halie anderson | selected works

[email protected]

halieanderson.com

515.577.7597

halie anderson

architecture

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Safe Haven

Over the past decades, the support system of the youth in Appalachian culture has begun to transition away from reliance upon the traditional family. As this shift becomes more evident, we felt as though it was important for the younger generation to have a place to call their own and reconnect them into this, once prominent, community. “Safe Haven” not only pro-vides an area of retreat through outdoor recreational areas, multipurpose spaces, and agricultural com-ponents, but also transforms into a shelter for the surrounding areas in times of disaster.

This program focuses in three areas: Culture & Community, Conservation & Education, and Food Security. Through these three features, we feel as though the area will begin to understand their roots to a larger extent and grow with one another as they develop into an even stronger community. They will be able to understand their land, as they once had, and cherish the resources and learning opportuni-ties that come from the mountainous terrain. Finally, it is important to provide an opportunity to grow and learn about food as they develop a community food supply addressing the ongoing disaster of poverty in the area while teaching the younger generations the value of seeing food from crop to table.

Community Design | 20,000 sq ft

Stinnet, Leslie County, KY

Professor Katherine Ambroziak, Spring 2014

Partner Karen Harber | Fifth Year Studio, Appalachian Studies

05 | 06

Tiering plaza spaces cascade down into the mountainside and transition from a hardscape stage area to more private areas integrated within the natural landscape. This area provides areas of public congregation, including a vertical garden wall and a mural wall seen above.

This section cuts through the entry space and also dis-plays the interaction of the tiering plaza with the landscape elements.

07 | 08

This night rendering shows the larger mass as well as it is nestled into the hills on a view from the adjacent hilltop.

This sectional axon shows the integration of the building with the landscape and includes the farming plots and orchard, amphitheater area, interior programming, and outdoor classroom spaces. The wooded scenery provides a sense of privacy the further you move into the project.

AC Entertainment Headquarters

This design proposal for AC Entertainment cor-porate headquarters reflect the artistic mind of musicians through the use of various light. Light can effect an individual much like music does, through emotion, feeling, and sense. This project focuses on how light can effect each space and how music and light begin to become intertwined. The lowest level serves as a theater area and provides quaint, dim lighting to allow for relaxation and personal enjoy-ment of the music. As you continue to the gallery and the AC Entertainment floors, there are more natural lighting opportunities. This building will be used for all purposes of AC Entertainment includ-ing performances, hosting events, gallery openings, and business procedures. With the immense space and the free flowing plan, it provides an open atmo-sphere and a conducive place of work.

Urban Design | 40,000 sq ft

Gay Street, Knoxville, TN

Professor Marleen K. Davis, Fall 2010

Second Year Studio

The atrium space allows for natural light to flow into the space and for constant interaction of employees. This notion is also encouraged through the selection of trans-parent interior materials.

09 | 10

This section displays all elements of the building and the relationship to the glass facade system. The elevator shaft is a textured glass to continue the interactive nature of the space as people move through it.

AC Entertainment is placed within a rigid downtown system along Gay Street. The lowest facade provides a transition into the space and relates to the surrounding storefronts.

The project has skylights throughout the roof system that highlight the strong gridded system within the design. The patio area provides an area of relaxation and refuge for the employees of AC Entertainment and the general public.

11 | 12

Nashville Elementary School

With Nashville’s booming economy and growing population, the call for educational outreach in the downtown area is imminent. The area on 4th and Elm is the object of discussion as many idealistic plans for multi-use structures and living communi-ties have been a pull for bringing the population back to the downtown area. The objective was to create an elementary school for 1st-5th grade students to engage these newly placed homes and provide a sense of community in this upcoming area.

This design for an elementary school in the SoBro neighborhood was largely based around the inter-action of students within a space and how the atmosphere in which they learn can effect their education quality. The zoning in the design created vast opportunities for community gatherings and articulates the landscape in a modular way. The first zone is the entry sequence that allows for a shaped view into the faux courtyard and into more initmate exterior spaces. Moving through the walkway and continuing downhill, overlapping spaces create an emphasis on community and in turn, begin to echo into the design of the school.

Urban Educational Design | 200,000 sq ft

SoBro Neighborhood, Nashville, TN

Professor Barbara Klinkhammer, Fall 2011

Third Year Studio

13 | 14

The elementary classroom encourages space for various educational opportunities by promoting individual areas of solace, smaller group work areas, and a large multifunc-tional classroom space.

The classroom area provides a playful atmosphere by engaging the individual, small group, and the entire class as a whole. The areas in between two classrooms are spe-cialized for contemplation and personal growth or small collaborative teamwork.

This space is designed to fit to an elementary student’s scale as they can reflect upon what they have learned from the day. Porthole windows provide light into the space and the modular furniture provides nooks for the students.

