PORTFOLIOJILL FALLON

WRIGHT MEMORIAL MUSEUM01-08

WRAPPER HOUSE09-16

WELLNESS CENTER17-22

ROUDNICE CASTLE35-42

CHANNEL HOUSE27-34

WTCC ADMINISTRATION23-26

WRIGHT MEMORIAL MUSEUM01-08

WRAPPER HOUSE09-16

WELLNESS CENTER17-22

CITY RESEARCH43-46

MUSEUM OF THE CITY47-50

ROUDNICE CASTLE35-42

FIGURE DRAWINGS61-64

WORKS IN CLAY65-68

CHANNEL HOUSE27-34

WYLY THEATRE57-60

WTCC ADMINISTRATION23-26

CULINARY INSTITUTE51-56

01 WRIGHT MEMORIAL MUSEUM

WRIGHT MEMORIAL MUSEUMdesign project

site: kill devil hills, ncinstructors: matt griffith, wayne place

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03 WRIGHT MEMORIAL MUSEUM

1 entry2 kitchen3 cafe seating4 men’s 5 women’s6 gift shop7 lounge

8 janitorial9 electrical10 mechanical11 flight path12 simulation room a13 simulation room b14 exhibition space

15 fire exit16 elevator17 women’s18 men’s19 restoration area20 outdoor exhibition space21 exit

04 WRIGHT MEMORIAL MUSEUM

in order to design a new museum to commemorate the wright brother’s famous flight, i first sought to understand the true importance of the event that took place there. i thought about how flying is a regular part of many peoples lives, how it has revolutionized the way we are able to communicate and explore the world, and how it paved the way for space exploration. i realized that the wright brothers did so much more than simply take the first flight. it marked the moment in time where humans went from an earthbound species into occupiers of the sky as well.

in order to express this idea, i decided to begin the voyage into the museum by having visitors walk over a pond and through a cantilevered building into a dark, stony corridor surrounded by earth. in order to achieve this, a giant mound would be created by scooping out the land for the pond and displacing the earth in a large dune resting against the exhibition space. visitors would have a moment in the middle of this sequence where the mound separates to the outside, and they are met with the original flight path, a place for contemplation, before they continue down the dark corridor.

Emerging from inside the mound, visitors arrive in the great exhibition space, where light washes down from a sawtooth roof and planes are displayed all around. the visitor then can experience flight simulators and explore the restoration area in the wing of the building. next, they travel upstairs to a balcony hovering above the planes of the exhibition room. they then travel outside on the second floor, across their original path and emerge atop the entry building, cantilevered over the pond. the effect of being suspended over water, high up in the air, at the end of this circulation sequence, would hopefully remind the visitor of flying, and reinforce the importance and true meaning of this historical site.

sustainability was a major consideration in this design. the mound of earth acts as a thermal regulator to four major rooms inside of it and to the east wall of the of the exhibition space. in the exhibition hall, the large room is daylit through the use of the sawtooth roof. the south facing facade has a generous overhang which allows winter light in, and keeps summer light out. the east facade is almost entirely closed off to avoid solar heat gain. the west facade was treated with vertical, mechanized louvres to respond to the sun’s path throughout the day, and the north facade has generous openings to allow for soft diffused light. additionally, the created pond is used for water runoff from the parking areas and building, and helps passively cool the building.

volume structure enclosure

06 WRIGHT MEMORIAL MUSEUM

07 WRIGHT MEMORIAL MUSEUM

08 WRIGHT MEMORIAL MUSEUM

09 WRAPPER HOUSE

WRAPPER HOUSEdesign project

site: raleigh, ncinstructor: david hill

the wrapper house is designed to bring the outside in and the inside out.

inspired by the simple beauty of light shining through trees, the house is wrapped in a framework of wooden slats which creates dappled, streaming light and provides a sense of both openness and privacy.

emphasis on: outdoor living

emphasis on: sustainability

south facade: summer - high sunlight largely de-flected by wrapperwinter - low sunlight can stream into large expanses of glass

north facade: expansive glass for diffused light

east/west facade:completely solid to avoid overheating

the wrapper house is designed to take advantage of passive solar heating and cooling.

