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Kelly May 110 Buddy Street, Santa Rosa Beach, FL 32459 901.828.6656

table of contents

Knoxville Fiber + Textile Lab 200 South Gay Street Miami Beach Social Club farmBREW

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Movement Magazine Spread Stationery System Sibling Chair

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Laurentian Library Morning Stroll Day at the Beach Arches

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Knoxville Fiber + Textile Lab 200 South Gay Street Miami Beach Social Club farmBREW

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Knoxville Fiber + Textile Lab [location] Knoxville, TN [instructor] Jennifer Akerman [term] Fall 2012, 3rd year graduate


The Site The Knoxville Fiber + Textile Lab is located on the corner of a prominent downtown corridor. As an entry point to the city, the project anchors the corner and provides an icon visible from the interstate.

The Design The two forms represent the separate functions of the building. Educational spaces reside in the solid form, and the floating box is on display. This lighter form houses the gallery component. Through this relationship, the building takes on a strong presence from both pedestrian and vehicular scales. The greenway is connected to the existing path by utilizing the railroad and creating a connection to the downtown.


[top left] downtown knoxville including greenways and site. [top right] form diagram. [bottom right] site with building and context.


Transitional Zone Once the visitor approaches the building, the zones define formal circulation. The transitional zone weaves them vertically through the gallery spaces with a final destination in an outdoor terrace overlooking downtown Knoxville. The dematerialization of this central zone further detaches the two forms from one another and creates a clear distinction between gallery and educational spaces.

[top right] typical floor plan. [bottom left] longitudinal section. [bottom right] south elevation.





The Program The Knoxville Fiber + Textile Lab was developed based on the premise of folk art traditions. The program translates this unique craft into a modern idea which develops future exploration into fiber and textile arts. The program is defined as a composite materials research lab. The three components that the school is structured around are: 1) material testing 2) manipulation of materials 3) creation with materials The program allows further exploration into materials and what they can do.


“ �

...materials themselves are the source ideas in crafts, in opposition to the modernist notion that ideas come first and dictate the choice of medium. -Warren Seelig

[bottom left] perspective view of gallery. [right] material + program images.


Structural System The structural system in the project is adapted from the Holdeck® modified waffle slab. This system was used as a way to integrate the systems into one and reveal the material of concrete throughout the building. The systems create a composite system which reflects the program of the project. The structural system acts as a frame for the other systems to be “woven” into. This idea coincides with the concept of the building and the idea about fiber and textile materials.


[left] Holdeck速 modified waffle slab system. [middle] detailed wall section. [right] Holdeck速 modified waffle slab image.


The Skin The skin of the building is a double facade consisting of curtain wall and SIPs with a perforated metal screen “draping� over. The screen consists of folds to mimic the flow of fabric. The screen varies in levels of porosity and in some spaces, it is subtracted to reveal public space. The system forms an integrated facade which creates a dynamic, moving exterior veil. The level of light is filtered but still allows for natural illumination within the school.


[left] final basswood model. [middle] facade screen diagram. [right] perspective view looking southeast.



200 South Gay Street [location] Knoxville, TN [instructor] Mark Schimmenti [term] Fall 2011, 2nd year graduate


The Site 200 South Gay Street is located between downtown and the old city of Knoxville. The link between the two neighborhoods has been disconnected by a heavy vehicular corridor. The project aims to reconnect the areas and continue the urban grid throughout the 200 block of Gay Street. The current conditions create a large void between the downtown core and the old city. By reconnecting the two areas, continuity is reinstated and the pedestrian path is restored.


[top left] site map. [top right] massing diagrams. [bottom right] perspective view looking northwest.


The Design The design of the project is based on two different masses. The heavier mass anchors the corner of the site and continues the scale of Gay Street. This form houses live-work units. The lighter form is setback from the street and houses apartments. Its towering presence acts as a beacon upon entering the city from many directions.

[top left] typical apartment floor plan. [top right] corner coffee shop. [bottom left] south elevation. [bottom right] east elevation.




