DESIGN PORTFOLIO
617-852-8804
dan.swrtz@gmail.com
EDUCATION
Boston Architectural College Spring 2014 - Spring 2023
Masters of Architecture
New York University: Gallatin School of Individualized Study Fall 2007 – Spring 2011
Concentration: Architecture as Communication
Minor: Architecture and Urban Design (NYU-CAS)
Newton North High School Fall 2003 - Spring 2007
EXPERIENCE
Site Manager, Gilmore Landscape Architecture (GLA) Spring 2022 - Fall 2024
In addition to ongoing design role, Managed employees and contractors working onsite by monitoring and leading building tasks focused on masonry, carpentry, and planting plans
Liaised with clients onsite regarding progress and change-of-work orders
Designer-Builder, Gilmore Landscape Architecture Fall 2019 - Winter 2023
Worked with core creative team from Schematic Design to Construction Documents and then assisted with build-out for over fifty separate projects
Conducted site surveys, Drew CAD for Existing Conditions and Base Plans
Created and then Presented and Discussed Concept Plans with Clients
Drew CAD plans, Elevations, Details and Sections for technical drawings that were shared with metal fabricators, carpenters, and stone masons
Head Teaching Assistant, Summer Academy at the BAC Summer 2017
Developed new activities and approaches to design thinking for high school students
Supported over a dozen teaching assistants with daily operations
Research Manager, Material ConneXion New York Spring 2014
Assisted with building the material library’s social media presence posting links and commentary on news about design and material science
Assisted in Planning, Writing, and Managing a monthly online publication, eMATTER
Organized and Attended monthly meetings with the marketing and sales teams including the preparation of an agenda and collection of minutes
Assistant Editor, Material ConneXion
Material Innovation Book Series
Spring 2012 - Winter 2014
Architecture - Product Design- Packaging Design (Thames & Hudson, Spring 2014-2015)
Researched uses of innovative materials and fabrication methods for three books
Negotiated image rights, contacted copyright holders, and kept correspondence withover 100 contributors in the fields of product, packaging design, and architecture.
Project Manager, Material ConneXion 2012-2013
Led library tours and introduced professional andstudent members to 3D printing technologies
Maintained Competitor Research and sought out trademark and copyright infringements
Exhibition Design Intern, The Storefront for Art and Architecture
Worked with the Storefront team to Organize and Assemble 4 multimedia exhibitions: Living Architectures curated by Joseph Grima (January 21 – February 27, 2010)
Winter - Fall 2010
Landscapes of Quarantine Curated by Geoff Manaugh & Nicola Twilley (March 10 – April 17, 2010)
Project Manager, Material ConneXion
2012-2013
Refuge: Five Cities by Bas Princen (May 11 – July 17, 2010)
A Perfect Home: The Bridge Project by Doho Suh (September 15 – December 7, 2010)
Led library tours and introduced professional andstudent members to 3D printing technologies
Program Director, The Environmental Science Program of Newton, MA Summer 2009
Maintained Competitor Research and sought out trademark and copyright infringements
Managed the schedule for this month-long summer program, supervised a staff of 11 adults and 44 campers, oversaw the arrangements for all field-trips, and acted as liaison between the staff and parents.
Exhibition Design Intern, The Storefront for Art and Architecture Winter - Fall 2010
Worked with the Storefront team to Organize and Assemble 4 multimedia exhibitions: Living Architectures curated by Joseph Grima (January 21 – February 27, 2010)
Performed general administrative work, including creating itineraries, copying, and mailing weekly reports to parents of campers.
Landscapes of Quarantine Curated by Geoff Manaugh & Nicola Twilley (March 10 – April 17, 2010)
Refuge: Five Cities by Bas Princen (May 11 – July 17, 2010)
SOFTWARE SKILLS
A Perfect Home: The Bridge Project by Doho Suh (September 15 – December 7, 2010)
Advanced: Adobe Creative Suite, Sketchup, Microsoft Office, Outlook, Google Teams/Docs/Calendar, VAS Eye Tracking Software for Photoshop
Program Director, The Environmental Science Program of Newton, MA Summer 2009
Managed the schedule for this month-long summer program, supervised a staff of 11 adults and 44 campers, oversaw the arrangements for all field-trips, and acted as liaison between the staff and parents.
Mid-Level: Rhino (Grasshopper), Additive Manufacturing (Rhino, Meshlab, Netfabb), ArcGIS, Unity, Arduino microcontrollers, Chat GPT, MidJourney
Performed general administrative work, including creating itineraries, copying, and mailing weekly reports to parents of campers.
