Isabel Brady | Portfolio | 2023

ISABEL BRADY

isabelevansbrady@gmail.com | (865) 414-8461 | B.Arch University of Tennessee

CONTENT 01 THRESHOLD INTO CADES COVE 02

4TH YEAR INTEGRATIONS STUDIO | PROF HANSJÖRG GÖRITZ

02 SUPER RESILIENT:

HLAULEKA SCHOOL MOZAMBIQUE

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3RD YEAR STUDIO | PROF MAGED GUERGUIS

03 COMMON HOUSE 20

5TH YEAR STUDIO | PROF TED SHELTON

04 LOINEN: A PARASITIC COMMUNITY 28

FINLAND | PROF MARK STANLEY | PROF MICAH RUTENBERG

05 RED SUMMER OF 1919 MEMORIAL 36

3RD YEAR STUDIO | PROF GEORGE DODDS

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COMMON HOUSE 5TH YEAR STUDIO | PROF TED SHELTON The focus of this fifth year studio was to determine what students value in their personal practice of architecture as they begin the transition from school to working. An initial project was laid out which involved a small installation in the Art and Architecture Building. Through this project students were to analyze money, labor, time, and materials and their emodied ethics in architecture in a small scale project to begin to understand what they value in a larger scale projects and firms. The second half of the project was a self led investigation into the topics each individual found most appealing or progressive in their design process.

In my practice I identified an interest in material and money. These studies took route through a design which aimed to find attainable ways to make high end design affordable in low-income neighborhoods of Knoxville. I created three different forms of the Common House, a public home which provides typical suburban amenities which many low-income families are not able to supply to their families, such as sewing machines, computers, lawn equipment, power tools, video game rooms, etc.

Three designs and locations of the Common House were used to determine the pros and cons of building new versus rennovating, and the location of the home. All while exploring creative ways to deploy materials that can be found at local hardware stores a new ways.

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COMMON HOUSE

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COMMON HOUSE

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LOINEN: A PARASITIC COMMUNITY FINLAND | PROF MARK STANLEY | PROF MICAH RUTENBERG An investigation into the commensal nature of the Loinen people in the 1800s Finnish landscape and their embodiment of characteristics embedded in the social structures of the people. Loinen, as a social parasite that lives off of the benevolence of others, begins to find home in a modernized world as a group of individuals leeching of the benevolent legal ambiguity. “Every Man’s Right,” at this end, represents a way for a parasitic people to live in the corners of others, making appearances in what is left: benign facades, hidden landscapes, back alleys, and the underground. They act as embellished versions of the Finnish people, with an outcome that is independent and isolationalist.

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RED SUMMER OF 1919 MEMORIAL 3RD YEAR STUDIO | PROF GEORGE DODDS Beginning in May of 1919 a tragedy swept across the United States, known collectively as “The Red Summer”.

Black Americans were lynched, hanged, burned, and otherwise tortured. This project is in Charleston, South Carolina is the site of the first victim of the Red Summer.

The site of the memorial is the home of the victim, Isaiah Doctor, after he had been pursued by a mob of white sailors down Market Street and then eventually shot in his backyard. Five other murders occurred in the same night.

The memorial seeks to honor the victims of this tragedy, through the creation of a public community space for minority groups in Charleston. The memorial consists of glass ghost houses of the original street block of 1919, community meetings space, a lecture hall, and a memorial on the top floor to honor the victims of the Charleston racial riots. This is a poetic piece of architecture which explores void in interior space and how a physical separation can modify and influence the experience in a larger context beyond the present time. Light is used to provide variation in the sectional quality of light by creating emotional spaces with sharp shadows lines and diffused zones for casual use. The central goal of this project is to let the past of Charleston be a lived-in experience which isn’t forgotten, but also is not stagnant; but motivates a positive change for the local community and visitors.

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ENTRY AND STREET CONDITION In studying the Sanborn Fire Insurance Maps of 1884, several strategies were explored in finding an effective way to memorialize the street, which is existed in 1919, honor Isaiah Doctor’s residence and the place where he was killed and provide entry into the site. I began by diagraming all the existing buildings in 1884, then from there looking at the street condition of those buildings and the solid void that was created along the street facade.

In these studies, I also decided to turn the main building ninety degrees so that it was parallel to Archdale Street. This allows the purity of the original building forms to be preserved and a clearer entry sequence.

The original building forms are going to be ghost buildings which are made of glass and not occupiable. They provide a visualization of the street condition of the 1919 site and a memory of an event which can no longer be entered but can be felt.

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RED SUMMER

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INITIAL DESIGN SKETCHES

SKETCHING IN SECTION

The intention of the initial designs was to preserve the memory of the lives lost through reflection of the past and a present motivation to find justice. I began by defining the hall of remembrance space as a moment of suspension. Occupants would be physically suspended on a catwalk spanning the length of the building, experientially suspended through a change of pace, and emotionally suspended. In this space, the viewer could walk down the catwalk looking at the faces of victims at eye level, an unavoidable encounter with the past, but down below is the scurry of movement as the public is using the main level terminal. Voices, occupancy, conversation, and movement, all suspended for a moment as a person takes in the past of the Red Summer of 1919.

The first sketches of the form of the building were done in section to find a way to create space with sectional variance and allow for dramatic experiences with light. In the sketch to right, three light experiences are being defined which further the experience of suspension within the form.

Initial sketches also explore the interplay of public and private and trying to define a street condition which promotes the constant exchange of people, but also provides a defined quality of space within the site.

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At the top level, on the hall of remembrance, the occupant is nearly blinded as the light would be illuminating the faces of the victims on the left wall. The occupant would be caught in the contrast of light and dark as walk down the hall.

Below the walkway is the area of void. It is devoid of light, sound, movement, and occupancy, magnifying the distance which exists between the present reality and the tragic history of the Red Summer of 1919 and racial injustice.

The lower levels are filled with diffuse light, as it is a place which promotes difficult conversations, social exchanges between all people, and racial injustice educational programs.

RED SUMMER

MODIFYING THE FORM

DIAGRAMING DIFFERENT LIGHT EXPERIENCES

After spending time exploring how a sidesaddle would interact with light in the space and provide additional space for programmatic features, the original section drawing was modified. Including a sidesaddle below grade provided opportunities to explore how skylights could be used to bring light into the lower spaces and provide a connection to the original 1884 building shells. With the introduction of the sidesaddle, occupants can also move through the building in multiple directions, no longer being limited to west and east. This allows for more programmable space, while perserving the power of the cathedral corridor.

The first exploration has a series of openings along the hall of remembrance and a grid of skylights on the ground level to illuminate the sidesaddle space underground.

The second exploration extends the glass ghost buildings onto the ground plane and up through the hall of remembrance, creating a connection to the past with the new building.

In the final design, the ideas were combined by having the extension of the second exploration used for the skylights and the series of openings in the first exploration used in the hall of remembrance.

To perserve the purity of the form of the building, the final design has the stairs exist on the interior on one end of the building, independent from structure like a piece of furniture, where it can be visually removed as it is made out of different material and with an experiential quality. The stair would be hard and porous extended throughout the space on one end and hidden by a solid wall on the opposite end.

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