D N S Portfolio
2018 Danielle Schwartz Landscape Architecture
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1/500 Fountains, 2017 Villa D’Este, Italy Ink Pen
If the structure ddoes oes not permit dialogue, the structure ructure must be changed. P A U LO F R E I R E I’m interested in telling stories. Stories told through visceral, participatory experience. Stories ... that disrupt how people perceive the world. ... that inspire insurgent acts of love and compassion. ... that imbue the landscape with meaning. ... that foster diversity, resiliency, and creativity.
CONTENTS PROJECTS S
Resume
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City Block Design
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Through the Looking Glass Urban Plaza
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Ficus Forest East Georgia State College Master Plan
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Campus in the Pines Cortona Master Plan
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Conceiving Convivium Atlanta BeltLine Pocket Park
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Reynoldstown NeighborWood MISCELLANEOUS M ISCELLA
Writing & Layout Sample
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Georgia Landscape Magazine Watercolor & Sketches
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Artwork Zine
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CE+D Book Club
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DANIELLE N. SCHWARTZ Master of Landscape Architecture Candidate Graduate Certificate in Latin American and Caribbean Studies Thesis: Re-defining the Memorial as a Way to Re-imagine Activism The University of Georgia, College of Environment & Design 2016 - 2018 | GPA: 3.98 Bachelor of Science in Sustainable Design Certificate in Local Food Systems, Certificate in International Agriculture The University of Georgia, College of Family & Consumer Sciences 2011 - 2015 | GPA: 3.95 | Summa Cum Laude | Highest Honors T: +1 404.291.5870 E: schwartzdns@gmail.com 1907 S. Milledge Ave., Apt. D6 Athens, GA 30605
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Le Cento Fontane, 2017 Villa D’Este, Italy
DESIGN EXPERIENCE
SKILLS
Designer for City of Cortona, Master Plan Cortona, Italy // Developed a 40-page master plan to protect Cortona’s Jun. unique sense of place while addressing the increasing Jul. 2017 pressures of tourism // Hand-drafted a site design for proposed Welcome Center and new entry sequence
Digital
Designer for East Georgia State College, Master Plan 2016 EPA Campus RainWorks Challenge Honorable Mention // Worked in a group of 6 to produce a stormwater Swainsboro, GA management plan for a 249-acre campus Oct. 2016 // Consulted with university stakeholders to compile Feb. 2017 input for site research and schematic development // Individually formulated and drafted a programmatic master plan for the campus using hand rendering techniques // Selected from a group of 13 to create and present final plan Designer for Trees Atlanta, Pocket Park Atlanta, GA // Composed and digitally rendered a site plan for a 2-acre park along a comprehensive transportation and Sept. Oct. 2016 economic redevelopment project // Generated various site-analysis documents using onsite observations and ArcGIS data
Technical Writing Languages
Photoshop, InDesign, Illustrator, AutoCAD, Google SketchUp Hand drafting, model making, sketching, watercolor painting, printmaking Research and technical writing, copy editing English (native); Spanish (moderate); Quichua, French, & Hebrew (beginner)
WORK EXPERIENCE Graduate Assistant at The University of Georgia Athens, GA // Assemble and prepare institutional master plans for Jan. 2018 to date East Georgia State College and Fort Valley State University // Coordinate with students to consolidate their materials into a cohesive template and planned layout Chew Crew Assistant Aug. - Dec. 2017 // Led volunteer events for a landscape management project that seeks to reclaim the social and ecological function of neglected green spaces and creeks on campus Sales Associate at Half-Moon Outfitters Athens, GA // Answer phone to place orders or put products on hold Nov. 2017 to date // Ring up items on company-specific point-of-sale system // Help customers with questions and direct them to merchandise
Intern for Home and Garden Design // Helped measure boundaries and map project site Atlanta, GA May. // Drafted conceptual and planting plans for residential Jul. 2014 landscapes // Assisted with selection and installation of plants // Created a plant matrix to aid during the design process
INTERNATIONAL EDUCATION
LEADERSHIP & SERVICE
HONORS
Aug. 2017 to date Sept. 2017 to date Sept. 2017 to date Dec. 2016 to date
2017, 2018 2017 - 18 2017 - 18 2017
Copy Editor for Georgia Landscape Magazine Tutor for ULead Athens Volunteer for Undocumented Student Alliance at UGA Director of College of Environment & Design Book Club
Jun. - Jul. 2017 Jun. - Jul. 2016 Jan. - Apr. 2015
Foundation Incentive Scholar at UGA Cortona, Italy Foreign Language and Area Studies Fellow at Andes & Amazon Field School, Ecuador Sustainable Agriculture Intern at UGA Costa Rica
LAF University Olmsted Scholar National Garden Clubs, Inc. Scholarship Garden Club of Georgia Scholarship Neel Reid Memorial Scholarship
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Mycology Concept for Google Offices
CITY BLOCK DESIGN
T H R O U G H T H E LO O K I N G G L A S S March - April 2017 AutoCAD, Sketchup, Photoshop, Illustrator This project began as a 48-hour Sketch Problem to produce a schematic design that would attract Google to Athens, GA. Charged with creating a new building facade for their offices, it had to capture the imagination. Through mycology, this design demonstrates that there is no better source of inspiration than being curious about the world around you. As the scale of the project expanded, the theme spilled out into the streets and became the driving force for an Art Nouveau district, a gateway to see Athens in a new light.
