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Grad Portfolio

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Compliation of graduate school projects
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Kelly May

table of contents

01

Knoxville Fiber + Textile Lab 04 200 South Gay Street 18

Miami Beach Social Club 24farmBREW 34 1

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Movement 48Magazine Spread 50Stationery System 52

Sibling Chair 54

architecture

design

photography

Laurentian Library 60Morning Stroll 62

Day at the Beach 64Arches 66

architecture

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Knoxville Fiber + Textile Lab 04 200 South Gay Street 18

Miami Beach Social Club 24farmBREW 34

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

Knoxville Fiber + Textile Lab

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

The DesignThe two forms represent the separate func-tions of the building. Educational spaces re-side in the solid form, and the floating box is on display. This lighter form houses the gal-lery 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.

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Transitional Zone

Once the visitor approaches the build-ing, the zones define formal circulation. The transitional zone weaves them ver-tically through the gallery spaces with a final destination in an outdoor terrace overlooking downtown Knoxville. The de-materialization 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.

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The Program

The Knoxville Fiber + Textile Lab was devel-oped based on the premise of folk art tra-ditions. 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 ma-terials 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.

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

“”

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

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-Warren Seelig

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Structural System

The structural system in the project is adapt-ed from the Holdeck® modified waffle slab. This system was used as a way to integrate the systems into one and reveal the mate-rial 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.

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

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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 poros-ity 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 fil-tered but still allows for natural illumination within the school.

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

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

200 South Gay Street

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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 through-out the 200 block of Gay Street. The current conditions create a large void between the downtown core and the old city. By recon-necting the two areas, continuity is reinstat-ed and the pedestrian path is restored.

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

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The Design

The design of the project is based on two different masses. The heavier mass an-chors 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.

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

Miami Beach Social Club

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The Site

The building addresses the context by re-sponding to the angles of the street and surrounding buildings. A relationship is cre-ated with the Wolfsonian Museum by ori-enting 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 court-yard and create a private oasis for the club members within the urban grid. This inward focus is further enforced by the transpar-ency 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.

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The Design

Upon entering the building, one experienc-es 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.

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

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

farmBREW

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PRODUCED BY AN AUTODESK STUDENT PRODUCT

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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 de-rived 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 ve-hicle to test what grows locally in Knoxville and inform the local community of these growing techniques. The comparison be-tween 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 juxta-posing forms. The program of the project was developed as a brewery based on the ingredients needed for the brewing process.

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

•activated streets during evening hours

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

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Level 10' - 0"

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basement-12' - 0"

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PRODUCED BY AN AUTODESK STUDENT PRODUCT

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The Farm: SeasonalThe seasonal farm is used as a tool to test seasonal growing techniques. The ingre-dients 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: ConstantThe constant farm uses an aquaponics sys-tem to create a controlled environment. In this system, the constant ingredients in the brewing process are grown.

Level 10' - 0"

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

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PRODUCED BY AN AUTODESK STUDENT PRODUCT

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The Farm: Seasonal

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The Farm: Constant

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

Interstitial SpacesThe interstitial spaces provide an opportu-nity to create important connections within the program. In these spaces, transparen-cies 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.

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design

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Movement 48Magazine Spread 50Stationery System 52

Sibling Chair 54

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graphic design project focusing on bal-ance and movement of forms

[term] Fall 2011[instructor] Professor Diane Fox

movement

a b c d e f g h i j k l m n o p q r s t u v w x y z , ; :

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, Mis-souri, 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 leader-ship began working with Washington, D.C.-based Nan-cy L. Pressly and Associates to assess the institution’s future. The resulting strategic plan outlined a clear vi-sion 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 de-veloped 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.”

Enter Steven Holl Architects (SHA), the standout win-ner 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 ar-chitect for the renovation of the original Nelson-Atkins Building.

Contrast & Complement

“The 1933 Nelson-Atkins Building embodies the tradi-tional role of an art museum within society, an institu-tion 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 expec-tations 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 acces-sibility 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.

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

Nelson -AtkinsMuseum of Art

Triple height atrium space running through the Bloch Building.

by Leigh Christy

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graphic design project creating a double page magazine spread

[term] Fall 2011[professor] Professor Diane Fox

magazine spread

This assignment started by choosing an ar-chitect 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 proj-ect was finalized through Adobe InDesign software and created a double page maga-zine spread meant to catch the reader’s eye as he/she flipped through the magazine.

