callie walmsley | 5th yr b[ARCH] university of tennessee college of architecture and design
selected works | 2020 - 2025
FALL 2024 | Hansjörg Göritz
4th year | INTEGRATIONS
APEX in collaboration with Danielle DiCiccio + Alyza Zink
FALL 2025 | Javier Sánchez
5th year | BMa STUDIO with JSa Architects + visiting professor Aisha Ballesteros + Mexico City Trip THE HANDSHAKE in collaboration with Cecilia Torrez-Panzera
FALL 2023 | Scott Wall
3rd year | studio borderlands INCESSANT INUNDATION
SPRING 2022 | Lindsay Clark
2nd year | studio hinterlands
TROIKA, INC.
DISSEMINATED AEGIS
FALL 2021 | Cayce Anthony
2nd year | studio bod VITIATED MODE
PREVERTED EPIDERMIS in collaboration with Amelia West
INTEGRATIONS
4th year | APEX
in collaboration with Danielle DiCiccio + Alyza Zink
FALL 2024 | Hansjörg Göritz
The Apex Architectural Design Campus and Extension aims to elevate and innovate architectural education. Through immersive design strategies, the campus can transform architectural education as we know it today. It is designed to be an educational tool, enhancing the Art + Architecture building we know and love into one that takes advantage of the previously unused central location on campus and undisrupted views of Knoxville’s staples, like Neyland Stadium and the Smokey Mountains.
This renovation and expansion capitalizes on this central location by transforming the extension into one that creates an interactive space below that helps to bridge the College of Architecture with the wider campus, which has previously been isolated from the A+A. The expansion will comprise all the current and new studio spaces, allowing the original building to be transformed into a collaborative hub on our campus. It will feature digital and physical collaboration spaces, innovative technologies for majors across campus, and additional administrative and gallery space in our ever-expanding college. The expansion more than doubles the original 180,000 sq ft, allowing for more studio, review, event, and communal areas that are designed to enhance the experience for both students and faculty, fostering moments of both intimate and collaborative work.
There were several considerations when addressing this project, including passive design strategies and methods to include buildings that are currently set to be demolished on our campus, instead of reusing them to contribute to the new design campus instead of demolishing them. In terms of adaptive reuse and creating more green space, our building plans to transform the current Herbarium into the School of Landscape Architecture as well as create a system of interconnecting landscapes and gardens to connect the campus as a whole as well as pay homage to the old herbarium. The design of the addition as well as the added facade to the current
building was planned in a manner that helps to lower our building’s emission levels. To accomplish this, we have developed a system of adaptable recycled polycarbonate panels on the extension that can be opened and closed to provide cross ventilation and di used light, addressing both thermal comfort needs and passive design strategies. On the existing building, we have placed an adjustable terracotta rain screen that allows our building to have more thermal control where there currently is none.
These design strategies will help to enhance our current building, fostering a more collaborative and sustainable environment not only for the A+A but for the campus as a whole. The expansion and renovation create connections that have not been present on our campus, reinforcing the monumental quality our building once possessed.
INTERCONNECTIONS
The project highlights ways in which to connect the existing Art and Architecture building with the new extension. Through direct and landscape driven connections, the two pieces are able to work in tandem to create a cohesive whole.
One goal within the A+A was to increase the energy performance of the building. To do so, we created a new facade system using adjustable terracotta panels and triple paned glass with U-45. This facade system helps for inhabitants to be able to personalize their space according to exterior lighting conditions while keeping the building from the heavy solar gain it currently faces.
CAMPUS LIFE
We were not only tasked with extending the Art and Architecture building, but also connecting it with the rest of campus.
The Art and Architecture building used to be placed as beacon on a hill. It was a center point of campus with fields and pathways connecting to it on all sides. As campus has evolved with needs, parking lots, construction, and reworked pedestrian paths, our building has become more isolated than ever, despite its pristine location.
