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MICHIGAN CENTRAL STATION pgs. 4 - 17
EMBODIED SPHERE PROJECT pgs. 66 - 73
VOYEURS OF THE CITY pgs. 102 - 103
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THE VELOCITY OF GRIEF pgs. 18 - 23
URBAN FUTURES pgs. 74 - 79
DAILY RITUALS pgs. 104 - 105
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CONCRETE pgs. 24 - 33
GUERNICA TO GERNIKA-LUMO pgs. 80 - 91
MECHA-FLY TRAP pgs. 106 - 107
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HETEROTOPIC APPALACHIA pgs. 34 - 47
MICRO-URBAN COMMONS pgs. 92 - 99
IIT McCORMICK TRIBUNE pgs. 108 - 109
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RE-BORDERING pgs. 48 - 65
CABINET OF CURIOSITIES pgs. 110 - 111
[ 015 ] FACESHOPPING pgs. 112 - 113
[ 016 ] PHOTOGRAPHY pgs. 114 - 121 ** indicates projects in progress
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MICHIGAN CENTRAL S TAT I O N
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[ DE T RO I T, M I ]
[ ABOUT ]
Spring 2020 Professor Rana Abudayyeh and Jordan Goldstein
[ C O L L A B O R ATO R S ] Gensler DC and NYC Offices Rachel Smith McKenna Pierce Marta Kaczor
[ AWA R D S ] nd
- Gensler Research Studio Award, 2 Place - Tau Sigma Delta Bronze Medal in Interior Architecture
Michigan Central Station stands as an heirloom to its city. A Beaux Arts building constructed in 1913, it stands 18 stories high- a considerably monumental rise over a then-burgeoning Detroit. Once filled with eager travelers boarding the Michigan Central Railroad to New York or Chicago, the depot marks the city’s former glory. It now lies in ruins, having been pillaged and vandalized through decades of decline. The recommissioned building is inspired by biological precedence, searching to reconnect to the city with ambitious urban agricultural solutions. In active growth seasons, the depot is in full fruition, facilitated by passenger drones which harvest produce to supply the public transient market in the underbelly of the tower. In dormant seasons, it shuts down and denies occupancy by recuperating and quietly withdrawing. Such extremes are a mimicry of the complex situation of Detroit’s history. Urban agriculture provides a method of releasing the city from the mercy of the “Big Three” by introducing alternative industry potential. Food becomes a common denominator amidst a fragmented social fabric, accounting for demographic and ethnographic cultures across the Metro- and suburban-Detroit “data farms.” Michigan Central invites discourse on the role of the city through time and speculates on the future of the city and its direction forward in modernity.
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[ NOTE ] The tectonic resolution of the growth incubators is paramount when considering urban agriculture. Innovative technologies instill the understanding that the building acts as a mediator within the city of Detroit. The depot, then, itself becomes a cyclical agent who follows its crops’ growth patterns.
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THE VELOCITY OF GRIEF
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[ NORRIS, TN ] Spring 2019 Professor Brian Ambroziak
[ AWAR D S ] - UTK Exhibition of Undergraduate Research in Creative Achievement (EUReCA), Candidate - The ARCHITECT Studio Prize 2019, Candidate
[ ABOUT ] Stationed in the bowels of the Norris Dam, this architecture speculates on the poetics of site, the history of the Tennessee Valley Authority (TVA), and the cinematic quality of concrete construction and hydroelectric power. As a unitarian chapel, the experience humbles man at the helm of the omnipotent spillway standing 265’ tall. Lore even states that Le Corbusier was left in tears by the sight of the dam when visiting the newly established work community in 1946. He recounts his experience in his 1947 publication “Le Modulor.” Working against the mercy of the dam, the chapel is pitted against the velocity of water sluicing at dangerously high speeds. The submerged “infinity room” beneath the water is a long congregation area in its procession. Its views are obstructed by prayer alcoves accessible from above which pierce into the space. The roof is made accessible as a plane gently submerged by water. Users are encouraged to tread through the water on the open surface, relating themselves to the speed of water. Beyond, the dam taunts and beckons the individual forward, longing to be touched. Within the alcoves, the occupants is positioned towards the spillway in its direct command. All the while, one is left questioning how small oneself is. This architecture functions as a rare experience, only fully programmed in the event of sluicing and proper water levels. Otherwise, it is a peaceful refuge standing above still waters.