Beginner: Revit, SteamVR, Processing, Raspberry PI, Deep Research by OpenAI
CONTRIBUTOR – PUBLICATIONS
SOFTWARE SKILLS
• Material Innovation: Architecture - (Thames & Hudson, May 2014)
• Material Innovation: Product Design - (Thames & Hudson, June 2014)
• Material Innovation: Packaging Design - (Thames & Hudson, September 2015)
Advanced: Adobe Creative Suite, Sketchup, Microsoft Office, Outlook, Google Teams/Docs/Calendar, VAS Eye Tracking Software for Photoshop
• "Social Urbanism: Reframing Spatial Design – Discourses from Latin America" by María Bellalta. (December 2020)
Mid-Level: Rhino (Grasshopper), Additive Manufacturing (Rhino, Meshlab, Netfabb), ArcGIS, Unity, Arduino microcontrollers, Chat GPT, MidJourney
Robert Gilmore, PLA Supervisor, 2019-2024
REFERENCES
Beginner: Revit, SteamVR, Processing, Raspberry PI, Deep Research by OpenAI
CONTRIBUTOR – PUBLICATIONS
• Material Innovation: Architecture - (Thames & Hudson, May 2014)
• Material Innovation: Product Design - (Thames & Hudson, June 2014)
Principal, Gilmore Landscape Design (GLA) 94 Park Ave, Belmont MA 617-270-6396 rob@gilmorela.com
• Material Innovation: Packaging Design - (Thames & Hudson, September 2015)
Robert Gilmore, PLA Supervisor, 2019-2024
Principal, Gilmore Landscape Design (GLA) 94 Park Ave, Belmont MA
617-270-6396
rob@gilmorela.com
Russell Feldman | AIA | NCARB Thesis Advisor, Spring 2023 Founding Principal, TBA Architects RFeldman@tbaarchitects.com
REFERENCES
• "Social Urbanism: Reframing Spatial Design – Discourses from Latin America" by María Bellalta. (December 2020)
Russell Feldman | AIA | NCARB Thesis Advisor, Spring 2023
Founding Principal, TBA Architects RFeldman@tbaarchitects.com
Covered Passage to Rooftop
TRANSDISCIPLINARY STUDIO: ART GALLERY
Rooftop Garden Commission Canopy
I was inspired by Bauhaus-era Exhibition Design and used Herbert Bayer’s ‘Fields of Vision’ diagram to analyze my final building design. Bayer’s diagram presents his idea of an “extended field of vision,” pushing beyond the usual horizontal line of sight. I used Bayer’s diagram as a brush in Adobe Illustrator and traced paths through a section drawing (bottom of page) to show overlapping fields of vision moving along circulation paths based on plans.
Diagrams: Orientation
ORIENTATION DIAGRAMS PLANS + CIRCULATION PATHS
Orientation Diagrams
Bayer’s Field of Vision (top)
Translation to show
Lewitt Gallery/ Street entrance
Locking
Services/Access
ABOVE: Left, paths through three exhbition spaces, as seen in the plans above each highlighted in a different color. RIght, the path labeled in red now drawn with brushstrock that follows the field of vision.
ARCHITECTURE STUDIO 1: FERRY TERMINAL
The final product of my first studio course, I designed a terminal for the Boston Harbor ferryline . I decided to focus on how the building could connect visitors to the city of Boston by directing views towards landmarks visible from the site, currently tennis courts of Prince Street Park. A long ramp connects the sidewalk entry up to a second story with two modules, an art gallery and restaurant. On the groundlevel below I designed stairways that could also serve as seating for waiting passengers and passersby . I have included photgraphs of my final physical model on these pages. This I designed with Sketchup massing models and built the roof from a lasercut projection derived from the 3D model. The ramp and groundplane were also lasercut chipboard made with CAD drawings derived from the Sketchup model.
ABOVE RIGHT: final model: view looking west at dock area below and restauraunt area above. a working model to highlight massing made with a section cuts exported from a 3D model, imported into CAD,and lasercut.