Miami Beach Social Club [location] Miami Beach, FL [instructor] Mark Schimmenti [term] Spring 2012, 2nd year graduate


The Site The building addresses the context by responding to the angles of the street and surrounding buildings. A relationship is created with the Wolfsonian Museum by orienting the sequence of movement towards the building’s entry. Within the building, connections are created to respond to the inward focused functions of the building. All functions open onto the interior courtyard and create a private oasis for the club members within the urban grid. This inward focus is further enforced by the transparency within the project and the lack there of on the exterior.


[top left] aerial view of project. [top right] massing diagrams. [bottom right] section diagram of major spaces.


The Design Upon entering the building, one experiences a sense of compression which opens into a courtyard. The movement continues to the grand stair and up to the main hall. This sequence gives hierarchy to the main hall and gives the person an experience of each space.

[top right] first floor plan. [bottom left] south elevation. [bottom right] transverse section.





[top left] perspective view of library. [top right] second floor plan. [bottom left] east elevation. [bottom right] longitudinal section through courtyard.




farmBREW [location] Knoxville, TN [instructor] Jennifer Akerman [term] Spring 2013, 3rd year graduate


The Design The project FarmBREW tests opportunities for comparing seasonal variable growth of crops against a controlled and constant system. The importance of this system is derived from the research of what is seasonal versus what is controlled and constant and how to test these food production methods. Seasonal agriculture plays an important role not only as a local system, but also for its health benefits. The project is used as a vehicle to test what grows locally in Knoxville and inform the local community of these growing techniques. The comparison between the two systems can be used to test health benefits of constant crops versus a seasonal diet as well. Architecturally, the systems vary in many ways and the project seeks to test these methods through juxtaposing forms. The program of the project was developed as a brewery based on the ingredients needed for the brewing process.

The Site The site chosen for farmBREW was based on 3 conditions: •south facing: maximizing sunlight for exposed green space •proximity to bars/restaurants located within the old city


•activated streets during evening hours 36

[top left] site plan. [top right] massing diagrams. [bottom right] night view looking northeast


The Farm: Seasonal The seasonal farm is used as a tool to test seasonal growing techniques. The ingredients grown are used as additives for the beer product. The vertical panels include two systems for different plant types: •vine system: uses cylindrical tubes which provide water to plants and act as trellis for growing. •pocket system: consists of felt pockets used to grow upright plants.

The Farm: Constant The constant farm uses an aquaponics system to create a controlled environment. PRODUCEDIn BY AN AUTODESK STUDENT PRODUCT this system, the constant ingredients in the brewing process are grown.

Leve 68' -

Level 56' -

Level 44' -

Level 32' -

Level 20' -

Level 0' -

baseme -12' -





[top right] second floor plan. [bottom left] transverse section. [bottom right] longitudinal section.

PRODUCED BY AN AUTODESK STUDENT PRODUCT Level 6 68' - 0" Level 5 56' - 0" Level 4 44' - 0" Level 3 32' - 0" Level 2 20' - 0"

Level 1 0' - 0" basement -12' - 0"


The Farm: Seasonal



The Farm: Constant



The Program The program consists of both community and farm spaces and enforces an adjacency of the two in order to create a transparent system to be used as a learning tool for the local community.

Interstitial Spaces The interstitial spaces provide an opportunity to create important connections within the program. In these spaces, transparencies are created to allow visitors full visual access to the systems within the building.





[top right] first floor plan. [bottom left] view of beer garden. [bottom right] spatial connections diagram.





Movement Magazine Spread Stationery System Sibling Chair

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movement graphic design project focusing on balance and movement of forms [term] Fall 2011 [instructor] Professor Diane Fox

This project was an exercise in graphic design which challenged the student to create movement using stationery objects and working with tone. Then, the chosen design was mimicked by letter forms of similar qualities.