13 WRAPPER HOUSE

front porchprivacy: lowexposure to elements: lowother: allows street viewing and helps encourage neighborly interaction

back patio privacy: highexposure to elements: high

rooftop patioprivacy: mediumexposure to elements: medium (slats in wrapper allow varying levels of exposure)

14 WRAPPER HOUSE

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study/living

option a: master suite

floor one

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bed kitchen/living

kitchen/living

option b: duplex

outdoorliving

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office

bed kitchen/living

option c: live/work

outdoorliving

office

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floor two floor two floor two

emphasis on: flexibility of space

15 WRAPPER HOUSE

1 wood slats2 flitch beam3 flitch column4 wood flooring5 deck supports6 waterproofing7 rigid insulation8 metal decking9 header10 top plate11 insulation12 lvl 13 steel pipe14 low e glazing15 gypsum board16 waterproofing17 air cavity18 hardi panel19 metal fastener20 double sill plate21 anchor bolt22 foundation wall23 floor joist24 wood column25 steel plate26 anchor bolt27 crawl space

17 WELLNESS CENTER

WELLNESS CENTERdesign project

site: raleigh, ncinstructors: laura battaglia, katrina stoll

for individuals living with lupus

19 WELLNESS CENTER

the wellness center was designed to sit on a semi-industrial site in downtown raleigh. the site has an irregular shape bound by train tracks on one side and capital boulevard (a major roadway) on the other. a former factory exists on the site and was incorporated into the building design. the newer buildings are elongated to capture north and south light and provide daylighting and passive solar heating and cooling.

we were asked to focus on a specific audience who would use our facility. i chose individuals living with lupus for my target group, because i have vast knowledge of this topic from working at the lupus foundation of america, and also because the symptoms of lupus pose some interesting challenges.

design considerations for individuals living with lupus:

photosensitivity - peeled back roofs towards the north to allow diffused light to enter the space, rather than harsh south or east lightsevere joint pain - very limited changes in elevation90% women - created larger changing areas, sauna, and steam rooms for women than for menfatigue - frequent rest areas throughout circulation route to allow for breakscognitive dysfunction - clear circulation pathsdepression - spaces for mental health activities including alternative medicine: group & individual therapy, meditation, and hypnosis

20 WELLNESS CENTER

21 WELLNESS CENTER

the circulation path brings a visitor through the existing building first where they can change and prepare for their therapies. they continue through until they reach a long axis where they can go forward to the body wing or left to the mind wing.

the program called for wet and dry spaces. the wet spaces were further divided into a fast pools and slow pools. i created a wet zone which fea-tured two slow pools for relaxing, a jacuzzi and warm pool. the fast pool which could be used for water exercise has a swim-through corridor to the outdoor pool.

23 WTCC ADMINISTRATION

WAKE TECHNICAL COMMUNITY COLLEGEADMINISTRATION + CLASSROOM BUILDING

professional work during summer internshiplittle diversified architectrual consulting

the administration and classroom building is meant to symbolize the future of the college as a driving force in innovation, technology, and sustainability. as a summer intern, i was involved with the project in many capacities. i created a physical model of the building within my first week and spent much of the summer editing various aspects of the building model in revit.

the design for the building developed throughout my time as an intern. in my last two weeks i was asked to create a presentation quality site map of the main campus and a plan of the building.

26 WTCC ADMINISTRATION

27 CHANNEL HOUSE

CHANNEL HOUSEdesign project

site: raleigh, ncinstructor: david hill

the channel house was designed as a response to solar orientation and prevailing winds and was influenced by the south-ern vernacular house form of the dogtrot. the form, which originated around 1800, was popular in the southeast because of its effectiveness in passive cooling by providing a large open space in the center of the house through which air can flow. accordingly, the central volume of the channel house is characterized by large operable doors perpendicular to ra-leigh’s prevailing southwest winds that can be opened to cross ventilate the entire volume. the rooms on either side of the opening are cross-ventilated through suction created by operable doors and windows at either end. in addition, the opening provides an outdoor/indoor space to gather the family together and enjoy fresh air and expansive outdoor views.

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1 kitchen2 built-in cabinets3 dining/breezeway4 master bedroom5 bedroom6 front porch7 air cooling pond8 fireplace9 living room10 built-in shelving11 back patio12 fire pit

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the form of the house was also strongly influenced by the site’s solar orientation. since southern light hits the front façade of the house at a 30-degree angle, large l-shaped overhangs were placed to minimize harsh east and west solar gain in the sum-mer, while allowing solar pen-etration during the winter. the result of this configuration is a form that is reminiscent of metal extrusions and steel channels; this in turn prompt-ed our decision to use extru-sions as our aesthetic expres-sion. extruding the private spaces from the central vol-ume followed, with the main building standing as the giver of form to the smaller spaces. the central volume also serves as the point of origin in many other ways including rainwater collection, natural ventilation, photovoltaic panels produc-ing solar energy, heating and cooling pipes, plumbing, and the electrical system.