BELOW: A hybrid drawing composed of a Vray rendering of the 3D model and imagery of surrounding built context
ARCHITECTURE STUDIO 2: REWORK OF AN OFFICE FOR A GAME DESIGN FIRM
Isometric view of the intricate facade after rework
The work on this page began in my second studio course where I designed a workspace for a company that required in-house marketing, engineering, and design teams. Three building modules, one for each team, were then connected with platforms, stairways, and ramps that connected the inhouse team seen on the left side in the diagrams here to the public program on the other side (right in diagram). I iterated in Sketchup but reworked the design in my Sustainable Systems class. The diagram here was drawn in Rhinocerous3D and composed as an exploded axon in Adobe Indesign.
Pencil Drawing of section cut through the dodedecahedral volume in the center is where visitors can be scanned to create virtual avatars.
TOP: Building envelope
MIDDLE: VEIL (modular steel profiles)
BOTTOM: Lateral support structure Hollow Structural Sections (HSS)
EDITORIAL DESIGN: INTER -
During my time at the Boston Architectural College, I met friends I still cherish. A few of us designed, printed, and bound three editions of a zine called inter-, reflecting diverse viewpoints and media linked by a singleword theme. Over three semesters, we gathered works from 30+ contributors and even published an interview with Eva Franch i Gilabert, then director of the Storefront for Art and Architecture.
Clockwise from left: 2 photos of the production process, a proof from issue 3 “IF” blending hand and digital media, an interview with Eva Franch-Gilabert, an ‘ad’ for the zine made by lasercutting our cover art into 1070s era National Geographics.
your freedom
You, You have ideas. What if you a u
Authority tells us what to create. out
Do you draw still?
What if we create without being told to create, without being told what to create, without being told how to create?
My involvement in the design of exhibi tions, events, and projects arises from multiple points of expertise and practice.
My involvement in the design of exhibitions, events, and projects arises from multiple points of expertise and practice. I will always be an architect;
I will always be an architect;
Do you draw still? I cannot not draw.
I cannot not draw. take part: share your half-baked, in-process, whimsical ideas, images, words, and colors to intermagsubmit@gmail.com on next issue’s theme: Identity Politics
leaders, teachers, tyrants, and idols
STRUCTURAL SYSTEMS II:FRAMING CHALLENGE
For our final project, each student was challenged to design a museum building to be located within Boston Common dedicated to John Quincy Adams. The building had to be 125’ long by 75’ wide and 60’ tall with specified framing materials changing from concrete in the gorund floor tosteel framing in the second and timber framing in the third. Additionally the facade had to be exactly 12000 square feet of brick and 12000 square feet of glass curtain wall. My design solution involved subdivding the structure once more, one half (outlined in magenta below) was offices with 15’ celings and the second half an atrium space with mezznine floors connected to the offices. For this design I calculated the dimensions of structural members and determined the layout of column grids and floorplates.
Exploded axonomentric diagram with concrete framing the first floor, steel on the second, and timber on the third
Diagram of the building with three office floors and an atrium that spans the height of the building with mezzanine floors connected to the office
Systems 2 Adams Museum
Weather Analysis graphic
LEFT: CAD drawing showing the WikiHouse framing components
LANDSCAPE ARCHITECTURE STUDIO: MEDELLIN COMMUNITY DEVELOPMENT
In 2018 I travelled to Columbia with a group of landscape architecture students from Boston. In Medellin we met students from the Polytechnical University and collaborated on the first part of a studio course. The site we were given to study was a hillside community called “La Sierra” that had become disconnected from the city center in the valley. My teammates and I visited the neightborhood where we got to speak with community leaders who spoke of the need for more shared public spaces devoted to gathering together youth and elders and especially giving the community members more park space and room to run and play.
ABOVE: A sketch of Medellin from a hotel rooftop made by tracing over a photograph with a Smart Pen that captured each stroke as a vector.
BELOW: Rendering of my final model of a incremental development connecting the community vertically and horizontally
ABOVE: Terrain Model of La Sierra and surrounding neighborhoods made from ArcGIS data imported into Rhino3D
FINAL PROJECT: GROWING INFRASTRUCTURE
The second part of the course continued in the Fall semester. I developed my site plan at the urban planning level but made an effort to design at several different scales. I used Rhino3D to drape a network of proposed roadways over a topographical model, suggested concrete and steel patform structures to be built up over time, smaller units built “off of” larger communal buildings on fractal-like platforms, and large, public parks
Perspective view from rooftop of a residential complex
ABOVE: Close-up detail view of the shared park spaces and housing units modeled in Rhino3D with terrain imagery from Google Earth.
ARCHITECTURE STUDIO 3: SITE WORK S.L.R MIXED USE DEVELOPMENT AND PARK
2070
SEA LEVEL RISE (SLR) was the motivating factor for lifting the future building design over the site. Also, in an effort to minimally impact the site I decided to lift the housing complex above high tide predictions for 2070.