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Applied Concept The serpentine lines on the underside of a mushroom cap are instilled in the design to lead pedestrians from one place to another. In contrast, places to rest, gather, and watch are interspersed throughout the site by using more classically geometric circles.
Site Plan
A - A ’: S ec t ion t hr ough Washingt on S t .
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B -B ’ : Section through Coll e g e A v e . lo o k i n g a t C i ty Ha ll
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A: P er spec t ive of Ent r y P l aza G alleri a Vi t t or i o Emanuele I I , Mi lan In addition to my approach using natural forms and patterns, I wanted to reinforce an Art Nouveau district in materiality as well. Inspired by the Galleria Vittorio and numerous GaudĂ works, stained glass covers, connects, and protrudes from the side of various buildings in the design. As light moves over and through these structures, it creates a unique experience for the visitor both day and night.
S ket c hU p Model of P r oposed B uil ding
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C: P e rspective of Courtyard b e h i n d I ce C re a m F a cto ry
BIOMIMICRY
B: Pe r spec t ive of Al l eyway t o Cour t yar d
Google prides itself on its innovative approach to problem solving. This design seeks to kindle creativity in Googlers by emphasizing the answers that are all around us, hidden in the PATTERNS & PROCESSES of nature.
CURIOSITY The key to youth, playfulness, awe, and inspiration - encouraging curiosity helps us SEE ORDINARY OBJECTS IN A NEW LIGHT.
C a s a M il a , Ba r c e l o n a
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URBAN PLAZA
FICUS FOREST January 2016 Hand-rendering, AutoCAD Recently returned from Costa Rica, I chose the fascinating Strangler Fig as my muse for this urban plaza. Experiences hiking through the cloud forest, zip-lining above the tree canopy, and climbing through the hollow of a strangler, inspired me to design a site with both a ground and elevated plane. An urban oasis, I wanted to provide visitors with the opportunity to engage with a “jungle� landscape through as many diverse adventures as possible. Monteverde Cloudforest Biological Reserve Costa Rica, February 2015
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E : E le v a ti o n o f m a i n ent r anc e f r om S out h
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Organic Lines create woven patterns of layers and depth
A: View of plaza from West
Permeable Enclosure provides both a sense of security and intrigue
C: View of strangler from West
Mystery & Anticipation whether wandering through a forest or climbing a strangler fig
CONCEPT DIAGRAMS D: View of boardwalk from West
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Site Plan
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PLANTING COMPOSITIONS Form & Texture Study Using temperate plants, the rhythm of this garden mimics the dense layers of texture and distinct forms found in the cloudforests of Costa Rica.
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Bromeliads, 2015 Monteverde, Costa Rica Watercolor
Dicentra spectabilis Rhododendron ‘Conleb’ Encore Autumn Embers
Heuchera sanguinea ‘Splendens’ Cornus florida ‘Cherokee Chief’ Dryopteris erythrosora ‘Brilliance’ Cornus alba ‘Sibirica’ Astilbe ‘Burgunderrot’ Hamamelis x intermedia ‘Rubin’
Mahonia bealei
PLANTING PLAN While surrounded by a sea of green, I wanted visitors to be surprised by pops of color. Complementary reds were chosen to leap out in flowers or foliage throughout the year. To add variety to the palette, yellow-green cultivars are interspersed throughout the plaza as well.
Rhododendron ‘Nova Zembla’
Carex oshimensis ‘Everillo’ Illicium parviflorum ‘Forest Green’ Lysimachia nummularia ‘Aurea’ Hosta ‘Orange Marmalade’
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[2016 EPA Campus RainWorks Challenge Honorable Mention] EAST GEORGIA STATE COLLEGE MASTER PLAN
CAMPUS IN THE PINES October 2016 - February 2017 Hand-rendering
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A: Perspective of promenade fronting Pa’s Pond
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My approach for EGSC centered on accentuating the unique environmental resources of the campus, using the natural topography to choreograph sequences past iconic vistas of lakes surrounded by longleaf pines. By programming connected communities and a campus “village,” I was able to bring the 249-acre campus to a more pedestrian scale.