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CONCRETE: E N G E N D E R I N G E XC H A N G E O F L A N D + B O DY
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[ S U R G O I N SV I L L E , T N P H I PP S B E N D ]
[ ABOUT ]
Fall 2019 Professor Tracy Moir-McClean
Concrete explores the unison of land, body, and architecture as a homogeneous material- an amalgamation of complex programmatic, spatial, and cultural implication. Stationed on the ruins of an abandoned Tennessee Valley Authority (TVA) nuclear power plant, the land has burgeoned an active industrial complex, yet this proposal envisions the remains of an institution who indoctrinates and fosters an alternative social agenda. Concrete documents the use of existing space in the industrial field as per the will of the individual(s). Observed activities are categorized into three typologies: - INTERCOURSE - DISCOURSE - CONCOURSE By observing the rituals and habits of these radicalized individuals, interventions within the existing site are reinterpreted in the Mud Pit on the bank of the t River. The Pit is the hub of ritualized experience, representing the apex of religious, intellectual, and physical expression. It sustains the rituals of the taboo, the socially deviant, and the inappropriate. By preserving the tact of private and public enterprise, cyclical activity, and discrete tendencies, the Pit is stationed deep within the foliage of unmarked land, just beyond the reach of municipally owned property. As a socio-cultural exercise, Concrete speculates on the power of unique social condition as a way to revolutionize and distinctly inform programmatic experience.
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[ NOTE ] Gas receipts are artifacts used in the development of cult characters and their narratives within the ideological framework of their proposed community. The crossing-out of personal information feeds the narrative of secrecy and taboo acts. It, too, portrays a feeling of watchfulness and being commanded by a superior.
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HETEROTOPIC A P PA L AC H I A : ACTS OF SOCIAL CRAFT
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[ HOT SPRINGS, NC ] Fall 2021 Professor Jeremy Magner
[ ABOUT ]
PHASE 001 Alexa Davidson Annie Phillips Lydia Russell
Heterotopic Appalachia is a thought experiment speculating on the relationship between social craft and material cultures of this geographic region. As a provocation, three material regimes emerged- the lithic, the xylological, and the metallurgical. Each regime was required to develop an “ethic” or “ethos” of their material, developing its complex characteristics by way of method acting and designing.
PHASE 002 Anderson Hirt Danielle Lanier Sarah Lloyd Edyn McCarty Phillip Minton Annie Phillips
Each team began by projecting intelligence onto a 4’x8’ plywood slab, using a series of ad hoc exercises to generate abstract compositions and organizational systems. This included the imposition of grids, vector fields, and spontaneous markings. After several steps, each altered board was understood as a complex object used in a world-building scenario.
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Following this phase, representatives from each regime were dispersed into two larger teams. Using the complex ethic of each regime, members were then challenged to create an architecture with emerging tectonics organized in a top-down manner. Through acts of formal negotiation, lithic members established a building footprint which was met structurally by the xylological team. Lastly, the metallurgical team was charged with creating an envelope around the evolving design. These steps evolved into an ever-changing and highly unpredictable architecture. Rather than fleshing out an exact project, this experiment highlights the unpredictability of merging ideas and communal workflows. Such unpredictability creates an analog for the trail community who inhabits this project on the Appalachian Trail.
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PROJECTIONS[02] PROJECT OJECT ECTIO CTIO ON NS[02] S[0 S 0
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RECONSTRUCTED LANDSCAPE[02] R RE REC RECO NSTRU RU UCTED C D LAND CT LA ANDSCAP SCAPE SC CAPE APE E[02] E [02] 02] 2]
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The development of the game board happened through a series of speculative steps. Many of the exercises were guided by impulse, intuition, and subconscious thoughts about the material behavior of metal and aluminum fabrication. The process was profoundly influenced by an obsessive documentation of vectors drawn on the slab.
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M ETALLI C
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H EADQUAR T ER S
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[005]
RE-BORDERING
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[ ORCHARD KNOB SUBURB, C H AT TAN O O G A , TN ] Fall 2020 Professor Kevin Stevens
[ C O L L A B O R ATO R S ] Carson Fischer Lydia Russell
[ AWA R D S ] - AIA Middle Tennessee Student Design Award 2020, 1st Place - AIA COTE Top Ten for Students 2020, Candidate - Brewer Ingram Fuller Sustainable Design Award, Candidate
[ ABOUT ] In response to a 1938 decision by the Home Owners’ Loan Corporation (HOLC) to rank Orchard Knob a “Class D” suburb, “ReBordering” seeks to reassess the municipal evils of redlining and its creation of physical, social, and economic borders within an urban fabric. By reassessing the relationship between the community and their local institutions, we can reconnect the neighborhood to its rich heritage and to the larger culture of urban Chattanooga. Positioned along the intersection of McCallie Avenue and N. Kelly in Chattanooga, this orientation establishes adjacency to Parkridge Medical Center and creates public connection via McCallie stretching from downtown to Missionary Ridge. This is a suitable location when defining three primary clienteles intended for the project’s programmatic efforts- the residents of Orchard Knob, Parkridge Medical staff, patients, and visitors, and the Chattanooga public. With program types corresponding to “wings” of the building, the central courtyard then becomes a collective meeting point. As an evolutionary design effort, the building is phased out in a proximal 20-year span. The architecture begins as an extensive overhead canopy which is gradually altered, enclosed, and programmed to transform. From its origin as a series of tactical urbanism interventions, the project is set to flourish with the community as its joint organizations (Orchard Knob Collaborative and Orchard Knob Neighborhood) further the growth of the neighborhood, its restoration efforts, and new opportunities with a central civic space.