BELOW: Longitudinal building section
ARCHITECTURE STUDIO 4: SCHEMATIC DESIGN
The fourth and final studio course I took at the Boston Architectural College was focused on bringing an idea from Pre-Design up to the point that schematic drawings could be made. The program was set to be an extension of the BAC built over the Commuter Rail line running along the Massachusetts Turnpike. My research taught me that this transit line had been the first infrastructural “cut” into the estuary landscape, followed by stables that were repurposed during the 19th century into row houses and razed in the 1960s to be surrounded by a the out-of-scale Hynes Convention Center and Parking Garage. My design idea was to reclaim the site with a building footprint that combined the stables, rowhouses, and modernist boxes.
ACTIVE AND PASSIVE
STRATEGIES: The large open space shown above is glazed with a product that imbeds PHASE-CHANGE material between glass panes. This allows the windows to act as a passive heating and cooling system. In the winter when temperatures are low the material becomes opaque, allowing more heat to stay inside the the building. This should reduce energy costs.
SITE IMAGES (EXPOSURE, ORIENTATION, ETC...)
SE ISOMETRIC
During the summer and fall months shade would be helpful approximatley 40 percent of the time and sun is still needed about 60 percent of the time. Since the sun is higher in the sky at these points of the year, shading would need to be provided for that high angle.
Mezzanine Moment
ARCHITECTURE MASTERS THESIS:
Project Title: MAKING WAYS
REFRAMING AN OLD MILL BUILDING COMPLEX INTO A MULTI- PURPOSE DESTINATION THROUGH MASTERPLANNING WITH A FOCUS ON CIRCULATION AND FOUND GATHERING POINTS IN THE SPACES BETWEEN BUILDINGS.
I conceived of my design strategy as tieing together a large site with diverse program. I began with three main program nodes and the circulation path that blended them together in sequence.
INTERWEAVING CIRCULATION AND PROGRAM
PRIME KNOTS PROGRAM NODES CIRCULATION
HOUSING
CIRCULATION LOOP: TAILORED TO CIRCULATION
THREE CORE PROGRAMS
ABOVE: Each distinct program is designated a node with distinct color. The opaque markers indicate thresholds where I envisioned paths crossing. The circulation paths connects the nodes and passes through the thresholds. The colors of the path change as they pass through program and become white in the gathering spaces.
RIGHT: The tonal scale is used to indicate a spectrum of conditions between public and private spaces. darkest tones indicate the housing units on the top two floors of the mill building and lightest tones indicate shared public green spaces open to all.
ABOVE: Birdseye view of the final site model show the existing building with its steeple-like chimney connected to two and one-story new buildings. The timber threshold stuctures that appear throughout the site are the one constant feature across several distinct zones. Also of note, the small canal between open green space and new buildings.
BELOW: Perspective view paired with a plan (top right) and isometric call-out to orient the reader
THRESHOLD FOUR CANALWALK BETWEEN MILL AND WORKSHOP
THRESHOLD FIVE PLAZA BETWEEN CAFE AND MILL BUILDING N
ABOVE: Perspective view paired with a plan (top right) and isometric call-out to orient the reader, looking at a shared open space, cafe to the right, and the existing chimney
BELOW: A perspective view of the park space. I proposed building false ‘ruins’ of the large factory building that had one been there (see isometric call-out) but also a folley with a ramping circular form.
N
THRESHOLD EIGHT PARK SPACE AND FOLLEY
PROFESSIONAL WORK: DESIGN BUILD
Technical Skills
Since 2019 I have worked at at Gilmore Landscape Architecture directed by principal Rob Gilmore, PLA. I was one of a four person design team that operated in the winter months. This was also a time of year when I would meet with clients for preliminary design meetings. In the spring, the principal and the design team joined up with a small build crew. We spent most months working in the field planting and building with an additional wave of design work and correspondence with fabricators, carpenters, masons, and of course clients. I personally built fences, walls, patios and porches but if the project called for more extensive work we engaged with contractors. At GLA I not only learned the fundamentals of landscape architecture but also how small scale projects are designed, negotiated, and then built from the ground up.
