Alice Irizarry Portfolio

LANDSCAPE + ARCHITECTURE +

ACADEMIC PORTFOLIO

ALICE IRIZARRY

ALICEIRIZARRY@GMAIL.COM 615 - 997 - 6080

ARCHITECTURE

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LANDSCAPE

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URBANISM

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REPRESENTATION

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I live in a world made of spaces and contrived boundaries. My biggest influence comes from the way I share spaces with what inhabit them, both in a transient and permanent context. I’m interested in the interconnectivity of human construction with the built environment, and in my projects I spend time exploring how participants affect our extensions of the ground. My shift towards longer time spans from architecture to landscape architecture came with the realization that all buildings become ruins.

We find ourselves in complex environments that are overloaded with data and multiple truths. I have questions of efficiency, (un)certainty, and authority in this future research. I want to understand and contribute to a small piece of the larger goal, to live equitably with each other in visual languages. I want to make drawings and have people know what I’m talking about.

LINKEDIN / ALICEIRIZ VIMEO / ALICEIRIZ

PROJECT TITLE SUBTITLE

Studio Professor Semester Year

SELECTED WORKS Carousel Theatre

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House in the Meadow

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Awards

ARCHITECTURE

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Nam repelen diatet voluptatqui non nos pratios dolupta tectur simpe volorrovid ma nimpero doloris destisciet harionse porentiuntis et quas eat earis reperum denihitio. Explabore, aut adigende vero mi, utempor ehentin cipsunt dello dollabor modis molupta turiores veri rae vid est il ide ad eveligendis nullori dem sumque optaect iatquid untius.

Aceatem vendi audam, utaecea vendist, nectem sequis nusapie ndamus dem. Tem con repeles et imint recto exereius asi tem ium conseque et aut a conem sitem inissi unt.

Erchicius sequas quam qui qui beatquae et apicae res re eumenitiatum laccum lautemqui ut doloratur ma cum

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PUBLIC SPACE EXTENSION

The Ula Doughty Love Carousel Theatre celebrates seasonal productions as one of the oldest buildings on the University of Tennessee’s campus. This proposal explores a formal evolution of the theatre’s material structure, and dances between the historic associations and novel applications of mass timber.

CAROUSEL THEATRE ULA DOUGHTY LOVE CAROUSEL THEATRE REDESIGN

Ted Shelton Studio Fall 2020

CURTAIN WALL ASSEMBLY

nominated for AIA Middle Tennessee Design Award + Brewer Ingram Fuller Sustainable Design Award

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The systems of this new building were designed to recognize that there is unavoidable change in all disciplines.

The integration of a heavy timber structure with functional and aesthetic building systems both embraces the new and honors the history the IMAGEofCAPTION Carousel Theatre. In a campus of brick and steel buildings, this theatre illuminates how important community and global participation is in the development of new archetypes.

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with Carly Harland, Grace Shoffner

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INTE T GR RAT TION

HOUSE IN THE MEADOW THE FUTURE OF CONCRETE RESIDENTIAL HOUSING IN HAWKINS COUNTY, TN

Tracy MoirMcClean Studio Fall 2019

I investigated the zoning and planning of a singular house in a land where there are no residential zoning codes, leading to the demise of the steel and concrete structure, while opening meadows for metaphoric bunnies to dream in.

PREDATOR’S GYRE

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The nexus of dreams is this house in the meadow, at once a home, a tower, a studio, and a garden. Borrowing from The Poetics of Space by Gaston Bachelard, each floor symbolizes the occupancy of the body. The steel skeleton in a classic house form merges an industrial and domestic context for the humans that occupy it, through a program of rehabilitative services.

Once the building has served its purpose, maintenance lags, steel deforms, and the walls of the house come down. Its concrete foundation remains as a vestige of architecture in the landscape.

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PROJECT TITLE SUBTITLE

Studio Professor Semester Year

SELECTED WORKS Post Concreteness

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Embodying Maya Lin

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Awards

LANDSCAPE

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Nam repelen diatet voluptatqui non nos pratios dolupta tectur simpe volorrovid ma nimpero doloris destisciet harionse porentiuntis et quas eat earis reperum denihitio. Explabore, aut adigende vero mi, utempor ehentin cipsunt dello dollabor modis molupta turiores veri rae vid est il ide ad eveligendis nullori dem sumque optaect iatquid untius.