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EMBODIED SPHERE PROJECT (ESP)
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[ C I R C L E PA R K , U T K , KNOX V I L L E , T N ]
[ ABOUT ]
Spring 2019 Professor Brian Ambroziak
Professor Brian Ambroziak writes, “The 1-452: Embodied Sphere Project activates a critical discourse about the role of the museum in contemporary culture. As the philosopher Baudrillard writes, “we live in a world with more and more information and less and less meaning.” If this is true, then what consequence might digital preservation evoke for the future archaeologist.
[ C O L L A B O R ATO R S ] McClung Museum of Natural History and Culture Jessica Rice Sophia Spock Jenna Ely
[ AWA R D S ] - The 7th International Conference on Architecture and the Built Environment, Honorable Mention
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The curator, by nature of the available real estate housed in a physical structure, must rely heavily on the processes and acts of editing. As such, it is likely that any contemporary exhibit runs the risk of telling less stories whereas a linear narrative is forced upon a rich tapestry of cultural data points. The alternative digital gallery knows no bounds but often times falls short in that its server has trouble letting go and allows everything to be sacred to some point. Perhaps there is middle ground between these two contemporary models: one that presents a refined collection with physical constraints and one that brings a diverse cultural element and tells the stories often discarded in the design of exhibits and museum catalogues. Sites like Instagram provide an interesting precedent as they include “selfies” in front of historical works as the core of their curated collection, the past becomes an active participant in the present. 1-452: ESP privileges the selfie, the human and seemingly random connection, as a next major step in the evolution of the museum. Polaroids, selfies, of individuals that have played an active role in McClung Museum are buried within a landscape of pink packing peanuts. Archaeologists slowly unearth the images, tag them, and then hang them around the circumference of the transparent sphere, thereby yielding an embodied space.”
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[ NOTE ] As a pop-up installation, the Embodied Sphere Project follows a choreographed sequence of 11 acts: +001 INFLATE ESP +002 FASTEN ESP +003 SUITING UP//EQUIPMENT PRE-CHECK +004 ENTRY SEQUENCE +005 SURVEY SITE +006 IDENTIFY DIG SITE +007 EXCAVATION +008 SPECIMEN RECOVERY +009 TAGGING AND BAGGING +010 PRESENTATION +011 JOURNAL ENTRY
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URBAN FUTURES: THE GENSLER | UT RESEARCH STUDIO
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[ KNOX V I L L E , UTK C oAD ] 2021 - 2022 Professor Rana Abudayyeh and Jordan Goldstein
[ ABOUT ] As part of Gensler’s CitySpace research agenda, Urban Futures speculates on a number of super cities in America and their potential with mixed-use building typologies. With an emphasis on adaptive reuse structures, this studio dealt with four dying programs:
[ C O L L A B O R ATO R S ] Logan Guidera Gensler D.C. Gensler New York Gensler Research Studio
- THE LANDMARK - THE PARKING GARAGE - THE OFFICE BUILDING - THE SHOPPING MALL CitySpace emphasizes the prevailing urban culture of the city as a precedent for designated hubs. These hubs are succinct to a city’s cultural identity, industries, and multi-modal transportation accommodations. This vein of research is streamlined in conjunction with Uber and their near future launch of Uber Elevate, an aerial drone taxi and ridesharing service. Such innovation sets the standards for ways in which we might envision the future through proficient technologies and advancements. This research will be published with Gensler, creating discourse on the future of cities through four case studies as developed in the Gensler Research in the spring of 2020. These cities include Detroit, MI, New York, NY, Los Angeles, CA, and Miami, FL. Each scenario speculates on a series of contemporary issues in the face of a new paradigms, including pressing environmental concerns, social issues, the expansion of a digital world, and proposals in line with new models of work life and industry.