Project Management 101
Collaboration
NORTH-SOUTH SECTION FOR COST ESTIMATE
20 It was a team effort coming to a final design concept and a lot of features to add into a small space. Collaboration in design - working with architect Mieke and Landscape arcitects Rob Gilmore and Ian Sloane we devised four concepts, then a fifth and finally a sixth. Mieke working from australia at the time, could create models with rhino that I began with sketchup. I learned to use Rhino from opening her files and transferring between modeling programs. Collaboration in Building:.
ABOVE: Redline drawings with comments from Rob Gilmore during Design Development
ABOVE: CAD drawing of a stairway and retaining wall set into a hill, used to estimate the cost of stone and gravel. This was the first project that I helped to manage from the beginning. I helped to lead client meetings and synthesize what I learned there into first CAD drawings then Sketchup models.
Daniel Swartz
NORTH-SOUTH SECTION WATERFALL
ABOVE: The final plan ready for building included an angled stairway leading from an expanded deck onto a stone patio with seating wall and waterfall (BELOW) that begins at the top of the property and travels nearly 30 feet alongside stone steps that lead to the lower lawn with palnting beeds and native shrubs.
PROFESSIONAL WORK: SCHEMATIC DRAWINGS FOR CARPENTRY, MASONRY & LANDSCAPE
FRAMING PLAN - NEW DECK AND STAIRS
My idea to design the stairs at angle was a response to the bay window, an addition from a decade before that now presented an obstacle to the new, wider steps that GLA had recommended. I was tasked with drawing this framing plan to communicate my idea to the carpenters who worked with us to build the deck and steps.
RIGHT: A decking plan I drew for the carpenters. The detail where the joists meet the posts was laer complicated by the tensioned cable railing
BELOW: a recent addition to the design, my drawing for steel workers to manufacture
FRAMING PLAN - NEW DECK AND STAIRS
ABOVE: Once the stone steps had been built we could determine the precise design of the steel railing for metal workers. The crucial part was the angle at which the railing bent to follow the organic form of the steps.
RIGHT: Details that I drew to specify to the carpenters how we planned the footings and joints between joists and posts to be built.
(Bidding & Contract Negotiation)and was involved from initial site survey to contract writing and negotiation. Our team moved forward with a set of design concepts that gave the clients a brand new feeling to their outdoor space.
ANGLED STAIR FROM DECK TO PATIO
The deck was finished with composite boards, PVC posts and fascia boards supported by a pressure-treated wood frame, and post-tensioned cable railings.
I developed the technical dawing for a portch with timber and composite construction and suggested a special design for the stairway down to the patio . Through many iterations that developed from sketches to CAD plans to SketchUp models we worked together to reach the final design which combined aspects of each designers’ ideas. Our mason suggested we use a locally-quarried stone which the clients loved. We built a waterfall for the first
From Design to Build
DESIGN-BUILD IN PROGRESS!
From
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Daniel Swartz
Design Build in progress! From top left: the yard before demolition, clients reviewing a set of ve concept plans with 3D models, Demolition of the lower deck, Meeting of minds between Rob Gilmore, and the Mason with client to the left, the retaining walls being dry laid, the steps almost nished, the nal planting of the upper patio
top left: The yard before demolition; clients reviewing a set of five concept plans with 3D models; the demolition
lower deck, replaced with stone patio; (bottom left) a meeting between Rob Gilmore, the client and lead mason, the retaining walls being drylaid, and (bottom right, the stone stpes nearly finished (bottom middle).
PROFESSIONAL WORK: BEFORE AND AFTER CONSTRUCTION
From 2019 to 2021 GLA worked with the clients to complete this project. I was responsible for managing the project and found the process challenging at times but very eduacational. The two images on this page and the photo that extends on to the next show a true transformation. Originally the back yard had been empty except for grass. The previous owners had built an above-ground pool connected to the shallow deck (OPPOSITE LEFT) . Working with GLA, the clients finally got the dynamic backyard space they had always wanted. I was especially proud of the work our building team did to assemble the waterfall (BELOW), the longest one anyone at GLA had ever designed. I was also happy to work with such skilled carpenters and especially the masons who formed the steps and walls (OPPOSITE RIGHT) shaping each stone and stacking without mortar to make something our mason promised could last 500 years!
PROFESSIONAL WORK:
BEFORE AND AFTER CONSTRUCTION
The site my team encountered in Spring of 2020 was a suburban residence with ample outdoor space with no program besides overgrown shrubs in front of a window. I performed the initial site survey and participated in the project from Preliminary Design to the end of the Construction phase, over two years. The design strategy was to bring activity zones into what was a dull outdoor space. the client was attracted to a design that fit the mood in 2020: a patio surrounded by greenery that featured an outdoor kitchen island and a heated plunge pool.
