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james tyler puryearUniversity of TennesseeCollege of Architecture and DesignBachelor of Architecture 2013e: [email protected] : 931.580.0594

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architectureThe Beer Garden_06The Wesley House_14Leap Collaborative_20Urban Infrastructure_26Fresh Market Pantry_38

visual artMagazine Spreads_44Movement_46Shoe Transformation_48

travelsSweden Tour_54London_56

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architectureArchitecture has many meanings and can be interpreted in several different ways. In order to design for architecture, one must have a motive, and in order to have a motive, there must first be a problem to solve or an intent of purpose. My intent of purpose with architecture is to create a feeling of “Unity.” This idea is the motivation I have in becoming an architect and designing for community and future of tomorrow.

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the bier garten

The beer garden is located in Phoenix, Arizona where the climate is very hot and dry. The site is on Roosevelt Row where there is a huge art district that attracts lots of pedestrian traffic. This area is full with a lively culture and atmosphere that really defines this road as a pedestrian des-tination. The city has design plans and guidelines for renovating the street edge to be more pedes-trian friendly. The street will promote bike riding and the sidewalks will be fully shaded in front of each building. Peoples comfort in Phoenix is a high importance due to the high temperatures.

Phoenix, Arizonafall 2012

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The design concept for this building is based on the pedestrian and the experience that pedestrian has while interacting with the site and other peo-ple in the beer garden and hall. The beer garden was designed to have a direct connection to the street edge while at the same time held a since of privacy/community within its boundaries. The central zone to the design is meant to be open and free flowing between spaces, while the other zones are intended for the private group interac-tions. Both zones, however, are intended to have a visual connection with the brewery through shaded glass and vent louvers that tie the fer-mentation and kettle straight to the garden.

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The building is also design to accommodate Phoenix’s intense hot and dry climate. There is ample amounts of shading when needed and the entire building is ventilated and cooled by a zero energy downdraft evaporative cooling system. The site also produces all 100% of its required electrical energy to produce the beer and provide all the necessary functions of a restaurant.

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This perspective is taken from the beer garden looking up at the roof/structure system at the en-trance to the pub. This view also illustrates the large rammed earth pillars/columns that support the shading structure throughout the site. The courtyard is sunken down to give a private feel.

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This view is taken upon turning from off the street and looking down the main pedestrian path through the site. This view shows the vast array of shading beams that completely shade the path from both ends of the site. This view also shows a direct view down into the fermentation tank room.

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the wesley house

The Wesley House is a house in Mechanicsville Tennessee that provides an after school service for children. Here, the kids go to classrooms where they are given one-on-one attention to learn and complete their homework. These chil-dren primarily come from a lower class neighbor-hood or less attentive family for the children. The project was to redesign a new building for the program to be housed in. The class had numer-ous one-on-one meetings with the administrators of the house to accurately design for their specific needs and requests.

Mechanicsville, Tennesseespring 2012

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The main idea behind this building is that it is mak-ing a literal separation between the loud and quiet functions of the program. The site plan shows that there are two main forms of the building. The form on the left is the loud section and the form on the right is the quiet or study section.

The landscape is divided in this very fashion as well. The building and pavilion create a void space which is intended for outdoor study ses-sions. The rest of the landscape is for play areas.Another outdoor function is the reading area and the amphitheater. The outdoor reading area is on the right side of the building next to the amphithe-ater. This function is intended to be the first ele-ment of the building which people naturally want to go to. It’s poetic move away from the building, and it’s change in roof indicate that it is an area of some importance.

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leap collaborative

The building was design to directly represent the city fabric as well as the natural elements. The idea behind the natural elements is to have a connection between the landscape and the office spaces. In order to achieve this, there must be a clear view from the offices to the outside, uninter-rupted. In addition to, there must be some sort of natural features (trees, shrubs, grass, etc) that are the focal point of the design. Unfortunately, there is a limited amount of trees available on all sides and the concept then becomes weak.

Knoxville, Tennesseefall 2011

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However, if the natural elements of the city are taken into account for (concrete, stone, brick, light, noise, people, life, steel, and an assortment of regional plants), then the idea is of these di-rect views are strong again. The building incorpo-rates different elements and materials used in the downtown are that clearly define geometry and contextual information. The building respects the cities sidewalks by placing the building right up against the closest point allowable by code to the street. This holds the street edge allowing for an abundance of attraction and interest at the main focal points of the site.