15 | 16

The overall section cut displays the vast atrium space and performance space at the lower level. The integration of classrooms with intermediate collaboration areas continue to let natural light into the space as well.

At Casa de Sara, the students receive aid not only through providing education, but through creating programs that nourish their bodies and encourage social well-being. Focusing on the element of com-munity is one way Casa de Sara can continue to welcome the family, friends, and faculty onto this new campus. By allowing the Bolivian community into this space, the family at Casa de Sara extends their efforts into the homes of the students and can begin to create even more of an impact in their lives.

The central space provides a catalyst for discussion, celebration, and gathering that begins to redevelop the community to which it reaches out. This space acts as the vehicle into almost all aspects of the pro-gram and continues to connect the students within their own community. Creating opportunities for soli-tude and contemplation, while still providing areas for inspiration and discovery create a dialogue within the building materials and structure. These elements continue to interact with the zocalo space and allow students to truly create a convergence of community.

Casa De Sara EscuelitaInternational Educational Design | 400,000 sq ft

Santa Cruz, Bolivia

Professor Robert French, Spring 2012

Third Year Studio

17 | 18

Detailed wall section displays a rammed earth wall system interacting with a wooden truss structure to create a covered walkway area adjacent to the classrooms. A clere-story zone sits above the covered walkway to allow natural light into the space.

Montessori and administrative areas have a flat roof system with various clerestory options, while the classrooms each utilize butterfly roofs. The interior courtyard displays the covered walkway systems to protect the inhabitants from the vast amounts of rain in the region.

19 | 20

The site also hosts three living units for the staff, plots of land for agricultural components, an area to raise goats, and a chicken coop utilized by Casa de Sara. The sur-rounding perimeter wall is a local custom, and allows for loading access, student drop off, and staff parking to cir-culate throughout the space.

Knoxville Artist Live | Work Community

This studio session was led as a focus on the pro-gramming and pre-design process for a portion of the semester followed by a brief conceptual and schematic design phase. The programming was based around the notion of bringing artisans into the heart of downtown Knoxville through a live-work community. Jackson Avenue, once a hub for the downtown population, has been in a stagnant state for decades. As the area has begun to develop, there has been a push for urban living environments that could foster a sense of community and bring forth greater economic opportunities. By creating a low cost space that allows local artists, not only a habitat to live, but to create work as well, the for-merly decrepit area can become Knoxville’s own Art District. By utilizing areas of contemplation, areas of collaboration, and areas of community access, this design scheme can allow artists to thrive in a highly creative and active environment.

Urban Planning & Design | 150,000 sq ft

Jackson Avenue, Knoxville, TN

Professor John McRae, Fall 2013

Fifth Year Studio, Programming

Sectional perspective drawing displaying a large, central community space, mixed-use design with open artist retail, commercial retail, and cafe space. Living units are above and have the option for direct studio connection for each artist.

21 | 22

This section cuts through the pedestrian entry sequence, mixed-use space, and Knoxville Greenway proposal.

Process work in developing programmatic elements that could be tied into a multi-use structure including housing, office space, retail use, and an eatery.

The site section-elevation depicts the urban planning nature of the project as it spans over the entirety of a city block. The individual buildings form a “billboard” for Knox-ville as commuters travel past the city along the interstate.

23 | 24

While studying at The University of Tennessee, Knoxville, I was given the opportunity to travel and learn in the city of Krakow, Poland during the spring semester of my fourth year in the program. I trav-eled to thirteen countries in a matter of five months and was able to, not only feel at home in Krakow, but experience a vast array of places, people, and cultures. We were expected to participate in five courses while abroad including studio, architectural history, drawing, sculpture, and urban design. We also took tours throughout Italy, Austria, Germany, and Poland led by faculty of Politechnika Krakowska.

study abroad

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Urban Housing for 2020

Urban Housing for 2020

This project was to design an urban housing devel-opment that addressed the program of the work on urban scale and delved into building typologies. It was to provide a strong, unified and coherent solu-tion, while focusing on both programmatic and spatial layers. The program reflects facts and phe-nomena in regards to historic background, the social need for housing, the current real estate market, and sustainability. It hoped to investigate further into a broader understanding of these issues.

This urban housing complex can accommodate families and individuals of the younger age group through offering appropriate size and structure of apartments. It also provided facilities serving this tight knit community and other citizens of the same district, while integrating the idea of semi-public and public space for the entire area to enjoy.

Urban Planning and Housing Design | 500,000 sq ft

Krakow, Poland

Professor Krzysztof Bojanowski, Spring 2013

Fourth Year Studio Abroad

27 | 28

The site focuses on the circulation paths, both pedestrian and vehicular, around the housing units and engages the community square.

