Jordan Nalleyjnalley2@utk.edu • (502) 759-6471

Wolfsonian Faculty Club

Downtown Knoxville Residences

Knoxville Academy of Glass + Ceramics 6

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The River Cities Project

The Urban Kitchen 56

knoxville academy of glass + ceramics

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Downtown Knoxville, TN is a vibrant place that is expanding its artistic culture. Through my integrations studio, I was able to design a glass and ceramic center that addressed the main axis of Gay Street and Jackson Avenue. The site for this center resides at the base of the Gay Street viaduct near the warehouse district. The existing space is a surface parking lot adjacent to railroad tracks and other potential developments. The Gay Street access allows for users to be drawn into the site

through cultural events such as First Friday and Second Saturday. The site is essential to the continuity of the Gay Street lifestyle. While the site is not frequently used, it still reflects potential due to its current surroundings and accessibility to other downtown amenities. The prospect of the site itself initiates a con-tinuation of a prominent street to the existing “dead-end” of the downtown area. This studio focused on developing program to generate popularity and interest within the site.

knoxville, tnfall 2012instructor greg spaw

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top: Site and massing diagrams.left: Gay Street viaduct in relation to the site.right: Railroad tracks from north of the site.

PROCESS

glass blowing

ceramics

present

The concept for the overall design developed from the relationship between the two processes of glass blowing and ceramics. Through an extensive analysis, a relationship was drawn between the design phase of each process. This simplistic investigation enabled the program to engage with the visitor both directly and indirectly. The conceptual

relationship remained the driving force within the project and is evident through plan, section, and analysis of the interior circulation. The conceptual basis of the diagram below indicates the emphasis of the glass blowing and ceramics process. This design phase is integral in all aspects of this project.

right: Exterior render of Gay Street axis.

DESIG

NSC

ULPT

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The design of this center was developed through multiple investigations of diagram-matic schemes and concepts. The circulation of the building is based off of the original rela-tionship of the two processes. The relationship is clear through the meshing of the two indi-vidual circulatory paths into one.

left: Programs analysis.below: Circulation diagrams.right: Interior circulation perspective.

Viaduct Levelpedestrian entrancecafelobbymuseum retail

Longitudinal Section

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The facade system completes the design and the continuation of the expression of both processes. Through the combination of a ceramic frit with infused glass, I was able to create a facade that related to the initial processes. As seen below, the facade takes on a triangular shape that is extruded in the z-axis in order to address solar shading. The

integrated facade addresses all four sides of the site through the orientation of each panel. The east and west facades have panels that orient up and down while the north and south facades have a linear panel. This exterior sun shade allows for proper shading in all of the program areas while giving the visitor a unique experience both on the interior and exterior.

left: Interior studio.

below: Facade analysis.

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Above: Physical model.Right: Exterior night perspective.

wolfsonian faculty club Miami Beach, FLSpring 2011

Professor Mark Schimmenti

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Based in South Beach Miami, the Wolfsonian Museum is home to art collections of the Industrial Revolution and WWII. The museum is located at the corner of Washington Avenue and 10th Street and the site for the faculty club is directly across the street in what is now an existing surface lot. The site is located on a twelve degree axis in relation to the ocean. It has predominate views that occur from this juxtaposition. The site will also be the end

development on this Washington Avenue city block. Flanked by historical hotels and south beach culture, the Wolfsonian Faculty Lounge establishes an identity for the existing museum. The easy access to the site allows for the Wolfsonian faculty to have a sleek lounge area that is in close proximity to their workspace. The exterior of the proposed design reflects the simplistic nature of the museum itself while supporting the aspects of South Beach Miami.

miami beach, flspring 2012instructor mark schimmenti

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12°

Studio

Studio

Studio

Gallery + Lounge

Library

Grand Hall

Main Entrance

Restaurant + Bar

Rooftop Terrace

Kitchen

Mechanical

Public

Semi-Public

Private

Mechanical/Circulation

left top: Site plan.above: Site analysis.left: Site images.

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12°

Studio

Studio

Studio

Gym +Recreation

Library

Grand Hall

Main Entrance

Restaurant + Bar

Rooftop Terrace

Kitchen

Mechanical

Public

Semi-Public

Private

Mechanical/Circulation

The Wolfsonian Faculty Lounge design was developed through an analysis of program in relation to site. The diagram below displays the essential relationships between the desired program. These relationships created the formal design and the distribution of public space. The form is separated through the site into residential and the lounge components.

below: Program diagram.right: Exterior perspective.