The Nelson-Atkins Museum of Art in Kansas City, Missouri, recently underwent a complete overhaul — and the glowing lenses of the new Bloch Building, designed by Steven Holl Architects, are just the tip of the iceberg. Over a decade ago, feeling that the museum had reached a development plateau, the museum leadership began working with Washington, D.C.-based Nancy L. Pressly and Associates to assess the institution’s future. The resulting strategic plan outlined a clear vision of expanded opportunities for museum interaction with the community and with the art, and part of that vision was expansion. “With input from staff and community members, we developed a qualitative outline of expectations and goals for all aspects of the museum,” recalls Dana Knapp, director of planning for the museum. “The quantitative architectural program followed, mapped out to support the strategic plan and be a means to an end. But then we saw an opportunity for the ‘means’ to be exciting as well.”

Nelson -Atkins Museum of Art by Leigh Christy

Enter Steven Holl Architects (SHA), the standout winner of the juried competition for a 165,000-square-foot (15,300-square-meter) museum addition, a new 450-car parking garage, and a rethought sculpture park. Local firm Berkebile Nelson Immenschuh McDowell Architects (BNIM) was then carefully chosen by the museum and SHA in a separate competition to be both the architect of record for the new Bloch Building and the design architect for the renovation of the original Nelson-Atkins Building. Contrast & Complement “The 1933 Nelson-Atkins Building embodies the traditional role of an art museum within society, an institution dedicated to collecting and preserving significant cultural artifacts,” states SHA Principal Architect Chris McVoy. “The charge given us to expand the original building offered the chance to fundamentally transform the museum toward a more open relationship with the city and develop a more subjective engagement with the art.” Museum Director and CEO Marc Wilson and the rest of the museum leadership couldn’t have agreed more. Knapp affirms that the selection committee chose SHA because they had stepped outside the owner’s expectations and presented something exciting. “Porosity in the buildings and on the site is not only an architectural concept, but also describes our attitude. One of the most important goals of the strategic plan was accessibility and open doors.” Consequently, there is no admission charge, and thus no need for a single entry point. Instead, visitors move freely between the sculpture park, the existing building, and the new space.

Triple height atrium space running through the Bloch Building.


In the midst of these connected realms, the Bloch Building lurks just below the surface, like a submarine with five protruding periscopes, or “lenses,” manipulated to capture and release light. Loosely linked galleries

comfortably descend along the new building’s 840-foot (256-meter) length, occasionally revealing glimpses of and access to the surrounding sculpture park. According to McVoy, the addition was thought of not as an object, but as “a new paradigm fusing landscape and architecture.” The grade was treated as a plane — extended over the galleries as a green roof and blended seamlessly into the landscape — with the glowing walls of the Bloch Building strategically forming exterior “rooms.” Meanwhile, the stone Nelson-Atkins Building underwent over $50 million of changes as well, including lighting and acoustical upgrades, extensive cleaning, and the insertion of a roomy Children’s Learning Center on the ground floor. “Our task was to acknowledge the existing building while being sympathetic to the addition,” says BNIM Principal Casey Cassias. “The highest compliment we could be paid for our work on the existing building would be to say that you couldn’t even tell we’d been there — except that it’s cleaner.” Dynamic Lighting Quickly becoming the project’s trademark, the custom glass assembly of the lenses in the Bloch Building was also McVoy’s most difficult technical challenge. “Lamberts of Germany introduced new production techniques to fabricate the first tempered plank channel glass with custom widths and a combination of stippled and sandblasted treatments used to diffuse the light to the interior and soften the reflection on the exterior. Testing began in Germany and ended in Florida.” The assembly description could fill a small book, but suffice it to say that the one-meter- (3.3-foot) thick walls include an outer layer of interlocking planks and an inner layer of low-iron, acid-etched glass separated by a pressurized air cavity that buffers the art environment from exterior conditions. “By the time light has passed through the multiple layers of diffusion and diffraction caused by the glass treatments,” describes McVoy, “it takes on an ethereal, mist-like quality, filling the volumes.” It was crucial not only to the design concept, but also to the artwork, to get this assembly right. Within the air cavity, computer-controlled shade screens allow variable daylighting to meet conservation criteria for the full range of art media, including black-out conditions for video, with automatic adjustments for seasonal light and temperature variations.

