda Pass, where the San Diego Freeway plunges through the Santa Monica Mountains.
Let’s climb it. Or, rather, board the tram for the ve-minute ride that conveys visitors from the Getty garage to the center itself. How shocking it is to be riding in Los Angeles in a vehicle that almost resembles public trans-portation. This collective vehicu-lar experience is perhaps even more amazing than the views of the hills. Despite the trappings of modern convenience, we’re on our way to see something an-cient: the treasure chest, the civic storehouse with which a city dra-matizes its superiority over other cities by amassing artworks cre-ated by other cities.
The Getty may well be the last of a unique genre typi ed by the Louvre, the Metropolitan, the Kunsthistorisches Museum in Vienna. Although it seems as if we’re riding the subway, actu-ally we’re ascending the world’s longest ight of marble steps, an electric version of the grand staircases that in classical mu-seums symbolize the ascent to Parnassus.
When we reach the top and leave the tram, metaphor becomes ma-terial. In place of hillside chap-arral, we behold a mountain of marble. You never saw a more beautifully cut stone, nor a stone that proclaims so frankly that it has been installed strictly for your viewing pleasure. Mounted over concrete, the travertine pan-els perform no structural func-tion, as you can clearly grasp
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“these strongly sculptured
forms convey structure
and function, while
capturing and modulating
space and light.”
herbert muschamp
from the gaps between them. Set off by contrasting walls of ivory metal panels and broad expanses of glass, the rough-surfaced stone takes the light like jewelry.
We now nd ourselves in a gar-den of Euclidean delights, a plot of land dedicated to the culti-vation of squares, cubes, arcs, cylinders and grids, relieved by the occasional biomorphic curve. These shapes have been gathered together in the form of six buildings, of which the Getty Museum is by far the larg-est. There are also two adminis-tration buildings; the Research Institute for the History of Art and the Humanities, an audito-rium and a restaurant. Ranging from two to three stories, the structures are surrounded by gar-dens, plazas and fountains. In theory, if not in fact, the division of the complex into six buildings mitigates the center’s monumen-tal effect. These strongly sculp-tured forms convey structure and function, while capturing and modulating space and light.
a modern classic: an entryway to the mind
This lineage is apt. Mr. Meier wants to remind visitors that southern California architecture is not limited to the pop vernac-ular of Egyptian movie palaces, streamlined apartment buildings and coffee shops. In fact, what Mr. Meier has created here is a symphonic set of variations on the classical elements of 20th century structure. Rotation and Rhythm. The interplay between solid and void, transparency and opacity, curved and orthogonal forms. The cantilever. The mod-ule. The grid. The Getty Center is a summation, and a masterly one. Conventional modern forms join more traditional architectural devices stripped down to their naked modern skins.
final: second magazine spread
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Throwing Contestt 5:30p
t700
The purpose for this design project is to working with shifting scales and media. The design requires an aspect of visibility; it must capture viewers’ attentions to relay information. The most important element was the poster design, but additionally, the shirt and banner
needed to be designed as well.
My poster, which won second place, represents the coming together of many aspects of the architecture and design programs—like students and professors collaborating in celebra-
tion of TAAST; or two-dimensional lines that are used in the construction of a building. The
lines of the poster culminate to several points which lists the schedule for TAAST week 2013. The original idea is based on string art; the concept takes a thin material and creates
an object with depth.
t.a.a.s.t. designbanner, poster, and shirt
professor diane fox
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Sponsorsed by Gresham Smith and Partners
THE UNIVERSITY OF TENNESSEE COLLEGE OF ARCHITECTURE AND DESIGN
03.09Kickball
Cherokee Park at 11:00a
03.11Lecture: Alberto Perez-Gomez
Room 109 at 5:30p
DSAC: Silent AuctionCan Drive Begins
03.10CSI: Thumbtack Throwing ContestReading Room at 5:30p
DSAC: Banner HangingFourth Floor Balcony at 7:00p
03.13Interview Days
Dunford Hall
AIAS: Newlywed GameReading Room at 7:00p
DSAC: Silent Auction
03.12Interview DaysDunford Hall
ASID: ID Showcase ReceptionAtrium at 6:00-8:30p
DSAC: Silent Auction
03.14Interview DaysDunford Hall
Lecture: Marc NeveuRoom 109 at 5:30p
DSAC: Silent AuctionCan Drive Ends
03.16Beaux Arts BallSassy Ann’s at 8:00p-12:00a
03.15DSAC: Can-structarama
Humanities Plaza at 11:00a-3:00p
Geveral Shale Lecture: Peter CardewRoom 109 at 5:30p
DSAC: Silent Auction
03.17NOMAS: Event
4:00p
poster design
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Sponsorsed by Gresham Smith and Partners
THE UNIVERSITY OF TENNESSEECOLLEGE OF ARCHITECTURE AND DESIGN
Sponsorsed by Gresham Smith and Partners
THE UNIVERSITY OF TENNESSEE COLLEGE OF ARCHITECTURE AND DESIGN
TAAST 2 13THE UNIVERSITY OF TENNESSEECOLLEGE OF ARCHITECTURE AND DESIGN
banner design
shirt design (front)
shirt design (back)
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photographypoint of view fall 2010
framing and composition fall 2012light and shadow fall 2012
360 degree fall 2012art + architecture building fall 2012
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Point of view is a compositional principle of photography, and more specifically, the position from which something is observed. The point of view of an image can more readily describe more about the meaning behind the subject in the picture. The proper point of view adds
another level of understanding—this inherent implication can be true or it can be the per-
ception the photographer wants the viewer to see.