UP

DN

UP

Ground Levelvisitor entranceresident entrancerestaurant/barkitchen

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DN

Level 2residencevisitor libraryreception hallsmall kitchenexterior balcony

Level 3residencerooftop terracefaculty loungesmall kitchen

Longitudinal Section

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East Elevation

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These vignettes show the experiential quality that this faculty lounge exhibits. The rooftop terrace allows for faculty to relax and enjoy the predominant views. The lateral con-nection between the residential units and the lounge allow for residents to have exterior spaces. These interstitial space resides along the twelve degree angel that splits the two programs. This allows for a unique view towards the ocean. The interior assembly space can serve as a banquet hall.

left: Exterior perspective.above: Rooftop terrace.

middle: Resident access.bottom: Assembly space.

the river cities project

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Evansville, IN

Owensboro, KY

Paducah, KY

Newport, KY

Louisville, KY

Cincinnatti, OH

Jeffersonville, INNew Albany, IN

1 1

art gallery theatre / performance marina

Henderson, KY

waterfront park

henderson, kyfall 2010instructor martin summers

The Henderson Project is an on-going design process that relates to a larger river cities project. The site was an active granary site in Henderson, KY that was located in the middle of the commercial and residential grid of the city. The studio’s purpose was to research the history of Henderson and determine what type of program and architectural structure would help not only the economy but the lifestyle of the Henderson community. The city needed an attractive program that would encourage the

citizens to stay in Henderson and not leave the city after college. The proposal that my partner and I developed was based on the idea of art and infusing the granary site with subliminal art exhibitions as well as noticeable exhibitions. We combined this idea with a landscape ma-nipulation in order to architecturally form the landscape to accommodate for different art installations. The urban scale of the project will enhance the existing greenway and provide Henderson with an exciting destination.

Proposed Granary Site

Existing RiverwalkProposed RiverwalkProposed Bike Route

Downtown Henderson

Lower

Upper

Aud

ubon

Mill

Par

k

Suns

etPar

k

Atk

inso

nPar

k

Aud

ubon

Mill

Par

k

Suns

etPar

k

Atk

inso

nPar

k

above: Network analysis.right: Henderson, KY site plan.

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ART

ENTERTAINMENT

RECREATION

Gallery

Studios/Classrooms

Retail

Restaurant

Floating Stage

Arcade

Bowling Alley

Marina

Riverwalk

Bike Route

Display Surfaces, RBA Gallery, Flexible Event Space, Storage

Drafting, Easels, Large Working Space, Storage, Natural Light

Artistic Boutiques, Local and Non-Local Owners, Storage

Multiple opportunities for different mediums of Art: Sculpture Park, Pockets for Visual Art, Seasonal Installations, etc.

Interior/Exterior Seating, Kitchen, Outdoor Patio, Bathrooms

Performance Space, Optimal Acoustics, Seating,Technical Room

Electronic Games, Billards, Snack Bar, Individual Party Rooms

8 Bowling Lanes, Front Desk, Locker Rooms

Boat Docks, Concessions, Patio, Fueling Station, Mechanic

Exterior Walkway, Land Art, Benches, Ligthing,Pockets for Installations

Exterior Bike Path, Optimal Views, Land Art, Distance Markers

LIF

ES

TY

LE

Art Installations

su

mm

er

spring

fall winter

marina

bike route

floating stage

riverwalk

restaurant

art installatio

ns

art reta

il

studio

s

galle

ry

entertainm

ent c

en

ter

ART

ENTERTAINMENT

RECREATION

Gallery

Studios/Classrooms

Retail

Restaurant

Floating Stage

Arcade

Bowling Alley

Marina

Riverwalk

Bike Route

Display Surfaces, RBA Gallery, Flexible Event Space, Storage

Drafting, Easels, Large Working Space, Storage, Natural Light

Artistic Boutiques, Local and Non-Local Owners, Storage

Multiple opportunities for different mediums of Art: Sculpture Park, Pockets for Visual Art, Seasonal Installations, etc.