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DE T R O IT ] MIAMI ] N E W YOR K ] LOS ANGELES ]
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42 . 3 2 8 410, - 8 3 .07 76 3 4 - M I C H I G A N C E N T R A L STAT I O N ] 25.7904 4 4, -80.141465 - 1111 LINCOLN RD. GAR AG E ] 40.743973, -73.980701 - THE LEVER HOUSE ] 34.040543, -118.426450 - WESTSIDE PAVILION MALL ] 75 ]
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[ NOTE ] The publication was devised in a series of 8 chapters, and are as follows: +001 INTRODUCTIONS +002 TEAM +003 PEDAGOGY + METHODOLOGY +004 MULTIMODAL +005 RESILIENCE IN NATURE +006 URBAN INQUIRIES +007 SHAPING FUTURE CITIES +008 INDEX + RESOURCES
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GUERNICA TO GERNIKA-LUMO: ARCHITECTURES OF S O C I A L R E PA R AT I O N
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[ GE RN I K A- LU MO, SPAIN ] Spring 2021 Professor George Dodds
[ C O L L A B O R ATO R S ] Austyn Balcom Dylan Bellah Chris Burke Christina Ceniceros Matthew Epple Hannah Gastineau Ben Hoffman Corley Kotler Gina Nguyen Gianna Noel Harry Tarter Taylor Thompson
[ ABOUT ] Guernica to Gernika-Lumo advocates for the relocation of Picasso’s Guernica from the Museo Nacional Centro de Arte Reina Sofía in Madrid to its conceptual birthplace in Gernika-Lumo. The artist refused to allow the painting to return to Spain until the country “enjoyed public liberties and democratic institutions.” This exhibition ruminates on the political implications of this proposed relocation while also recognizing the importances of the 1937 Spanish Pavilion at the Paris International World’s Fair. The exhibition acknowledges the role of the pavilion as an anti-war protest while viewings its propagandist contents in the larger context of The Spanish Civil War and the Nationalist movement led by Caudillo Francisco Franco. Furthermore, my contribution to the exhibition included the manufacturing of The Surrealist Puzzle Piece with partner Gina Nguyen. This artifact related Spanish art movements (Surrealism and Cubism) to the conundrum of Spanish politics and divisiveness in a pre-World War II era. By assessing a series of regional, political, and cultural borders within the nation, the drifting of pieces showcases the disjointed nature of the Spanish social fabric and its lack of unified governance. To see the nation as a puzzle piece is itself a surrealist attempt at rationalizing the implications of the civil war. The installation was suspended vertically as an interactive display urging passersby to reassemble the nation .
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[ NOTE ] The Surrealist Puzzle Piece includes a series of images used symbolically in the painting, Guernica. All bombing sites are marked with overhead missiles. The light bulb represents hope and are stationed above Barcelona and Madrid, the two intellectual capitals of Spain. Lastly, the horse represents the people of Gernika and the bull represents the Spanish fascists.
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MICRO-URBAN COMMONS: PUBLIC INTERIORITY AS A FRAMEWORK FOR S O C I E TA L D I A L O G U E
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[ KNOX V I L L E , TN ] 2021 - 2022 Professor Rana Abudayyeh
[ C O L L A B O R ATO R S ] Grace Ann Altenbern Carson Fischer Gianna Noel Lydia Russell
[ ABOUT ] Professor Rana Abudayyeh writes, “Through social activism set within the urban fabric, Rosa Parks reminded us that human beings are of one race, the human race. Her act of peaceful resistance launched from the interior space of a Montgomery public bus challenged entrenched racism and helped usher in the Civil Rights Movement. Parks’ act proves tangible activism is possible through micro interventions. It illustrates that interior urban thinking is an invaluable mechanism of social engagement and contextual mediation. The proposal aims to understand the role of nominal public spaces in activating community interactions and addressing racial biases. It studies the role micro public spaces play in fostering communication that advocates for empathy and social inclusion by employing interior-centric strategies. Due to their communal nature, micro-urban commons such as sidewalks, parking spaces, bus interiors, and bus stops are prime sites for fostering active exchanges and engagements. Such spaces can nurture empathetic conversations that are key to reducing stigma and increasing an understanding of our differences as well as our inherent similarities. As hyper nodes of activities, Micro-urban Commons see significant traffic daily; yet, they remain underutilized with regards of their communicative value and societal impact. This essay intends to extract their inherent potential and shed light on the vital role such spaces can play to propagate meaningful exchanges. Communal urban settings rely heavily on public interior systems such as benches, canopies, and signage to cater to users and demarcate their spatial presence in the city. These urban systems and objects offer opportunities for further intervention to enhance social connectivity and information dissemination.”