APEX seeks to reconnect the arts with the rest of campus, keeping in mind The University of Tennessee’s master plan, as well as idealistic connections and landscape design. APEX seeks to take advantage of the Art and Architecture’s prime location at the center of campus along with the proposed Art Quad that connects the Art and Humanities and Music campus. Connecting these disconnected parts of campus allows for more collaboration that is necessary in our field, allowing for connection within the building as well as a raised loggia that allows for more open walking space along the campus that we are currently missing.
Campus interconnectivity is vital to a successful and collaborative environment, and APEX seeks to merge the arts and create a more cohesive and interactive environment in the spaces we know and love.
SYSTEMS
INTEGRATION
APEX tacked a variety of passive and active systems across both new and old construction. Accounting for existing conditions and emerging needs throughout the site, APEX was able to minimize energy use, increase passive design systems, and maximize inhabitant comfort. The systems focus heavily on occupant behavior, movement, and comfort, creating ideal spaces while still adhering to code and technical constraints.
THE HANDSHAKE
5th year | BMa studio with JSa + Aishia Ballesteros in collaboration with Ceclilia Torrez-Panzera
FALL 2025 | Javier Sánchez
Juhani Pallasmaa describes the door handle as the “handshake to the building”. This inspires an architecture that can take the form of a living entity–one that can possess a character, just as the individuals who will inhabit it. It allows these individuals to greet one another as a community, the landscape, and the building itself, which has previously held a disconnect with the river and the community. The former General Shale Brick factory engages with its relationship with the Tennessee River, beckoning the city of Knoxville to draw towards it, acting as the front door to the new creation and program that will act as a gateway and bridge the community and its surroundings.
The GSB site is not merely a piece of Knoxville’s past but a canvas for imagining a missing link within Knoxville’s urban fabric. The Handshake aspires to transform GSB into an animated core that can transform the bones of the past into a creative space that will draw the body of Knoxville together.
The Handshake pays homage to the GSB site’s history and its brick fabrication function while fostering a new dialogue between the river and the architecture. The approach comprises of mindful adaptive reuse that allows us to preserve the original craftsmanship of the building, both in materiality and functionality. Staying true to the structure, the design will keep the bones of the factory while opening up breezeways, viewpoints, and materiality changes that allow the building to adapt to modern functional and lighting needs. This method aids the design and opens up
viewpoints allowing inhabitants to interact with the river, reinforcing its waters as a front door to the new facility.
The Handshake explores the building’s interaction with the environment, creating a bustling artisanal core within the Knoxville community. The space honors the craftsmanship of Appalachia and the site while embracing the potential future for a more artisanal-based Knoxville. It invites local and visiting artisans to reside for periods, in which they can create in a new environment, teach the community to carry on their craft, and reside in a domain that connects them back to nature. By encouraging these opportunities, we allow the community members to engage with the space and learn new crafts to be carried down through generations. This collaboration also allows the community and artisans to celebrate the water that formed this site, creating sensory experiences with the water throughout their artisanal procession, creating dynamic, multi-functional spaces that will transform the architecture into a tool for connectivity, versatility, and celebration of collective creativity.
The Handshake seeks to transform the GSB site into one that is better able to shake hands with the community and river that created it, creating a space that allows the city of Knoxville to build a future that honors the past while celebrating the future it holds.
CELEBRATION OF WATER
The General Shale Brick site provided unprecedented opportunities within Knoxville. Locating on the Tennessee River, the General Shale site sits with beautiful views of the river and contains the cities water intake for all the city that is managed by the Knoxville Utility Board.
These opportunities sit unused at the site’s current state with trees lining the river bank to the point where the river’s prime location is unknown at the site.
The Handshake emphasizes this connection with the water, celebrating this connection through landscape and interior installations. The project’s water connection begins at the KUB intake, channeling water through a natural filtration system into each of the main water installations: the Handshake, the Heart, and the Embrace. This personification brings di erent sensory experiences throughout and continues the water connection throughout the entire procession of the building. At the Handshake, where the water is physically inhabitable, the water than follows the topography down the site through a system of naturally filtering wade pools that then return the water back to the river, completing the use, filtration, and return of the water.
THE LAYERS
As the building became more personified, so did the nature of the building, physically being allowed to breathe at di erent layers throughout. The building’s layers allows for di erent densities and movements to denote layers of privacy, use, and the importance of views in connection to the river, both in interior and landscape.