30 CHANNEL HOUSE

while the channel form worked well for our solar orientation, it left a significant amount open space to be covered in glass. because of the angles of our overhangs, the amount of insulation on non-glazed surfaces, and the use of low-e glazing, we were able to avoid enormous amounts of heat loss/gain, but we were left with the prob-lem of privacy in glazed areas. to respond to this we incorporated channel glass, a translucent recycled glass product rolled into a channel shape. channel glass provides greater privacy, and is also a better insulator than standard glass.

1 bedroom2 living room3 dining/breezeway4 front porch5 study6 kitchen7 laundry8 storage9 bedroom10 bedroom11 back patio12 fire pit

the second iteration of the channel house was an oppor-tunity to test the flexibility of the scheme. having been assigned a new solar orien-tation with north toward the street and south facing the backyard, we were also told to increase the floor area by adding a third bedroom and a study. in order to accommo-date these changes, we ex-tended the back extrusion to hold an additional bedroom and added a small extrusion on the north for the study, with the roof extending to the master bedroom to cre-ate a covered front porch. in order to capture the prevail-ing winds from the south-west (integral to our passive cooling strategy), the extru-sions were switched to op-posite sides so that the wind would be channeled through the center of the house.

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scheme I scheme II, new orientation

35 ROUDNICE CASTLE

ROUDNICE CASTLEurban planning & design project

site: roudnice nad labem, czech republicinstructor: thomas bitnar

university master plan + castle renovation/library addition

during my semester abroad, i had the opportunity to reinvision roud-nice castle, which dates back to the 12th century and is located 45 miles north of prague. the castle, surrounding buildings and land are virtually unused today. the location, however, would make it an ideal place for a university. it sits next to an active rail line, a navigable river, and a small, but active town square.

creating clearer connections to the town square, rail line, and river were of chief importance in the university master plan. large stepped terraces funnel circulation to the campus where strong axes direct both students and the public through a variety of spaces on and off campus. the new university buildings outline an ‘energy quad’, which is a reinterpretation of a french garden and is designed to harness green energy, produce fresh food, and provide education on sustain-ability.

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libraryparkingparkingparking

mixed use

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as part of the overall master plan, the castle was developed first as an academic center. the program called for a contemporary library inserted into the central plaza of the castle with three levels of parking under-ground.

in the past, the central plaza of the castle was a manicured french gar-den. currently, it is used as a parking lot for castle events. it was impor-tant to reintroduce green space into the plaza. in order to achieve this, the library was inserted at the ground level with a green roof creating a plaza at the +1 level. four mixed use cubes rise from each corner of the library.

another import aspect of the inter-vention was to create better con-nections between the riverside, the town square, the campus, and the castle itself. in order to achieve this, larger openings were created in the center of each facade with improved paths connecting various points of interest.

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a partially covered path wraps around the castle at the parking level (-1) allowing a public shortcut to the town square with entry along it into the castle. cutting in to the interior of the castle plaza, bisect-ing paths on the library (0) level and plaza level (+1) create connections to the larger campus and bring pub-lic visitors into the green spaces, coffee shop, public computers, and three story parking garage.

43 CITY DIAGRAMS/MODELS

CITY DIAGRAMS/MODELSresearch

site: charleston, scinstructors: don kranbuehl, jessica johnson moore

the charleston peninsula was re-searched and diagrammed in terms of:

physical characteristics: landforms, topog-raphy, rivers, marshes, etc.

city fabric: location of built structures

circulation: major/minor routes, highways and waterways

history: as related to landform, where marshes were filled in to create more land mass

CITY MODELthe city model (previous page) is a three dimensional representation of the diagrams representing the charleston peninsula. topography is represented on both land and sea. areas of river are shown in plexiglass with marsh areas represented with a frosty texture. the top layer of topography on the actual peninsula shows the original shape of the peninsula, before marsh areas were filled in. additionally, the city fabric is in-cised onto the landforms and the two main circulation paths are represented with bent metal.