Interior/Exterior Seating, Kitchen, Outdoor Patio, Bathrooms

Performance Space, Optimal Acoustics, Seating,Technical Room

Electronic Games, Billards, Snack Bar, Individual Party Rooms

8 Bowling Lanes, Front Desk, Locker Rooms

Boat Docks, Concessions, Patio, Fueling Station, Mechanic

Exterior Walkway, Land Art, Benches, Ligthing,Pockets for Installations

Exterior Bike Path, Optimal Views, Land Art, Distance Markers

LIF

ES

TY

LE

Art Installations

su

mm

er

spring

fall winter

marina

bike route

floating stage

riverwalk

restaurant

art installatio

ns

art reta

il

studio

s

galle

ry

entertainm

ent c

en

ter

The main focus of the program of this des-tination site was developed through extensive research of surrounding cities along the Ohio River. From this research, a program was developed further through the adaptation of seasonality. This allows for the site to be used year round and remain a destination for all users. Three main programs were initiated through this approach: art, entertainment, and recreation. These three areas were then expressed through further usage detail.

below: Program diagram.left: Seasonal analysisright: Site plan.

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Longitudinal Section

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North West Elevation

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Through formation of the landscape, we were able to develop a network that connected the existing riverwalk of Henderson to the site, both above and below ground. This network was also formed in order to exhibit art as well as a voluntary and involuntary form of circula-tion. The art installation park would be benefi-cial to attracting all types of user groups and would be able to create a unique experience for the community and the region. above: Section perspective

of network.left: Spatial vignette.right: Exterior perspective.

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The physical model that was created exhibits the integration of the program within a massing landscape. My partner and I milled foam in order to reflect our aspirations of the underground network. In addition to this form work, we were able to 3-d print our buildings and grain silos. The model was painted white and plexi-glass was applied to the river for a realistic finish.

downtown knoxville residences

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knoxville, tnfall 2011instructor mark schimmenti

The main objective of this project is to connect the main areas of downtown Knoxville, TN. Currently, there is a disconnect on along summit Hill. The existing condition, a surface parking lot, does not provide a direct axis from South Gay Street to North Gay Street. This dis-connect does not entice visitors to cross the Summit Hill intersection which causes a break in the flow of social engagement along Gay Street. This design proposal addresses this conflict by utilizing the north corner of Summit

and Gay Street by implementing a mutli-use building. This program draws people to the site and activates a major corner or the city. This design takes advantage of the natural slope that occurs within Knoxville. This slope allows for a gradual form to evolve in relation to the existing site. The ending form reveals spaces for public gathering and commercial usage as well as private residential units that utilize the downtown Knoxville skyline as their scenery.

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left top: Downtown Knoxville.above: Site plan.left: Site images.

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The residential component of the 200 S. Gay Street building relies on the spatial implications of public vs. private spaces. The form derives from the needs of both spaces by providing a shift within each element. This enables each space to take advantage of optimal views and natural sunlight. The private spaces protrude outward while the public spaces shift inward. This shift is evident throughout the exterior of the building and also included within the facade treatment.

below: Formal development.right: Exterior perspective.

UP

UP

UP

UP

UP

UP

DN

UP

Level 1retail spacesparking levelgay st. ramp

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DN

UP

Level 3 - 72 bedroom units1 bedroom units

Gay Street Elevation

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Longitudinal Section

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The facade reveals the formal exploration of public and private spaces. The private spaces are expressed through frosted spandrels that block inward views but allow for views from the resident within. The public spaces of the residential units have a transparent curtain wall that allows for natural light and views to the exterior skyline.

left: Exterior perspective of residential units.right top: Private spaces.right bottom: Public spaces.

the urban kitchen

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The goal of this project is to unify sus-tainable agriculture within the context of Knoxville’s Old City through its connections to local restaurants. This project will provide an urban farm that caters to the ingredients that these restaurants need in order to fulfill their menus The site is located along the Jackson Avenue corridor. This corridor reflects an in-dustrial history that holds a strong presence throughout the existing structures. The site that I have chose is located along the

south side of Jackson near the James White Parkway. The existing space is an open surface lot between Barleys, a local restaurant, and a smaller antique shop. I chose this site based on its accessibility to the available resources. The first is its proximity to the local restau-rants. The second is its position for adequate amounts of solar exposure. The last resource that determine the site was 1st Creek and the opportunities that the creek inherently obtains in relation to sustainable agriculture.

knoxville, tnspring 2013instructor jennifer akerman

well-being

economy environment

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top: Site and massing diagram.left: Jackson Avenue view.right: View from James White Pkwy.

