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alyssa c. nealon university of tennessee, college of architecture and design bachelors of architecture, spring 2013 2812 berkshire lane, kingsport, tennessee 37660 423.276.0537



architecture a community birth center fall 2012 post-fossil ranch house spring 2011 the chinati foundation: desert oasis spring 2010 l.e.a.p. collaborative office building fall 2011


a community birth center

This project will provide East Knoxville with a specialized medical facility in a lower-class

knoxville, tennessee dominated area facing development plans. Though a birthing center is open to all backprofessor john mcrae 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. 4


site plan

Though the site is in an urban setting, the overall context as you approach the site is suburban. 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. 6


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.

Labor & Delivery

Women’s Health

As a client enters, the first space occupied must be a waiting room with contact to the receptionist. After this area, the three divisions—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.

Centralized Program

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 guiding the client during their visit. Circulation between client and staff areas can overlap as long as efficiency and quality of care is maintained.


Birthing Center


sequence of spaces

transformation diagram

Entry & Reception

Pediatric Clinic

floor plan

Women’s Pediatric Health Clinic Business

Birthing Center

Entry & Reception

Centralized Program


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 intersection 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 building 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


approach to main entry

perspective: main hallway from entry

view of circulation axis

perspective: main hallway to birthing center

view from martin luther king, jr. ave

perspective: main hallway to women’s health

view of private garden


post-fossil ranch house

The goal of the project was to explore the issues, challenges, and opportunities related to a

knoxville, tennessee post-fossil ranch house project as a revision and rethinking of the American dream of rural professor hansjรถrg gรถritz 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 equivalent emphasis on land treatment and landscape integrating all necessary infrastructure with sustainability in mind. 12


site plan with design as prototype

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 plumbing 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. 14

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.



A garage B utility room C carport/covered patio D living room E kitchen F dining room G hall bathroom H master bathroom I bedroom J master bedroom K outdoor courtyard










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, exterior, and interior materials of the design. The design focused on materials both with complimenting 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.


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


the chinati foundation desert oasis

The Chinati Foundation, seen by some as a cultural and artistic oasis in the Texas desert.

marfa, texas Through the work of the minimalist artist Donald Judd, and his occupation of several visiting lecturer shane elliot 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.



site plan

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. 22

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.











A reception B restroom C offices D meeting E kitchen F vehicle storage G vehicle maintenance H materials storage I shipping/receiving J greenhouse K sheltered courtyard L boxcars





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.


l.e.a.p. collaborative office building

The client for your project, LEAP Collaborative, is a progressive sustainability consulting firm

knoxville, tennessee looking to relocate its headquarters to Downtown Knoxville. This multi-disciplinary group of professor william martella mechanical engineers, architects, landscape architects, and other environmental specialists work as consultants to architects, owners, and engineers on a wide variety of environmentally-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.



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. 28

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.







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; however 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.

parti diagram; series of interlocking program

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, especially during the evening hours. This zone will incorporate movable planters and tables that can change with the use of the space.


daylight penetration diagram













longitudinal building section

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.


perspective: corner of clinch avenue and walnut street

For the faรงade, the lowest 1.5 floors of the building will have a terra-cotta rain screen treatment 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 faรงade will open up with a glass curtain wall to promote day-lighting in the office spaces. The glass faรงade will combine transparent 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. 32

7 6 5 4 3 2 1

ENCLOSURE: 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. 33


graphic design movement spring 2010 double-page spread spring 2012 t.a.a.s.t. design fall 2012



As the premiere project for the class, the project revolved around basic design principles

typography like negative space, composition, and visual interest. Using a minimum of 20 rectangles professor diane fox 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.









crush: final product with typography

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.


double-page spread

This project works with various images and a large amount of type. The requirements

magazine layout included: researching a building of our choice, finding an article about the building for the professor diane fox 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.



a mountaintop temple: where art’s future worships its past

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, gardens and terraces that adorn the Getty Center’s 110 acre mountaintop. Still, the basic ingredients of this complex can be summarized brieÁy: 19th century 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 reservations policy and limited parking will restrict public access. That even the crisp abstract geometry of its architecture 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

final: first magazine spread


a marble mountain: as the pieces come together

Ex xteeri rior orr of Re R se sear arch ar ch h Ins n ttiitu utee

Above all, Mr. Meier and Michael J. Palladino, the project’s architect, 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 Àve-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 transportation. This collective vehicular 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 ancient: the treasure chest, the civic storehouse with which a city dramatizes its superiority over other cities by amassing artworks created by other cities.