PRECINCT MODELthe precinct model shows an area of downtown charleston containing the site for our ‘museum of the city’ project. this precinct contains some important historical build-ings including the daughters of the confederacy building and the market. we went to charleston and measured each building for height, width, setbacks, and reconstructed the area to get an overall feeling of the texture of the city. the precinct sat on the waters edge and was partially filled-in marshland. the ground plane expresses where former marshland existed through an open weave texture, which also pays tribute to the woven baskets popularly sold in the market.

45 CITY DIAGRAMS/MODELS

46 CITY DIAGRAMS/MODELS

47 MUSEUM OF THE CITY

MUSEUM OF THE CITYdesign project

site: charleston, scinstructors: don kranbuehl, jessica johnson moore

50 MUSEUM OF THE CITY

after extensive site research at the city and precinct level, we were given an assignment to create a museum based on an abstract program of one cube, one long rectangular box, and 4 major walls.

wall of surveyor – structural wall that supports the building (north wall)wall of books – thick, massive wall that serves as a container (east wall)wall of light – plane creating and controlling light into the museum (ceiling)wall of the city – entrance wall (west wall)

51 CULINARY INSTITUTE

NC INSTITUTE OF CULINARY ARTSdesign project

site: raleigh, ncinstructors: frank harmon, susan cannon

the culinary institute is a place for students to learn how to cook and cul-tivate food. it is designed so that the public can reap the rewards of the students’ education. the location is in the warehouse district of down-town raleigh. the existing site is series of three parking lots, each with a different elevation. the design for the institute follows these elevation changes with openings shifted to engage the public at all three levels.

the heart of the institute is along the west facade where students and faculty enter into a large atrium. the lobby, library, demonstration kitchen, recreation room, and auditorium open up to the atrium. the lines between auditorium, lobby, and lounge are blurred so that different arrangements could offer many possibilities of use in these spaces. the library would be a place for students and public to learn recipes, study by a fireplace, or even check out exotic spices or tools for their own experimentation.

54 CULINARY INSTITUTE

the restaurant is located at the intersection of two city streets. the kitchen stretches along the street side in order to allow views of cooking from the street and from within the restaurant. a greenhouse sits atop the dining area of the restaurant and wraps over the front of the building. this forms the entry to the restaurant as well as a place for the public to buy fresh produce throughout the day.

the greenhouse and rooftop gardens would yield much of the produce used in the demonstration kitchen, res-taurant, and produce shop. an outdoor/indoor agricultural classroom would be connected to the greenhouse and adjacent to one of the rooftop gardens. traditional farming practices could be taught in the two plots at either end of the facility. the plants in the greenhouse would be grown hydroponically in long tubes of nutrient rich water. the use of hydroponics within a greenhouse allows year round food production, zero transportation costs and associ-ated carbon emissions, the freshest possible produce, greater variety in plant species grown, and less water use and higher yield than traditional farming. the restaurant would showcase this high-tech garden with a clear glass ceiling open to the greenhouse.

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57 WYLY THEATRE

WYLY THEATREprecedent study

site: dallas, txinstructors: matt griffith, wayne place

the wyly theatre was chosen as a precedent study because of its innovative use of structure which allows for an unconven-tional theatre design in which all facilities are stacked above - and below - house. this de-sign allows for ample flexibility in theatre configuration, giving the directors ultimate artistic freedom. visitors descend into the underbelly of this cube-like building only to emerge up into an enormous and entirely flex-ible performance space sur-rounded by expansive views of downtown dallas.

enclosure

59 WYLY THEATRE

volume structure circulation

61 FIGURE DRAWINGS

FIGURE DRAWINGSundergraduate work

tulane universityinstructor: sandy chism

64 FIGURE DRAWINGS

65 WORKS IN CLAY

WORKS IN CLAYundergraduate work

tulane universityinstructor: jeremy jernegan

the dove sculpture is meant to express different interpretations of the same ob-ject.

biologically, a dove and a pigeon are the exact same. the difference is our percep-tion of them.

the sculpture is enscrawled with images of pigeons, but guides the viewer to see the dove as a larger symbol. a symbol of promise, hope, and auspiciousness.

67 WORKS IN CLAY

when assigned to represent an aspect of human anatomy through clay, i chose to represent the sound processing center of the inner ear, the cochlea. the piece evolved into a larger symbol of the music of new orleans (where i attended school). through repetition of this form and variations in size and shape, i sought to create visual rhythm. the clay was mixed with gold vermiculite, a shimmering material, and then painted with a blue-green glaze and a copper wash yielding a color-ful but gritty surface.

68 WORKS IN CLAY