light could vary to “intensify and register the infinite variations of natural light through time within the space,” as McVoy says. Carefully sculpted Tshaped structural elements run vertically up to the datum, then casually peel away above it in order to foster more dynamic light patterns. These light scoops — thickened steel supports enveloped by paster — also “breathe” by housing the air distribution system within their girth. Local Controversy Funded privately, the $200 million expansion-andrenovation project required some faith from museum leadership to stand by several seemingly unorthodox choices inherent in SHA’s proposal. Interrupting the traditionally symmetrical museum grounds by expanding to the east, using structural channel glass as form, and letting natural light penetrate the galleries all contributed to a surge in editorials in the Kansas City Star. “During construction,” recalls McVoy, “the design sparked a debate within the community as to the ‘appropriateness’ of placing such an unconventional architecture next of the sacred icon of the city. The debate spanned the full range of praise and criticism, eliciting comments from people who normally wouldn’t give architecture the time of day. But as the building opened, there was a huge response of appreciation.”

Indeed, the project is now being lauded almost universally by architecture critics. But local community members have been slightly more reserved in their compliments. “I still look in the editorial column every day to see who is calling us ‘bozos’ now,” laments Cassias. Cassias should rest easy. The giant sculptural Shuttlecocks scattered around the museum grounds — Claus Oldenburg and Coosje van Bruggen’s 1994 statement about the perceived gap between elite art museums and the general public — underwent the same scrutiny. Yet now, just over a decade later, they have become beloved icons that SHA was encourage not to touch. Until such time as the Bloch Building may become similarly beloved by locals, owner and architect alike are appreciative of the dialogue that the building has sparked in Kansas City. As Cassias sees it, “Some people will never understand it. But this project has raised expectations and awareness of architecture in Kansas City, and is therefore the absolute best thing for architecture.” Incidentally, there does seem to be one aspect of the project that no one is complaining about: the way the art looks in the spaces.

“...the Bloch Building lurks just below the surface, like a submarine.” top left to bottom left: Nelson Atkins Museum of Art, building and water pool. The lenses, whose new lightweight architecture of glass contrasts with the stone Nelson-Atkins Building, are scattered about the landscape. Gallery space bleeding into the courtyard from the Bloch Building. Original museum juxtaposed the Bloch Builing at night.

“We made a conscious decision that Steven’s proposed use of natural light was compatible with our expectations, but that we could not rely on it to illuminate the art,” recalls Director/CEO Knapp. “We tried to extract all the positive aspects of the daylight that we could muster, while shielding harmful UV rays and using electric lights to light the art itself.” A datum was established 12 feet (3.7 meters) above the floor, below which light levels had to reach conservation criteria. Above the datum, however, the ambient

magazine spread graphic design project creating a double page magazine spread [term] Fall 2011 [professor] Professor Diane Fox

This assignment started by choosing an architect or architectural project and finding an article about it. Then, thumbnails were created to layout the article with images of the building in a way that reflected the ideas of the project. After many iterations, the project was finalized through Adobe InDesign software and created a double page magazine spread meant to catch the reader’s eye as he/she flipped through the magazine.


Kelly May intern architect 425 Casey Drive Rossville, TN 38066 901.828.6656

Mr. Barry Yoakum archimania 356 South Main Memphis, TN 38103

Mr. Barry Yoakum archimania intern architect 356 South Main 425 Casey Drive Memphis, TN 38103 Rossville, TN 38066 901.828.6656 October 23, 2011


Kelly May

University of Tennessee, College of Architecture and Design, Knoxville, TN Pursuing a Master of Architecture May 2013 University of Memphis, Department of Architecture, Memphis, TN BFA in Architecture Magna Cum Laude Honors Thesis with Architecture Honors and University Honors Fall 2007 - May 2011

Dear Mr. Yoakum,

Work Experience

I am a second year graduate student in the College of Architecture and Design at the University of Tennessee. I will be seeking a full time summer internship starting May 2012. I believe the skills that I have attained through education make me a great candidate for a position within your firm.