Aceatem vendi audam, utaecea vendist, nectem sequis nusapie ndamus dem. Tem con repeles et imint recto exereius asi tem ium conseque et aut a conem sitem inissi unt.

Erchicius sequas quam qui qui beatquae et apicae res re eumenitiatum laccum lautemqui ut doloratur ma cum

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POST-CONCRETENESS SYSTEMS FOR A MORE PERMEABLE WORLD

Galen Pardee Studio Spring 2022

with Kari Essary, Rachel Albee

Following the devastation of Hurricane Sandy in 2012, the city of New York pushed research on flood and disaster prevention due to global warming.

This studio built off of the East River Resiliency Project, in this project to investigate a future where building maintenance and demolition moved to the role of landscape architects, who are able to tackle civil issues as creative outlets.

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Removing rubble from demolition projects is often the largest cost and contributes to a multiscalar deterioration of the environment. This project outlines the path in which concrete rubble from a building’s demolition can be arranged to break down and create new ecosystems in the ecologically diverse urban environment of New York City.

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EMBODYING MAYA LIN IMITATION SCULPTURE PARK AT BILTMORE ESTATES

Scottie McDaniel Studio Spring 2023

What is good design? To try and answer this question, the studio is dissecting the moves and motives of prolific designers. I explored Maya Lin’s practice in her pre-millenium era to understand how art and nature informed her process. These renderings are my interpretation of how Lin would have designed a sculpture park at the Biltmore Estate in Asheville, NC, partly designed by landscape architecture forebearer, Frederick Law Olmsted.

The Bass Pond is a key figure in the picturesque landscape here, and it can be reinvented through Lin’s lenses of minimalism and conceptual design to mimic a water table. The radial pattern of 12 granite plaques draws attention to the reflectives properties of the still surface of water as well as the imperfections in the fabricated mill pond’s bank.

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ABOVE - SITE PLAN 1:75 BELOW - SITE SECTION 1:40

PROJECT TITLE SUBTITLE

Studio Professor Semester Year

SELECTED WORKS Project Oil Sands

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GeoMaterial Community

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Awards

URBANISM

Ehenistiust, iminullacid ullibus aut iusae non nulliquam laudam erspere cumquas asperio. Ut quae endis duntem. Itas alicia inim faccae. Aspe sedis nim invello rendige ndeleste ped quati omnimust ventiam, que quat.

Nam repelen diatet voluptatqui non nos pratios dolupta tectur simpe volorrovid ma nimpero doloris destisciet harionse porentiuntis et quas eat earis reperum denihitio. Explabore, aut adigende vero mi, utempor ehentin cipsunt dello dollabor modis molupta turiores veri rae vid est il ide ad eveligendis nullori dem sumque optaect iatquid untius.

Aceatem vendi audam, utaecea vendist, nectem sequis nusapie ndamus dem. Tem con repeles et imint recto exereius asi tem ium conseque et aut a conem sitem inissi unt.

Erchicius sequas quam qui qui beatquae et apicae res re eumenitiatum laccum lautemqui ut doloratur ma cum

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PROJECT OIL SANDS PREMONITIONS FOR THE REVERENCE OF OIL PRODUCTION

Andrew Madl Studio Fall 2022

with Jenna Ely

“ONCE THERE WAS AN ANCIENT RIVER, FLOWING INTO A GREAT SEA...”

-Oil Sands Discovery Center, Fort McMurray, Canada

The deposits of the great extinct river were saturated with migrating oil from unimaginable tectonic pressure over thousands of years, creating the Athabascan Oil Sands.

Someone once asked if that oil could be extracted with atomic explosions...