The building’s design was to be as functional and sustainable as possible. The building is made of simple bays with a solid/strong core and a glass-like exterior. By forming the building this way, structure, circulatory paths, and program are eas-ily understood, and are open to be interchange-able years down the buildings life cycle. The sus-tainability directly impacts the overall aesthetics of the buildings facade as a whole (solar shad-ing). Solar shading louvers allow viewers to di-rectly see the city-landscape while at the same time provide more controllable lighting and HVAC sources.

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urban infrastructureKnoxville, Tennesseespring 2011

The Agricultural Research Facility and Pedestrian Bridge is a third year project that involved select-ing a site of our choosing from which we were to innovate some either water, waste, agriculture, transportation, or electrical design. These de-signs were based on researching the connection between architecture and infrastructure.

With this design, it focuses mainly on agriculture (research facility and a market) and with trans-portation (pedestrian bridge) all combined with architecture as a hybridized urban infrastructure system.

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The Hydroponic and Research Facility will bring a new innovation in technology and agriculture to South Knox Waterfront to help redevelop the ag-ricultural world in Knoxville. The Facility is based primarily on self efficient equipment designed to produce the best, quickest, and healthiest food available. These systems will provide enough energy for the hydroponic agricultural systems, which in turn, will provide an abundant amount of produce and goods to the downtown area for anyone who wishes to pass by.

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Wooden Facade Slats

Green Vines as a Facade Natural Feature

Steel Framing for System

Omega Garden System

Tritium Battery Compartment

The systems uses as little as 5 kwh and runs on almost no water refill due to an atmospheric water generator by Airqua.

Other forms of hydroponics include an innovative Aquaponic system that takes nitrogen from tala-pia feces, feeding the plants, and the plants clean the water for the talapia thus the cycle is continu-ous. Another systems includes stack hydroponics and vine-like hydroponics growing tomatoes and squash type produces.

The Hydroponic’s primarily consist of a Canadian invention by a gentlemen named Ted, who has developed an agricultural system that ensures the best development of produces with the OME-GA GARDEN. The Omega Garden is a carousel type hydroponic that runs on a twelve year long tritium battery. The Omega System has been proven to one of the best ways to produce goods hydroponically by a gravity nutrition technique. The garden can be stacked to produce a very efficient used of space and most of all, energy.

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The Market is a public space, a resource of foods, and a spectacle to the South Knox Waterfront. There is no permanent produce market in Down-town Knoxville as of yet. The proposed Idea be-hind the Market addition to the facility is to provide a means of freshly grown, organic produce and goods to the public. The location of the market is essential in that it is the borderline between the major part of Downtown and South Knox (where new development is proposed.)

The Market’s design is based entirely on the site’s terrain and contextual features. The levels to the Market move along with the contours of the land as if they were never moved. This concept is so that the Market not only blends in with the landscape, but becomes an element itself. For instance, one of the main conceptual aspects in designing the Market in four levels (like topogra-phy) is to provide a continual view to the river and downtown area from one floor to the next.

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The Pedestrian Bridge is a cable suspended, steel supported system that has a reflective glass floor. The idea behind the bridge to primarily have a pedestrian connection with downtown.

There is no pedestrian friendly access from downtown to the South Knox area. The bridge helps bring in people to be part of the activities in the south waterfront area.

The design was to show a clean and crisp mon-umental look as well as a pleasing walk or run across the river towards the new facility and mar-ket, which is a big factor in the reasoning behind the bridge.

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Steel Tube Supports

Metal Framing

Steel Tubes Holding Glass

2” Glass

Glass Railing

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This perspective is taken from the green way looking up at the pedestrian bridge with the mar-ket in the distance.

This is a view of the pedestrian bridge and the monolithic support tower from the view of a boat on the river.

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This perspective is from the main entrance to the market looking out through the glass roof towards the downtown area of Knoxville.

This is a view from next to the tower of a man on the bridge overlooking into the green way and market area of the site.

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fresh market pantryKnoxville, Tennessee fall 2009“EUReCA 2010 First Place Winner”

The Fresh Market Pantry is based off how soci-ety views the sequence of food along a time line. The sequence of food starts with agriculture, in this design, lettuce and herbs. Next, the pro-duce is processed, shipped, and sold to markets throughout the region. Afterwards, the produce is selected by an individual who will then take the produce to be cooked for his or herself or for a group of consumers. After a period of time, the food process the recycles back to the beginning of the time line and starts the process all over.