Stackable + Squiers Design Group, Santa Rosa Beach, FL Created Revit Model for construction drawings. Intern July 2011

My time as an intern at archimania from May 2010 until April 2011 was very influential on my career. I developed an appreciation for the professional environment at archimania, particularly the clientarchitect relationships and interactions. Archimania combines this relationship with innovative architecture and brings the client into the design world. Following this internship, I moved to Knoxville to pursue my Master’s degree in Architecture. I am hopeful that I can intern with you again and that this may lead to a full time position upon graduation.

Archimania, Memphis, TN Created AutoCad drawings for construction drawing set including door and window schedules, building sections, as-built plans, elevations, and floor plans. Created presentation drawings for award submissions using Adobe software. Intern May 2010 - April 2011


While working at archimania, I was very impressed by the collaborative nature of the firm as well as the innovative ideas produced. As a student in my undergraduate studies, I had the opportunity to learn from two of your archimaniacs, Tim Michael and Andrew Parks. They have influenced my career in many ways that are reflective of the entire firm. A return to archimania would not only provide me the opportunity to continue learning in such a stimulating, rich environment, but I also feel that I could provide many skills that I have acquired during my educational and professional experiences. I am enthusiastic about architecture and responsible when given an assignment.

Dean’s Scholarship August 2006-May 2010 Hope Scholarship August 2006-May 2011 Looney Ricks Kiss Endowed Scholarship August 2010-May 2011 Van Walton Memorial Scholarship August 2009-May 2011

Please find enclosed my resume and business card. If you have questions, feel free to contact me via telephone (901.828.6656) or e-mail ( I will call in the hope of setting up an appointment to show you my portfolio. Thank you and I look forward to meeting with you.



American Institute of Architecture Students Chapter President Fall 2009 – Spring 2010 Chapter Treasurer Fall 2008 – Spring 2009 Member Fall 2007 – Spring 2011

Kelly May

American Institute of Architects Board Member, AIAS Liaison Fall 2009 – Spring 2010 Construction Specifications Institute – Student Affiliate Member Fall 2007 – Spring 2009 Golden Key Honor Society Member Fall 2006 – Present Phi Kappa Phi Member Fall 2011-Present

Skills Revit, FormZ, AutoCad, Adobe Photoshop, Adobe InDesign, Microsoft Word, Model Making. References available upon request.

Kelly May


425 Casey Drive


Rossville, TN 38066




Kelly May

425 Casey Drive


Rossville, TN 38066




stationery system graphic design project creating a stationery system and logo [term] Fall 2011 [professor] Professor Diane Fox

The first part of the assignment was to design a logo to represent you as a designer. By using my initials, I came up with a form that integrates two parts to create a whole, much like an architectural project. The second part of the project challenged me to design a complete stationery system including resume, cover letter, envelope, and business card. By using the logo from the first part of the project, the stationery system represents me as a designer through a clean, simple design. 53


sibling chair furniture design project creating a chair from a kit of parts [term] Spring 2013 [professor] Professor Matt Culver

The project began with various pieces of the chair which were then joined, cut, or sanded to create individual designs. Each team consisted of two students in which the chairs all portray different design decisions, however maintain a similar visual language.


photography 56

Laurentian Library Morning Stroll Day at the Beach Arches

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Photography Exhibition In May 2012, I took a summer photography course in Italy. After traveling throughout the country and taking photos, we chose ten for a final portfolio. Of those ten, we were able to choose four to display in an exhibit in the gallery space at the University of Tennessee Art and Architecture building.



Laurentian Library [term] May 2012 [location] Florence, Italy



Morning Stroll [term] May 2012 [location] Siena, Italy



Day at the Beach [term] May 2012 [location] Monterosso al Mare, Italy



Arches [term] May 2012 [location] Pisa, Italy


Graduate Portfolio  

compilation of architecture projects from graduate school

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