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[ 010 ] VOYEURS OF THE CITY pgs. 102 - 103
[ 011 ] DAILY RITUALS pgs. 104 - 105
[ 012 ] MECHA-FLY TRAP pgs. 106 - 107
[ 013 ] IIT McCORMICK TRIBUNE pgs. 108 - 109
[ 014 ] CABINET OF CURIOSITIES pgs. 110 - 111
[ 015 ] FACESHOPPING pgs. 112 - 113
[ 016 ] PHOTOGRAPHY pgs. 114 - 121
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VOYEURS OF THE CITY MANHATTAN, NEW YORK Spring 2021 Professor Rana Abudayyeh
[ ABOUT ] In an omniscient fashion, Voyeurs of the City offers a panoramic glimpse into the urban fabric of Manhattan in New York City. Through an inventory of interior spaces, this project argues that the city maintains a series of American ideals which function in support of the capitalist free market. The dome shape suggests that the interior may be detached from its actual position within the fabric to form a hierarchical ranking within the city. The mappings infer that a certain exclusionary tactic bounds certain individuals to a certain interior experiences whose contents, appearance, and implications reinforce class in prolific ways. The bottom diagram shows the relocation of interiors on the basis of class. Though interior are bound by the likeness of a city, there are avid discrepancies which continually rank people.
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DAILY RITUALS KNOXVILLE, TN Fall 2018 Professor Mark Stanley
[ ABOUT ] Daily Rituals is a meditation on the relationship between domestic space and one’s habits. The exercise seeks to capture a living environment in its exactness- modeling all objects in their place, all nuanced details, all feelings and experiences which manifest in a living quarters. Paired with the plan perspective drawing is a triptych of graphic word art. Its contents reflect on the continuity of obsessive behaviors laden with anxiety.
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MECHA-FLY TRAP KNOXVILLE, TN Spring 2020 Professor Rana Abudayyeh
[ ABOUT ] In a series of collages, these drawings reflect on the formal qualities of the Venus Fly Trap and its formal process of digestion when consuming prey. The graphics infer there is a certain theatre to the function of the plant, ranging from its macroscopic to microscopic processes. Discussed in the series is a conceptualized understanding of the carnivorous plant, its digestive process, capacity for movement, and the spatial/ architectural implications this entails. The plant is reenvisioned through the idea of kitbashing and viewing the anatomy as a series of mechanisms which facilitate aggressive actions. The model is a spatialized interpretation of various systems including secretion glands and apertures which allow digestive enzymes to flow.
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IIT McCORMICK TRIBUNE CHICAGO, IL Spring 2018 Professors Katherine Ambroziak + Tracy Moir-McClean
[ ABOUT ] As a precedent structural analysis, this project investigates the Illinois Institute of Technology (IIT) McCormick Tribune Campus Center designed by Rem Koolhaas at OMA. This assignment was created with a series of accompanying drawings that denote the structural layout of the building in plan and elevation. The development followed after a rigorous collection of orthographic drawings, imagery, photographs, and construction images. The Campus Center was most rigorously studied where the elevated train lines pierces through the building and meets its primary structures. This is of particular interest to understand structural complexity and the use of material to sound proof the space from sounds above.
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CABINET OF CURIOSITIES KNOXVILLE, TN Fall 2019 Professor Marshall Prado
[ ABOUT ] The Cabinet of Curiosities is an exercise in the use of parametric tools to generate form and experimental representational outcomes. Grasshopper in Rhino was used to alter a fox skull and create a physical artifact out of the existing digital model. Suspended on threaded metal rods are a 3D printed portion of the skull where as the portion above is warped and constructed with the use of a waffle grid. The construct is mounted on a plexi-glass base inscribed with vector linework on the skull in plan and in section.
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FACESHOPPING KNOXVILLE, TN 2021 - 2022 Professor Rana Abudayyeh
[ ABOUT ] Inspired by trans artist SOPHIE, Faceshopping explores the way that queer objects invite programmatic instability in their domestic space. As per the shift of interiority in the era of Covid-19, so we see increased autonomy queers hold in the function of their own homes. Depicted are a series of vignettes where the standardized apartment becomes a fashion show venue, a sex club, Studio 54, or an orgy whether in the physical or digital world. Listed are a series of “queer object” which encourage this phenomena.
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PHOTOGRAPHY BRITAIN, CANADA, USA 2018 - 2022
[ ABOUT ] Throughout my travels, photography has aided investigations of urbanity and the development of place through time. The following images (in order) include the piers of Brighton in Britain, Quebec City in Canada, and the limestone faces of The Seven Sisters in Hastings, Britain.
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WALLACE
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