There are multiple facets of the site design that allow for various views. Whether pedestrians are circulating through walking, biking, or driving, views of the main square are ever changing.

29 | 30

Upper levels of the individual apart-ments allow views into the city and the public areas. As the inhabitants shift into more private regions of the home, wood slatting becomes more dense to provide cover.

The upper level, above the one bedroom units, contains an area for a community garden space that has an inte-rior and exterior space for residents to utilize. There are two areas below the three bedroom units that allow for commercial use that include open retail space as well as private offices.

Metal-Framed Boxes

While studying at Politechnika Krakowska, I partici-pated in a freehand drawing and painting course in which the instructors redeveloped the focus on hand drawn work. Each day my classmates and I would arrive to an arrangement of items or be given a task to utilize the skills in which we had been trained to create our own work.

31 | 32

Freehand DrawingKrakow, Poland

Spring 2013

Drawing Forms

Deriving Form

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A Gateway into the City

Movement through the Body

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Movement through Object

This sculpture class taken abroad required students to create three rough projects in a matter of two weeks that all culminated around the idea of move-ment. The first was derived from simple shapes, the second focused on the human body, and the third was a relief.

SculptureKrakow, Poland

Spring 2013

Helsinki-Vantaa AirportHelsinki, Finland

37 | 38

While abroad, I was able to travel to thirteen coun-tries and went on two varied tours with the faculty of Politechnika Krakowska and four individually planned outings throughout Europe. These photographs encompass a glimpse of these travels.

PhotographyEuropean Tour

Spring 2013

Museum of the History of Polish JewsWarsaw, Poland

Kamppi ChapelHelsinki, Finland

39 | 40

The Woodland CemeteryStockholm, Sweden

Exhibit at The LouvreParis, France

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Ponte VecchioFlorence, Italy

Shoe

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visual arts

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A study of three objects in juxtaposition to one another to create and understand compositional quality and hand drawn media. The relationships between light and dark shown on the paper and the egg begin to create depth to the work.

Shoe, Egg, PaperKnoxville, Tennessee

Professor Brian Ambroziak, Fall 2009

First Year Representation

47 | 48

This study utilizes the shoe component from the Shoe, Egg, Paper drawing to create movement through depth and composition. As the shoe moves from left to right, it begins to compel the eye back-ward and forward.

TransformationKnoxville, Tennessee

Professor Brian Ambroziak, Fall 2009

First Year Representation

c a n b e per foratedopaque ortransparentt e x t u r e dor smoo t h .

a plane can be perforated opaque or transparent tex-

a plane can be perforated opaque or transparent textured

a plane can be perforated opaque or transpar-

a plane can be perf

A PLANEa planfdseasdfsafs can be perfo-

a plane can be per-

a plane casn be perforated opaque or transpar-

a plane can be perforated opaque or transpar- a plane can be perforated opaque or transpar-

a plane can be perforated opaque or transparent textured

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Each student was given a sentence in a paragraph describing either point, line, or plane and had the task of creating a composition of image and typog-raphy to relate to the text as a whole.

Point, Line, PlaneKnoxville, Tennessee

Professor Diane Fox, Fall 2013

Graphic Design Seminar

M A X X IT h e M e a n i n g o f

Image Left: Whatami installation outside the MAXXI: Museum of the XXI Century ArtsImage Above: Design concept sketch

B y P a t r i k S c h u m a c h e r

The completion of MAXXI ten years after the design com-petition is a moving event: the transformation of a radical con-cept into a project, of the project into a building, and finally the transformation of the building into a living institution. For us MAXXI started ten years ago as a theoretical project, as one more competition entry in a series of such entries understood as radical experiments in design research. After its completion MAXXI remains a theoretical project in the sense of project-ing an architectural manifesto demonstrating the capacity of a new architectural style: parametricism. What characterizes the new style are new concepts and new values, both in terms of an expanded formal repertoire and in terms of a new understanding of function or performance. Parametricism pursues the very general aim to organize and articulate the increasing complexity of the social institutions and life processes of post-fordist network society. For this task parametricism aims to intensify the internal differentiation and cohesionwithin an architectural design as well as the design’s external continuities within given urban contexts. Parametri-cism offers a new, complex order via the principles of differen-tiation and correlation that is clearly distinct from the principles of separation and repetition that characterized modernism.

51| 52

Prominent cultural buildings, especially con-temporary art centres, are the perfect vehicles for stating general architectural positions. It is here that avant-garde architecture finds the occasion to be critically recognized as worthy dimension of socio-cultural development. The particular institution of the contempo-rary art museum is able to give discursive space to the building as architectural manifesto. Radi-cal architectural innovation can exist here due to the openness of the very institution of art within contemporary society. The purpose of all archi-tecture is the framing and staging of social com-munication and interaction. The purpose of all art is to experiment with new forms of social communication that project an alternative view of the world.