The layers within consist of di erent adaptable and movable parts of di erent densities and weather protection, allowing for the user to transform and customize their space based on program use and comfort levels at di erent parts of the year. These layers and precisely located openings allow the building to enhance its connection to the river and the environment around, allowing for conditioned and unconditioned spaces to lower emissions and make the space more adaptable as time continues to transform the building.
LIVE, WORK, TEACH, LEARN
The cyclic nature of the program becomes further emphasized by the artisan studio and apartment designs. Located on the north side to have the south remain more open to optimize the connection with the river, the layered system allows for inhabitants to experience a truly impactful work-live experience.
The apartments are comprised of fully customized built-in furniture and materiality,that has been designed to meet their needs during their stay as well as further emphasize their connection to nature. Each bay comprises of two to four apartments with private areas, work space, and private balconies that allow for privacy, while encouraging collaboration and community with a central kitchen and living area.
The apartments are then directly connected through a staircase that brings them directly into the studio space. This allows the artisans to be able to remain focused on their work when needed, and interact with the rest of the building when prompted. Each studio space is specifically designed for the artisinal needs of the space, with storage, wash areas, work areas, private studios for the artisans designed to maximize the needs of the artisans.
The connection allows not only for artisans to come and practice, but allows the community to come in, learn, and interact with the di erent arts, connecting the visitors to the Knoxville community.
INCESSANT INUNDATION
3rd year
FALL 2023 | Scott Wall
Incessant Inundation is a response throughout time to an ever changing environment that is our climate and the Tennessee River Valley. One that is informed by the [PAST], inhabited by the [PRESENT], and adaptable and expansive with the [FUTURE].
The original communal settlement comprises of a [PRESENT] triangulation of a research facility, sta inhabitations, and agricultural center, all of which pay ode to the [PAST] that is the Appalachian culture and TVA’s alteration and influence in the area. The research facility itself is influenced by Douglas Dam, the very structure that was imposed on Newport, TN, promising technological advances at the expense of the areas culture, that which the new facility also has the potential of doing. The agricultural center balances with this possibility of ruin, bringing back the agricultural center that was Appalachia, allowing a space of community for the sta inhabitants as well as the surrounding area of Newport, TN. The sta inhabitations further this ode to Appalachia, providing an adaptive and self
sustaining form. One that is able to move with the varying water levels of flooding and drought that TVA forces upon the area through a system of buoyant foundations. And like the Appalachian communities, the inhabitations are completely self-sustaining, with solar-paneling roofs at a southernly 36° for optimal performance, a 200 sq ft hydroponic garden to provide for the inhabitants, and a series of clerestory lights and cross ventilation methods allowing for less energy use through passive design.
Successful design however doesn’t just stop once it is constructed, but rather must adapt with the [FUTURE] and the factors that will become present. As time goes on, the community, agriculture, and research will to expand through the site, adaptable with whatever the climatic future may contain, providing a climatic refuge as our world continues to deteriorate, unless action is taken. the varying water levels of flooding and drought that TVA forces upon the area through a system of buoyant foundations. And like the Appalachian communities, the inhabitations are completely self-sustaining, with solar-paneling roofs at a southernly 36° for optimal performance, a 200 sq ft hydroponic garden to provide for the inhabitants, and a series of clerestory lights and cross ventilation methods allowing for less energy use through passive design.
Successful design however doesn’t just stop once it is constructed, but rather must adapt with the [FUTURE] and the factors that will become present. As time goes on, the community, agriculture, and research will to expand through the site, adaptable with whatever the climatic future may contain, providing a climatic refuge as our world continues to deteriorate, unless action is taken.
SITE PLAN
an ode to the past, the architecture and site is designed based on formatic moves determined by the community that used to inhabit the lake. Additionally, the plan accounts for the progression of time within the project, an integral factor of Incessant Inundation.