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This market is based on metaphorically viewing this food time line. By bringing vegetation from the top floor into the façade’s aesthetics, visitors will be able to whiteness the agriculture or the food growth portion, of the time line, at work.

At the same time, the consumers will experience the market time line yet again by walking through the different programs on each floor (the restau-rant, the market, the bakery, and the agricultural hydroponic gardens).

market

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bakery gardens

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In addition, this Fresh Market Pantry would be part of a network of surrounding Pantries, each specializing in a different type of pro-duce from carrots, tomatoes, onions, pota-toes, etc. This network will work together to help grow and share their produce between one another. They will each benefit the com-munities around them, because they are within walking distances and are producing goods hydroponically, resulting in healthier produces. Visitors can visit each market to whiteness the multiple perspectives of the food time line and experience the different themes and specialized produces.

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Sidewalk approach from North Broadway show-ing the vegetated facade and the view into the restaurant underground.

Front sidewalk view where Visitors will experi-ence the main circulation that holds together each floor and is based on capturing the language of the food processes from one floor to the next.

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The model was made entirely out of basswood and it was constructed to be disassembled amongst all four floors.

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visual artVisual art generates an idea or a message. These messages can be created through multiple me-diums which gives it its unique signature. With my graphic design class projects, I strived for a simple and clear understanding of the message I am trying to convey.

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The magazine spread was to design an article for a building or architect of our choice. The magazine spread on the right was first two spreads designed for Saint Pe-tri Church in Klippan Sweden designed by the architect Sigurd Lewerentz. Sigurd Lewerentz worked with the use of brick and mortar symbolizing the relationship and bonds of Christianity. The spreads were designed to represent the brick to mortar relationship as well as the long regulations for the glass to brick relationships as illustrated in the first spread on the right.

magazine spreadsspring 2012

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KLIPPANchurch in

Lewerentz’s method of expression is direct, austere, and unsentimental. But at his hand, sober prose has the effect of poetry.

Mastery is not a matter of technological exper-tise, familiarity with materials, or the accumulation of knowledge: it is a matter of mastering oneself. The teacher, therefore, is always his own best stu-dent.

A singularly expressive form, technical inno-vation, or particularly successful generalized so-lution to a design problem may qualify masterful. Once created, such an archetype can be acquired and used by master architects and beginners alike. Mastery itself, however, does not accompany the archetype.

Lewerentz’s method of expression is direct, austere, and unsentimental. But at his hand, sober prose has the effect of poetry. How?

The artist, an astute observer of reality, some-times succeeds in conveying the intensity of an ob-servation to others, delighting or shocking us, the deaf and blind, by bringing us into direct contact with the reality that surrounds us. That keen ob-server, the unveiler of reality, must respect reality in order to see through his own and others’ pre-conceptions and idealistic visions. This requires patience, critical perception, and passion. “Accept the reality before us: only then…” It is an easily misunderstood thesis The artist seeks out the truth that lies behind our conventional understanding of reality. This kind of passionate, patient realism must consider and question everything, must be si-multaneously doubtful and open: challenge all es-

Top Left: The view of the Sanctuary.Top Right: View of lighting near the foyer.Bottom: Inside the dining hall.

by Sven Ivar Lind

Top: View of the rear facade.Mid: View of the main entrance to the sanctuary.Bottom: View of the inner court.

tablished conceptions, remain open to all possibilities, examine and reexamine.This kind of attitude liberates the observer from prejudices, doctrines, sys-

tems, and routines, leading to a supreme but uncomfortable freedom. From such a position, large questions are of no greater significance then small, all are essential: they merely address the same whole at different scales, like the prob-lems of the universe and the atom, the organism and the cell, or the building and its details. All are indivisibly linked.

The churches in Bjorkhagen and Klippan are nearly contemporaneous and built with the same construction methods, but represent different solutions to similar problems. The more recent church is not merely a reiteration of the pre-vious. As in Bjorkhagen, the Klippan project comprises two building volumes, one more prominent than the other, with a space between them. But at Klippan the relationship between the two volumes is completely different. The various

elements are modulated and in places richly and freely articulated; the whole is nonetheless remarkably fixed, concentrated, and stable. The sanctuary and a number of subsidiary spaces directly connected to it together form a core; the remaining spaces for assembly and other functions form an L that wraps around two sides of the core at a short distance to create an intimate, angled courtyard. The composition is tighter, more thoroughly compressed than at Bjorkhagen. One is meant to move along all four sides of the core, to experience the variations between them and to perceive the relative importance of each, the character of the facades directly revealing the organization of the plan. The angled courtyard is a wind-sheltered interior that allows the visitor to grasp the site’s two components at once. The effect of the one’s convex and the other’s concave courtyard edge emphasizes their relationship as core and shell. This pattern is so simple that one always retains a clear image of the whole and of

A singularly expressive form, technical innovation, or particularly successful generalized solution to a design problem may qualify masterful.

one’s place within that whole. It seems self-evident and transparently artless.