R ck Gar Ro arde den de n

The Getty may well be the last of a unique genre typiÀed by the Louvre, the Metropolitan, the Kunsthistorisches Museum in Vienna. Although it seems as if we’re riding the subway, actually we’re ascending the world’s longest Áight of marble steps, an electric version of the grand staircases that in classical museums symbolize the ascent to Parnassus. When we reach the top and leave the tram, metaphor becomes material. In place of hillside chaparral, 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 panels perform no structural function, as you can clearly grasp

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 Ànd ourselves in a garden of Euclidean delights, a plot of land dedicated to the cultivation 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 largest. There are also two administration buildings; the Research Institute for the History of Art and the Humanities, an auditorium and a restaurant. Ranging from two to three stories, the structures are surrounded by gardens, plazas and fountains. In theory, if not in fact, the division of the complex into six buildings mitigates the center’s monumental effect. These strongly sculptured 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 vernacular 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 module. 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.

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 quality of the architecture has inducted you into the world of ideas. And the ethereal light of the mountaintop helps clear the brain. From the terraces, 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 Ànd yourself imagining that the boulevard is the Ànal stretch of some grand transcontinental avenue, a North American axis extending from coast to coast.

“ these

strongly sculptured

forms convey structure and function, while capturing and modulating



light . ”

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 proceeds west. There is enough Roman stone to remind you that this is a European idea, a privileged, 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 preparing to walk inside it. Los Angeles has long had a problem balancing 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.’’ herbert muschamp

Ro otu tund ndaa In nd Inte teri te teri r or o

Exterior orr vie iew w off North th Pav a ilion

final: second magazine spread


t.a.a.s.t. design

The purpose for this design project is to working with shifting scales and media. The design

banner, poster, and shirt requires an aspect of visibility; it must capture viewers’ attentions to relay information. professor diane fox The most important element was the poster design, but additionally, the shirt and banner needed to be designed as well.

tsetnoC gniworhT

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 celebration 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.

p03:5 t




03.09 Kickball

Cherokee Park at 11:00a

03.10 CSI: Thumbtack Throwing Contest Reading Room at 5:30p

DSAC: Banner Hanging

Fourth Floor Balcony at 7:00p

03.11 Lecture: Alberto Perez-Gomez

Room 109 at 5:30p

DSAC: Silent Auction Can Drive Begins

03.12 Interview Days Dunford Hall

03.13 Interview Days

Dunford Hall

ASID: ID Showcase Reception Atrium at 6:00-8:30p

DSAC: Silent Auction

AIAS: Newlywed Game

Reading Room at 7:00p

DSAC: Silent Auction

03.14 Interview Days

03.15 DSAC: Can-structarama

Humanities Plaza at 11:00a-3:00p

Geveral Shale Lecture: Peter Cardew

Room 109 at 5:30p

Dunford Hall

Lecture: Marc Neveu Room 109 at 5:30p

DSAC: Silent Auction Can Drive Ends

DSAC: Silent Auction

03.16 Beaux Arts Ball

03.17 NOMAS: Event



poster design

Sassy Ann’s at 8:00p-12:00a



shirt design (front)


shirt design (back)

banner design



photography point of view fall 2010 framing and composition fall 2012 light and shadow fall 2012 360 degree fall 2012 art + architecture building fall 2012


point of view

Point of view is a compositional principle of photography, and more specifically, the position

film camera from which something is observed. The point of view of an image can more readily describe professor diane fox 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 perception the photographer wants the viewer to see. I aimed to capture multiple, dramatic points of view in my images; for example, I photographed from low and high points of view, and because of this, I discovered other elements within the frame that add to the composition.






amphitheater structure



ayres hall


walk in the park


framing and composition

The compositional principle of “frame within a frame“ guides the viewer’s focus to the

film camera subject of the image. This can be achieved through light and shadow, color tones, negaprofessor diane fox 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.



ayres hall


view from a window

bike racks

daily jog


hodges library


light and shadow

The photography principle of light and shadow is important to the shape of objects. Without

film camera light or shadow, images would appear flat and lifeless due to the lack of depth created by professor diane fox 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. 58


building study: hodges library, 8a

building study: hodges library, 12p


dancing shadows

bench in sunset




art + architecture building

These photographs encompass a wide-range of aspects of the building, including the ap-

digital camera pearance as a whole while highlighting the details that make the A+A building a sculpture professor diane fox within the University of Tennessee’s campus. The materiality, structural rigidity, and repetition 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.






Honors & Memberships 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)

Work Experience R2R studio, llc (July–August, December 2012) Knoxville, TN

Architectural 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, NC Responsible 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, TN Framing Apprentice; responsible for calculating and measuring braces for cutting

Private Home Remodeling (June–August 2010) Kingsport, TN Responsible for wallpaper removal, wall repair and painting

Skills Computer-based:

Adobe Creative Suite: Acrobat, Illustrator, InDesign, Photoshop AutoDesk: AutoCAD, 3D Studio Max, Revit Architecture SketchUp Hand-based: Sketching, Graphite Rendering, Hand-drafting Model building, Carpentry, Various Home Remodeling Skills

References Available upon request


Alyssa C. Nealon

423.276.0537 ii

My Portfolio  

My portfolio is a compilation of selected architecture, graphic design, and photography work from my education at the University of Tennesse...

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