“Art” today is an open-ended platform to reflect new social phenomena and ideas. It is all about the playful invention and dissemination of radically new perspectives on life. Contemporary art centres thus offer a frame or clearing for the unknown and untested to burst forward. A perti-nent brief for an art centre is thus rather abstract, open-ended, and essentially paradoxical: calling for an anti-institutional institution. It is a vacant field defined only negatively as the refusal to perpetuate the status quo and as a demonstration that things might be otherwise. There can be no strict typology as there is no

positively specified content. “Art” is subject to the open-ended series of re-interpretations of the very concept of art by each new generation of artists. The only certain constitutive characteris-tic is that it is public, i.e. that it initiates public events and constructs a public space of engage-ment. It is here that society can experience itself as self-made and self-making. In this sense art and the art museum have replaced religion and the church as space of society’s self-encounter. The creative has replaced the sacred. In princi-ple any political, social, economic, moral, cultural or technological question can be brought forward for public exposition, reflection as well as criti-cal and creative exploration within the domain of contemporary art. Nothing is off-limits. Art is also the domain where new technol-ogies and media of communication are first explored. It is the zone of incubation for all ideas – including architectural ideas – that need space to develop before facing the performance pres-sures of the real world. The architectural frame – the museum – should thus be a catalyst and incubator with respect to experimental modes of public exhibition, collective communication, and social gathering. All disciplines, discourses and practices use the art system as their brainstorm-ing platform. Avant-garde museums that dare to enlist avant-garde architecture to re-define the frame within which they invite curators and artists to construct these platforms are thus venturing into a second order brainstorming: brainstorm-ing about brainstorming. To the extent to which innovation and thus extended brainstorming becomes the order of the day in many or most arenas of social life the design of a contemporary art centre might entail, reveal, and accentuate

The particular institution of the contemporary art museum is able to give discursive space to the building as architectural manifesto.

features that might be of general relevance to way architecture should frame the contemporary spaces of social communication in general. This is the premise according to which MAXXI can offer a pertinent manifesto statement for the architecture of the 21st century. The features that are worthy of generalisation are those that increase architecture’s capacity to construct spaces that achieve higher densities of commu-nication and event participation through strate-gies of continuous differentiation, deep layering, and simultaneity. The design took its initial point of departure from the geometry of the immediate urban con-text. Two urban grid-directions meet at the site. The two directions are drawn into the project-site. The resultant angle-divergence of 51 degree is mediated by means of curves. The second, decisive design concept was the imposition of a strong, rigorous formalism: the formalism of striation involving parallel lines that bend, branch, bundle or intersect. These lines were later interpreted as walls, beams, and ribs, as well as staircases and lighting strips. The formalism gained particular functional significance by taking the essential functional substance of the museum – the wall, every-where understood as potential exhibition/dis-play surface – as the fundamental space-making substance of the project. The design is thus constituted via the “irrigation” of the site with

exhibition walls. The walls run mostly parallel. The curves that mediate the change of urban direction are taken as opportunities to change the spacing between walls, or as opportunities to intersect walls, while maintaining the condi-tion of parallel flow, as well as tangential branch-ing and confluence. The play of parallel walls, augmented by branching and intersecting wall trajectories, produces both interior and exterior spaces. The walls are not always grounded, but the play of walls operates on three primary lev-els. This implies that some of the walls operate as long spanning beams, or as far-reaching can-tilevers. One set of walls takes a sloping trajec-tory that leads to a terracing gallery on the inside. The walls allow for broad openings so that long, deep beams result. Between the walls arrays of ribs participate in the overall laminar flow of lines and thus further accentuate the directional-ity of the gallery spaces. These ribs structure the glass roofs that filter natural light into all gallery spaces. A continuum of correlated architectural elements is established: walls, beams, and ribs. Everything joins the formalism of linear, stream-ing elements. This also involves the ramps and staircases and thus ultimately the circulatory flow of the audience. Everything flows.

Images from Left to Right: Interior view featuring a Ron Arad installation

Exterior view displaying the city sceneryOverlapping circulation featuring a Mochetti installation

The task of creating a magazine or book style dou-ble-page spread was established and each student selected an architectural project in which to focus their efforts.

Double-Page SpreadKnoxville, Tennessee

Professor Diane Fox, Fall 2013

Graphic Design Seminar

[email protected]

halieanderson.com

515.577.7597

halie anderson

halie anderson | selected works

Documents

community design

culture community

community food supply

amphitheater area

area of retreat

stronger community

private areas

surrounding areas