RIGHT: Crane arm lowers plunger pool into the ground after lifting it over the house
PROFESSIONAL WORK: OUTDOOR KITCHEN
PREFABRICATED
PLUNGE POOL
ABOVE: a sketch sent from Rob Gilmore to explain a re-design of the plunge pool deck
I found Soake Pools, a company that produces prefrabricated pools based in New Hampshire and we carefully designated a place on the site into which the cast concrete structure was hoisted above the home and down into place with a crane. My second task was to translate rough painted lines onsite (Opposite) back into a 3D model to send to the clients for approval and then to the carpenter for their in-house planning.
RIGHT: The crane gently dropiing the concrete shell of the plunge pool from the other side of the hosue
BELOW: The outdoor kitchen and plungepool in progess
base existing conditions plan then work on a models and plans that wasn’t built and a pool deck that was. It was a challenge to in-ground pool while adhering to codes and also take into account that shell would be lifted over the house and into place by a crane!
of the pergola with views out to our team’s proposed planting plan, in 3D. I was also tasked with a framing plan for the carpenters to. Unfortunately, in the design development process we learned the cost and code limitations of a pergola over a pool would mean clients would have to chose between them and they chose the pool. It wasn’t until months later, while we were planting and carpenters working that I was asked to make a new drawing, this time, because plans had changed around the pool and the clients now wanted deck built around it with steps and storage. I was able to go back my model from the design development stage and a 3D model show the clients and a cad plan to give to the carpenters. In this I wouldn’t classify it as a problem but a challenge of changing plans out into the building phase. I think I learned how to adapt to changing worksite team leader when
ABOVE: Clockwise from upper leftSketchup model drawn during construction, masons installing CMU blocks and custom cut bluestone caps, white spray paint marking dimensions for sketchup model pictured above, Final product with mahogany decking.
RIGHT: After all constrction the planting beds could be finalized and filled with flowers
PROFESSIONAL WORK: MASONRY - DESIGN BUILD
Over the years I have worked with skilled masons and done some wall building myself
A section of wall built by skilled masons with field stone mortared to CMU blocks.
I helped to backfill the walls, install lighting and irrigation lines, and finish with extensive planting.
An informal stone reatining wall and staircase built and designed by GLA team with newly planted River Birches
Transition from low deck to a bluestone pathway, designed and built by GLA
TOP ROW: Site Management - underlying drainage pipes and brick path
MIDDLE ROW: Dry stacked stone wall, an end seciton I built
BOTTOM: A brick patio with curving geometry during and after constrcution
What’s different here?
PROFESSIONAL WORK: CARPENTRY - DESIGN BUILD
Four identical tables styled after Enzo Mari’s self-build design. Each can seat four people separately and twelve people when joined end to end.
I have also designed furniture, and fences and built with my favorite material: wood!
18 Nash Street Watertown, MA MODULAR OUTDOOR TABLE DESIGN February 16th, 2022
PROFESSIONAL WORK: WILD HIDEAWAYS AND
PUBLIC ART
One of the most fun projects I participated in was our competition-winning entry “NEST”, built with posts cut and imbedded in the ground with heavy hemp rope tying the structure together with sticks and forest detritus found on site.
Wild Hideaways was a creative competition that GLA entered with two in the SPring of 2021. We were tasked with designing a temporary that was family-friendly and highlighted something about nature and idea of enclosure. I joined our team of designers in a few weeks of research and concept development. My final concept was not picked team member Fernando’s was and we got to build it! 12
NEST
ABOVE: images of after assembly with GLA Principal Rob Gilmore and Project Manager Ian Sloane
BELOW: On the left is me shaping a post and to the right, my coworkers hammering the posts into the ground
RIGHT: For the past decade Rob Gilmore has partnered with landscape architect and artist Carolina Aragon on her sitespecific interventions. I helped to assemble two of these projects. The most recent, “FutureSHORELINE” was designed to grab passersby attention show them how much higher the sea level will rise by 2070.
http://www.carolinaaragon.com/#/risingemotions/
http://www.carolinaaragon.com/futureshoreline
RIGHT: Rising Emotions was a participatory installation that I helped to assemble with the team pictured. Each ribbon had a message about climate change written by an East Bostonian and these were color coded to indicate the emotional tenor of the message. Red indicated fear or anger and blue indicated less intense feeling.
http://www.carolinaaragon.com/futureshoreline