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The project will focus on the application of sustainable agriculture within the Urban Kitchen. Sustainable agriculture reflects the profess in which the quality of growth and culti-vation support the environment, economy, and the well-being of the community. This process focuses on integral methods that promote accessible resources and the continuation

of their use within a closed-loop system. The blurring of agriculture and the urban context will be supported by an architectural design that relates to the basic principles of sustain-able practices. Strong consideration of light and water will be representative within the proposed design in order to maximize the products of the urban farm.

below: Program distribution.right: Jackson Avenue perspective.

Farm Community Center Residences Spine Circulation

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The spine of the project resulted in a circu-lation route for both the on-site food and pe-destrian traffic. The form is represented within an algae bioreactor that is revealed in public spaces. This bioreactor is fueled by the waste water that is routed from first creek. The spine gives the users a unique experience as they pass through the community center.

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The farm distribution is determined based on an analysis of what ingredients each local restaurant needs. These crops then get distrib-uted based on the solar exposure needed for growth. The grow space is two-fold: one being the actual farm producing crops and the other one being the algae bioreactor. These two systems work together in order to generate a closed-loop system.

Level 1pedestrian entrance

cafe/bar

cooking classrooms

spine circulation

algae harvest

administration

residential entrance

greenway

community garden

bioswale

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Level 3restaurant

restaurant kitchen

restaurant grow space

community center classrooms

community center grow space

residential units

farm grow space

spine circulation

exterior balcony

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Transverse Section

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Longitudinal Section

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The physical model represents the distinct material qualities of the design. The algae bio-reactor is portrayed through the green spaces while the community center and residences are adjacent to the bioreactor. The community center and the residences are represented through metal panel facades that create spatial light diffusers.

left: View from bioswale.bottom: Physical model.

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Chair Design

Materials + Methods

Architectural Magazine Spread

86Ponte Vecchio Drawing

chair design

The design for this chair was initiated within my Construction Explorations class. This class enabled me to explore design at a 1 : 1 scale. Through research and personal comfort, I was able to develop this design that encompassed that idea of curvilinear comfort. Both the seat and back rest are curved in order to adjust to the human body. This form allows for optimal comfort and the wood and steel materials portray a sleek piece of furniture.

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left bottom: Plan.below: Section + elevation.right: Images.

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architectural magazine spread

Originally slated to open this spring, the museum addition, named the Quadracci Pavilion after longtime MAM supporters and prominent col-lectors Betty and Harry Quadracci, will now be unveiled in stages. The temporary exhibition galleries, housed in a long low-rise structure that links the reception hall to the existing museum, will begin holding shows next month. But the reception hall itself won’t be ready for the crowds until fall. And the roof—the most technologically complex part of the project—probably won’t be opera-tional until 2002. Calatrava seems a radical choice for socially conservative Milwau-kee—even more so when you consider that the MAM addition will be his first completed project in the United States. Back in 1994, when the

Santiago Calatrava’s masterly addition to the Milwaukee Art Museum (MAM) has been

seven years in the making. It is pre-cisely the daring lakefront building the city always knew it needed but was afraid to ask for. The structure’s centerpiece, the 90-foot-high glass-and-steel entrance hall, culminates in a movable brise-soleil (what Mil-waukeeans might call a sunroof ). Light comes into the lobby through large louvers that can be raised or lowered as if they were wings. Noth-ing like it has ever been tried before. Not surprisingly, Calatrava’s con-struction schedule has suffered from the scope of his ambitions.