INHABITATIONS
The sta inhabitations are an ode to Appalachia, comprising of passive design, self sustainability, and agriculture as a sense of being. They comprise of a lofted form to make the most of 200 sq ft, with a kitchenette, bed area, full bathroom, and desk area. The roof of the inhabitations is angled at 36 ° due south, fitted with solar panels for optimum performance. Systems of cross ventilation on the windward side as well as a louvered walkway to provide passive ventilation and solar radiation and daylighting to the inhabitation. Finally, the back porch is fitted with a 200 sq ft hydroponic garden, fueled by the lake itself and an area that allows for the inhabitant to be sustained throughout the year.
BUOYANT FOUNDATIONS
One of the key factors within INCESSANT INUNDATION is its buoyant foundation system. The site, Douglas Lake, is flooded every year, containing drastically di erent water levels. Instead of simply building a dock system above the max water line, I was inspired by the adaptive nature of the site. The ability for life to persist no matter the varying water levels was something I wanted to implement within my project, especially with the unknowns the future holds for the site. In order to accomplish this, I developed a buoyant foundation system comprised of recycled polymer air cavities and a deep pole foundation system used for alignment as the water levels rise.
HINTERLANDS
2nd year
TROIKA, INC.
DISSEMINATED AEGIS
SPRING 2022 | Lindsay Clark
TROIKA, INC.
Hinterlands is a look at feral domesticity and its response in the borderlands and territories of a community and their interactions through an assessment and application of certain allocations of The Twelve Archetypes, coined by psychoanalyst, Carl Jung.
Troika, Inc. is an distorted and authoritative look at domesticity and the Archetypes of the Creator, the Everyman, and the Innocent. Taking almost a dystopian approach, the three archetypes/inhabitants, each claim a role in the architecture, controlling the community of the site (other studio projects) behind closed doors. Each of the archetypes tends to lean towards a role of common literary tertiary tropes; such as the Judge, the Jury, and the Executioner, as well as ones like the Mother, the Maiden, and the Crone, which influence their roles of control over the community and the hierarchy of the architecture and design. The Creator, who takes the role of the planner of the community and decides who is able to continue within it, is placed at the top of the design, with a foreboding approach and view of the whole site and community, perched at the highest elevation of all the sites. The Everyman who is their own identity, yet is still influenced by the Creator, is placed in the middle and is in charge of surveillance on the site, having a direct view and perspective of everyone in the community. And finally the Innocent, who is easily manipulated and unaware of the atrocities being carried out, is placed at the lowest point in the tiered design, having minimal views and perspectives of what is actually going on within the architecture,and is being easily manipulated by those, who are literally, placed above them.
A quick spatial prosthesis project, the Disseminated Aegis is an expandable installment. Meant to aggrandize into a sense of protection for the inhabitant, the project looks at research with over-stimulation within di erent diagnosis and the need for a place of safety and decompression. It starts in the compressed state and is able to modified and expanded by the inhabitant in order to provide varying levels of privacy and encasement to provide an insulated space from auditory and visual stimulation, allowing one to recharge and be able to face these facets once again.
STUDIO BOD
2nd year
VITATED MODE
PREVERTED EPIDERMIS in collaboration with Amelia West
FALL 2021 | Cayce Anthony
VITIATED MODE
The Body Dock is a project that represents the vernacular nature of the site in a way that connects the architecture to the body, informed by the Perverted Epidermis (next page).
The Vitiated Mode is a response to the site of North Central street. The site itself formed a second topography through paranoia levels in relation to spatial conditions. The exposure and enclosure moments within the site formed a sense of distorted perspective throughout. Like the site itself, the Vitiated Mode distorts the views, circulation, and perception of those seeking to find or escape paranoia. It provides safety, anxiety, and hyper-gendered fixation. It contains perversion, order, and disorder, morphing its experience to a chosen inhabitant and their perceptions.
PERVERTED EPIDERMIS
The PERVERTED EPIDERMIS is a wearable architecture that implies the entire body and addresses the corruptibility of gender norms, turning the body inside out in an attempt to get the viewer to consider their natural state versus what they believe or are often times influenced to project. The PERVERTED EPIDERMIS highlights the plasticity of our facades and the spectrum we exist on.