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 blend-ed seamlessly into the landscape — with the glowing walls of the Bloch Building strategically forming exterior “rooms.”

Meanwhile, the stone Nelson-Atkins Building under-went 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 addi-tion,” says BNIM Principal Casey Cassias. “The highest compliment we could be paid for our work on the exist-ing 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. “Lam-berts of Germany introduced new production tech-niques 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. Test-ing 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 in-ner 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 vol-umes.”

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 vari-able 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.

“We made a conscious decision that Steven’s proposed use of natural light was compatible with our expecta-tions, 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 mus-ter, 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 conserva-tion criteria. Above the datum, however, the ambient

light could vary to “intensify and register the infi-nite variations of natural light through time within the space,” as McVoy says. Carefully sculpted T-shaped 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 distri-bution system within their girth.

Local Controversy

Funded privately, the $200 million expansion-and-renovation project required some faith from mu-seum 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 structur-al 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 unconven-tional 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 com-munity members have been slightly more re-served in their compliments. “I still look in the edi-torial 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 be-loved icons that SHA was encourage not to touch.

Until such time as the Bloch Building may be-come similarly beloved by locals, owner and ar-chitect alike are appreciative of the dialogue that the building has sparked in Kansas City. As Cas-sias 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.

top left to bottom left: Nelson Atkins Museum of Art, build-

ing 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.

“...the Bloch Building lurks just below the surface, like a submarine.”

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Mr. Barry Yoakumarchimania356 South MainMemphis, TN 38103

Kelly May 425 Casey Drive | Rossville, TN 38066 | 901.828.6656 | [email protected]

Education

University of Tennessee, College of Architecture and Design, Knoxville, TNPursuing a Master of ArchitectureMay 2013

University of Memphis, Department of Architecture, Memphis, TNBFA in Architecture Magna Cum LaudeHonors Thesis with Architecture Honors and University HonorsFall 2007 - May 2011

Work Experience

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

Archimania, Memphis, TNCreated 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

Honors

Dean’s ScholarshipAugust 2006-May 2010

Hope ScholarshipAugust 2006-May 2011

Looney Ricks Kiss Endowed ScholarshipAugust 2010-May 2011

Van Walton Memorial ScholarshipAugust 2009-May 2011

Organizations

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

American Institute of ArchitectsBoard Member, AIAS Liaison Fall 2009 – Spring 2010

Construction Specifications Institute – Student AffiliateMember Fall 2007 – Spring 2009

Golden Key Honor SocietyMember Fall 2006 – Present

Phi Kappa PhiMember Fall 2011-Present

Skills

Revit, FormZ, AutoCad, Adobe Photoshop, Adobe InDesign, Microsoft Word, Model Making.

References available upon request.

Mr. Barry Yoakumarchimania356 South MainMemphis, TN 38103

October 23, 2011

Dear Mr. Yoakum,

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.

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 client-architect relationships and interactions. Archimania combines this relationship with innovative ar-chitecture 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.

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 pro-vide 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 experi-ences. I am enthusiastic about architecture and responsible when given an assignment.

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 ([email protected]). I will call in the hope of setting up an appoint-ment to show you my portfolio. Thank you and I look forward to meeting with you.

Sincerely,

Kelly May

Kelly May 425 Casey Drive | Rossville, TN 38066 | 901.828.6656 | [email protected]

Kelly Mayintern architect425 Casey DriveRossville, TN [email protected]

Kelly Mayintern architect425 Casey DriveRossville, TN [email protected]

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graphic design project creating a statio-nery system and logo

[term] Fall 2011[professor] Professor Diane Fox

stationery system

The first part of the assignment was to de-sign a logo to represent you as a design-er. 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 sys-tem represents me as a designer through a clean, simple design.

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furniture design project creating a chair from a kit of parts

[term] Spring 2013[professor] Professor Matt Culver

sibling chair

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

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123Laurentian Library 60

Morning Stroll 62Day at the Beach 64

Arches 66

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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.

Photography Exhibition

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[term] May 2012[location] Florence, Italy

Laurentian Library

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[term] May 2012[location] Siena, Italy

Morning Stroll

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[term] May 2012[location] Monterosso al Mare, Italy

Day at the Beach

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[term] May 2012[location] Pisa, Italy

Arches


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