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ATOMIC BITUMEN REFINERY

SENTRY OIL OUTPOST

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FORT MCMURRAY MASTER PLAN SECTOR EXPANSION

FELLOWSHIP TEMPLE

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In 1959, an oil company proposed detonating a 9 kiloton bomb below the oil sands to generate enough heat to extract oil from Canada’s bituminous geology. This project jumped a prophetic future from the real proposition of Project Plowshare.

After government nuclear intervention, an Atomic Fellowship may rise that would guide and facilitate the industrial town of Fort McMurray to establish infrastructural necessities and track the irrevocable effects of this method of oil sands extraction.

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GEOMATERIAL COMMUNITY INTENTIONAL COMMUNAL RESIDENCE IN RURAL HAITI

Katherine Ambroziak Studio Spring 2020 with Elizabeth Ford, Emily Lavoll 1st place in EURēCA 2020

This proposed eco-village in the small town of Fond-des-Blancs explores a prototype for a new housing standard in this narrow valley facing an intermittent stream. The public facing walkway assists intentional co-living arrangements. I demo’d a compacted earth unit to model a self-sufficient building material. Unlike steel or wood houses, a compacted earth house uses material that is not in danger of disturbing the community’s environmental or economic resources, and would provide a new tradition for Haitians to perfect to their own needs.

COMPACTED EARTH UNIT

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COMMUNITY MASTER PLAN

PROJECT TITLE SUBTITLE

Studio Professor Semester Year

SELECTED WORKS The City Dune

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Cumberland Park

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18 Maya Lin AnalysisAwards

REPRESENTATION CASE STUDIES IN THE WORLD OF SPATIAL DESIGN

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Nam repelen diatet voluptatqui non nos pratios dolupta tectur simpe volorrovid ma nimpero doloris destisciet harionse porentiuntis et quas eat earis reperum denihitio. Explabore, aut adigende vero mi, utempor ehentin cipsunt dello dollabor modis molupta turiores veri rae vid est il ide ad eveligendis nullori dem sumque optaect iatquid untius.

Aceatem vendi audam, utaecea vendist, nectem sequis nusapie ndamus dem. Tem con repeles et imint recto exereius asi tem ium conseque et aut a conem sitem inissi unt.

Erchicius sequas quam qui qui beatquae et apicae res re eumenitiatum laccum lautemqui ut doloratur ma cum

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CAS E STUDY: T HE C I T Y D U N E

THE CITY DUNE BY SLA, 2010 IN COPENHAGEN, DENMARK

with Juliana Rogers

This 10 day charrette resulted in a robust digital model that a group partner and I translated to a physical 1:16 model and digitally rendered drawings. As a transitional project from architecture to landscape architecture, this expanded my project outlook to learn to balance a larger scale site and the demands of communicating the design in a managed fashion.

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CAS E STUDY: C U MB ER L AN D PAR K CUMBERLAND PARK BY HARGREAVES ASSOCIATES, 2012 IN NASHVILLE, TENNESSEE

As a Nashville native, seeing the change in the city’s attitude towards public space has given me a critical eye for park projects. These drawings represent an appreciative lens towards the grandeur of open air places and an oasis in a parking lot city. Even so, the corporate attitude of park making is marketed as accessible while disengaging with the ecological functions of the riverfront remediation work.

This coincides with the overjustification of landscape representation work that lacks the personal characteristics of neighborhoods and communities. I will be looking forward to future park spaces in Nashville, and as a designer I hope to engage design beyond green forms in sustainable park making.

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CAS E ST U DY: MAYA LI N

VIETNAM VETERANS MEMORIA BY MAYA LIN, 1982 IN WASHINGTON, D.C. As an early part of the Embodying Maya Lin project, I selected several designs out of Lin’s body of work to represent with new methods.

Both of these design works here are tactile, emotionally driven, and highly experiential- at least, when seen and sensed through photographs and visits. These drawings I made are more illustrative of the technical visual language that designers use to communicate with each other, rather than a public audience.

READING A GARDEN BY MAYA LIN IN COLLABORATION WITH TAN LIN, 1998 IN COLUMBUS, OHIO

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+ EPACSDNAL + ERUTCETIHCRA

CIMEDACA OILOFTROP

ALICE IRIZARRY