I aimed to capture multiple, dramatic points of view in my images; for example, I photo-
graphed from low and high points of view, and because of this, I discovered other elements
within the frame that add to the composition.
point of viewfilm camera
professor diane fox
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52escalator
balconies
53ayres hall fountains walk in the park
escalatoramphitheater structure amphitheater
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The compositional principle of “frame within a frame“ guides the viewer’s focus to the subject of the image. This can be achieved through light and shadow, color tones, nega-tive space, and other objects. The use of spirals or triangles converging to a point draws
the viewer’s eye into the image; similarly, any object diminishing in scale within the frame
produces the same effect. The purpose is to create a focal point of the image, and without these supplementary objects, the image would be less successful.
Another compositional principle is the breakdown of the frame into thirds. This grid of thirds
helps shape the negative space around an object, in turn, acting as a type of frame within the image. A symmetrical composition can be successful, however this can also appear
stagnant. The rule of thirds prevents this adynamic effect.
framing and compositionfilm camera
professor diane fox
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ayres hall
bike racks
view from a window
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daily jog
football hodges library
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The photography principle of light and shadow is important to the shape of objects. Without light or shadow, images would appear flat and lifeless due to the lack of depth created by them. In some instances, light, shadow, or the contrast of the two, act as the object of an
image. Shadows can be just as important as the subject in a photograph, as they work the
same way. Light and shadow also work as a frame for other objects in the picture.
As an additional project requirement, a photographic building study was conducted. We
were to photograph a building—I chose Hodges Library—from the same point of view at
four different times of day. The library was interesting because of its location on campus. When the sun is low in the morning, the surrounding buildings cast shadows on the lower
portion of the library; similarly, as the sun sets, the stacks cast shadow on themselves. Both variances produce pleasing images.
light and shadowfilm camera
professor diane fox
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60bench in sunset
dancing shadows
building study: hodges library, 8a
building study: hodges library, 12p
61pottery
crosswalk
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These photographs encompass a wide-range of aspects of the building, including the ap-pearance as a whole while highlighting the details that make the A+A building a sculpture within the University of Tennessee’s campus. The materiality, structural rigidity, and repeti-
tion are driving aspects of the design and are therefore, prevalent in these pictures.
In addition to these parts of the building, the relationship of the occupant is another important feature to capture. These moments introduce not only the typical actions of the
occupants but also the creative work left behind in the forms of artwork, sculpture, fliers,
and even graffiti. The New Brutalist architecture of our building creates a bare, technical backdrop for the plethora of artistic landscape on the interior and exterior of the building.
art + architecture buildingdigital camera
professor diane fox
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Honors & Memberships
Work Experience
Skills
References
AIAS (2008–present)
Phi Eta Sigma National Honor Society (2008–present)
Tau Sigma Delta Architecture Honor Society (2011–present)Vice President (2011–2013)
University of Tennessee Honors Dean’s List, Summa Cum Laude (Fall 2012); Dean’s List, Magna Cum Laude (Spring 2012); Dean’s List, Cum Laude (Fall 2008, 2010, 2011; Spring 2009)
R2R studio, llc (July–August, December 2012) Knoxville, TNArchitectural Intern; responsible for documenting existing conditions; preparing construction documents; building 3D SketchUp models; drawing and sketching; researching and selecting materials
Private Home Remodeling (June 2012, July–August 2011) Asheville, NCResponsible for demolition; dry–walling; painting interior walls; painting, cleaning and staining of exterior facade; tiling; wall framing and finishing; fence construction
Home Timber Framing (June–July 2011) Jonesborough, TNFraming Apprentice; responsible for calculating and measuring braces for cutting
Private Home Remodeling (June–August 2010) Kingsport, TNResponsible for wallpaper removal, wall repair and painting
Computer-based:Adobe Creative Suite: Acrobat, Illustrator, InDesign, PhotoshopAutoDesk: AutoCAD, 3D Studio Max, Revit ArchitectureSketchUp
Hand-based:Sketching, Graphite Rendering, Hand-draftingModel building, Carpentry, Various Home Remodeling Skills
Available upon request