Despite the simplicity of its basic pattern, St Peter’s does not ap-pear to be built upon any particular organizational scheme or system. In the courtyard it is the concave side, that of the assembly rooms, that comes to the fore, drawing us in. Every part is given a value that is closely tied to is function and its position in relation to the rest of the courtyard and to a visitor moving through that space. Ancillary functions and details do not seem suppressed or systematically con-strained by force within the framework of the whole. On the contrary, the individual parts display a vigorous freedom.

The St Peter’s sanctuary has a profound simplicity. At Bjorkha-gen, the sanctuary is decidedly longitudinal, its double nave traversed

by vaults repetitively added from east to west. Klippan’s is square, its asymmetrical vaults spanning south to north, car-ried by two principal steel beams that run east to west, which in turn balance atop a T-shaped steel support. The contrary directions play against each other, coming together at a cen-tral crossing point. There is no distracting technological curi-osity in this solution, only a lucid and comprehensible clarity that lend it a nearly symbolic weight. The central pillar fixes the position of the main axis and establishes the disposition of furnishings in the room according to liturgical practice and ancient Christian tradition. These furnishings are brought to life through integration with the whole, the design of build-ings, the alter, bishop’s throne, clergy bench, and pulpit, all utilizing the same small palette of materials and construction methods.

Klippan’s church is a radical departure from this time-honored standard. It’s main volume is static, unmodulated to the east, south, and west, all its subordinate functions gath-ered on the north side. Entering through the north, somewhat disoriented and humbled, one finds the way into the sanctu-ary. The modeling of the main volume gives a clear picture of its organization, in which all the elements - through, like the bell tower, individually formed to suit their function – are wrought together into a single piece. Pausing for a moment in the sanctuary, we soon become aware of the dropping of water in the enormous baptismal shell, inescapable, incessant. In-trusive, some claim. And time becomes audible amidst the din of the cycle of everyday existence.

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Field in motion was the first graphic design as-signment meant to help understand graphic re-lations between objects, spaces, and the use of type in ways that resembled movement. In this piece, the blocks are illustrated to show a fall-ing motion. Afterwards, the assignment called for finding type that resembled the blocks falling mo-tion.

field in motionspring 2012

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This was a graphite drawing that was the sec-ond phase to a first year drawing course. The first phase for the particular drawing was to use a shoe, an egg, and some paper to illustrate com-position and space. The second phase was to take the shoe render it in a way that illustrates some form of transformation. In this case, the transformation taking place is a Chaco shoe split-ting into several sections and revealing the hid-den strap system underneath the rubber. This piece was presented as one of the drawings for composition and theme.

shoe transformationfall 2008

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travels

Traveling is an essential part to learning. With my travels, my main approach has been to un-derstand the culture and general life style of the place of visit. From the hills of Great Britain to the northern lands of Sweden, I have experienced a wide variety of cultures in order to understand de-sign from many perspectives.

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Woodland Cemetery Sanctuary in Malmo

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The Sweden tour focused on the Swedish archi-tect Sigurd Lewerentz. His work primarily includ-ed churches and cemeteries. The trip started in Stockholm where we went to St. Marcos Church and Woodland Cemetery and all the way to Mal-mo near Copenhagen, Denmark. The photos on the left were taken from some of the most cer-emonial scenes I have came across.

sweden tourStockholm, Swedensummer 2010

Eastern Cemetery Crematorium

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Canterbury Cathedral Dover Priory

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The London trip was not a trip for school but rath-er for pleasure and personal interest. This was my second journey overseas, the first was Gua-temala. Even though this trip was not for school purposes, it did have a major architectural and cultural impact on my personal school studies. The Gothic structures and the vast landscapes were very inspirational in the understanding of culture and historical designs.

london tripStockholm, Swedenspring 2009

St. Paul’s Cathedral

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