Santiago Calatrava’sMilwaukee Museum of rt

Takes Flight

V“Light comes into the lobby through large louvers

that can be raised or lowered as if they werewings

Exterior View from surrounding landscape

Article Writen By: Ted Loos

”

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museum tapped the Spanish archi-tect for the expansion, he was little known outside Europe. But he was already a cult figure among architects, renowned for his ability to make con-crete, steel, and glass do things they’re not supposed to do—like move. In fact, his training as an engineer gives his work uncanny structural flex-ibility. “He’s a great talent,” says New York—based architect Richard Meier, designer of the Getty Center in Los Angeles, who came to admire Cala-trava after seeing one of the striking geometric bridges that have become his trademark. So far, Calatrava’s most famous project may be the City of Arts and Sciences in his hometown of Valencia, Spain. Completed Novem-ber 2000, the science museum has the white exoskeleton, unusual angles, and repeated ribbing that characterize

the cities inspire him more than the similarities. “The picturesque wand rather intimate character of Zürich’s lake cannot prepare one for the unbounded, windswept grandeur of Lake Michigan. You can have the most dramatic changes in the sky and clouds,” he says. For Calatrava, this limitlessness is part of what makes Milwaukee “more energetic.” But this year, some of the credit certainly goes to his own grand statement of glass, steel, and concrete—the Old World energizing the New. The site of the Quadracci Pavil-lion posed one significant challenge. For years MAM was housed in a 1957 structure by Finnish master Eero Saarinen (local architect David Kahler had added a simple extension in 1975). Saarinen’s work, a restrained box on stilts, is “an extremely strong,

many of his structures. The planetar-ium, whose metal sides can be raised and lowered, resembles a giant eyeball.Happily, Calatrava didn’t pull any punches with his plans for Milwaukee. As MAM director Russell Bowman puts it, “We wanted a dramatic design. We got it in spades.” From the out-side, the building resembles a bird in flight. It will be connected to the city’s downtown by—what else?—a gleaming white bridge suspended from cables. The project, known around town as “the Calatrava,” has been her-alded as Milwaukee’s answer to the Sydney Opera House. Calatrava has returned the affection. Though both Milwaukee and his adopted home-town, Zürich, are set on lakes and have a Germanic flavor, Calatrava claims that the differences between

serious building,” says Calatrava, who hoped to complement, not compete with, the existing structure. He inte-grated the pavilion with the other buildings by basing the “masts” of the bridge on one of Saarinen’s “stilts.” “One of the legs is inclined,” he tells me, pointing. “Do you see it?”

In the end, Calatrava’s design packs a visual punch without a lot of mass. And that suits Milwaukeeans just fine. The tallest building in town, the Firstar Center, is only 42 stories. “The scale of the museum is very appropri-ate,” Calatrava says. “The approach is like Frank Lloyd Wright’s approach

wings

bird in flight

“We wanted a dramatic design. We got it in spades. From the outside , the building resembles a

to a house. None of his buildings are huge.” Indeed, while everyone else was putting up skyscrapers, it was Wright, a Wisconsin native, who showed that hugging the horizon could also produce architectural mas-terpieces.

The large louvers create the brise soleil that is operable to adjust for natural lighting. The brise soleil can expand from completely enclosed to an extended “wing” surface.

Interior view from pavilion

Exterior view of glass facade and pavilion

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materials + methods

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Through my Materials + Methods class, my fellow colleagues and I were given a case study building to research and explore. Our personal study was based on the Vocational Training Centre in Baden, Switzerland. The objective

of this exploration was to develop an environ-mental analysis of the current building and to apply this analysis to designing a new struc-ture or facade for the building. My group and I focused on the solar analysis of the site and

the buffer zones of the current plan in order to design our new facade. In the end, we de-signed metal perforated panels that allowed sunlight during the proper times in order to address heat loss and gain.

Developed Facade Panels

Plan

Original Columns

Metal Perforated Panels

Floor Slab

Transparent Glazing

Facade Rendering

Section

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N

S

EW

N

S

EW

N

S

EW

9:00am

12:00pm3:00pm

9:00am

12:00pm3:00pm

9:00am

12:00pm3:00pm

60°

30°

40°

20°

15°

5°

Lighting Analysis with Enhanced Facade

Solar Analysis

summer solstice spring/fall equinox winter solstice

summer solstice spring/fall equinox winter solstice

ponte vecchio drawing

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In the summer of 2010, I was given the op-portunity to study abroad in Florence, Italy through the CAPA Education program. I was enrolled in a free-hand drawing class as well as a architectural history class. This drawing of the Ponte Vecchio was created during my ex-perience. The inspiration behind this drawing relates to my daily walk to class from my apartment flat. I had previously learned about the Ponte Vecchio and could not believe I was given the opportunity to be in contact with it every day.

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