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This project began in fall 2016, when I co-led a group of 6 to produce a green infrastructure and stormwater management plan for East Georgia State College (EGSC). The following spring, I was selected to design the final physical master plan from my “String of Lakes” concept.
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Problem Statement While tourism brings in essential revenue to Cortona, a challenge has risen to balance its economic stability while preserving its “essence.” In keeping with the principles of ecotourism, a new master plan needs to protect Cortona’s unique sense of place, while enhancing the quality of life for both its citizens and visitors.
Approach The proposed master plan for Cortona is conceptually rooted in the relation of three motifs from Alexander’s A Pattern Language. Each pattern models path, place, and portal, respectively.
Pattern 1: Network of Learning promotes new educational facilities to augment the existing culture of craft.
Pattern 2: Communal Eating builds a framework to recognize the people, places, and processes behind the production of food from farm to table.
CORTONA MASTER PLAN
CONCEIVING CONVIVIUM
June - July 2017 Hand-rendering, Photoshop, Illustrator
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Pattern 3: Main Gateway redesigns an existing entrance into Cortona with a new gateway that acts as an invitation to the city (pages 22-23).
American theologian Thomas Merton wrote “to call a feast ‘convivium’ is to call it a ‘mystery of the sharing of life.’” The goal of this master plan is to extend the magical qualities of the kitchen table to the piazzas and the streets, making enter Slow Food C them places of social gathering, craft, and learning.
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N TRIANGULATION CONCEPT The plan delineates three districts that address the distinct character and function of key neighborhoods in Cortona. Ultimately, a network of learning will form paths between the three districts (places) and a new gateway will act as a portal.
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DISTRICT 1
Nodes of Activity Concept Sketch
Home Gardens & Workshops By creating a stronger relationship between the home workshop/garden and the street, there is something to be gained by both the worker and the community by improving the connection between the two.
Figures 1&2
Currently, one has to peer behind closed gates to get glimpses of terraced gardens like the one above. Cortona, July 2017
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Page 23
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Figure gure 1: This currently barren “park” park could become a popular node of activity.
Nodes
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Figure 2: Adding more greenery, this space transforms into a small garden retreat.
Nodes of Activity 1
N
Each district will be composed of paths that draw together into one or more “nodes of activity” that support various community functions. Several small public squares in Cortona are underutilized. Rather than a physical redesign, most of these spaces only require strategic programming and facilities that support mutual functions, such as evening entertainment or a market place.
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SITE DESIGN Welcome Center & Entry Sequence As the new gateway into Cortona, a portal with its own sense of place was a driving force behind this design. The journey of anticipating, arriving, and belonging is experienced as one traverses the site and terminates at the new Welcome Center. Critical to the design was the balance of mystery and discovery, the formal of the Italian Baroque garden and the irregular, odd angles that give Cortona its magical quality.
Site Reconnaissance
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Gateway & Bridge to street
Clock Tower
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Site Plan N 23
ATLANTA BELTLINE POCKET PARK
REYNOLDSTOWN NEIGHBORWOOD September - October 2016 AutoCAD, Photoshop, InDesign The Atlanta BeltLine is a comprehensive transportation and economic redevelopment project that connects 45 in-town neighborhoods via a 22-mile loop. This small park, located next to a post-industrial site and amongst singlefamily residences, will become part of the BeltLine’s Arboretum.
A-A’: Section view of overlook
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A
Design Proposal
A’
Site Analysis
A TreeKeeper’s Hideaway The design of this pocket park is meant to engage people with urban nature and provide a habitat for them to explore our innate need to affiliate with the environment. An educational space for Trees Atlanta, play space for children, and refuge for the neighboring community, this site emphasizes green space as a way to contribute to human health and well-being.
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Influential Landscapes of Protest “We pledge our services.� -The New Landscape Declaration1
By Danielle Schwartz,
MLA 2018
Women’s March in Atlanta, Centennial Olympic Park Drive, photo by Arianne Wolfe.
Stewardship has been an intrinsic and essential component to landscape architecture since its inception. Whether designing for people, natural ecosystems, or in Olmsted’s case, both, we were all drawn by the romantic notion that through shaping the landscape, we could improve the lives of all organisms. As humans, however, we have a tendency to distance ourselves from what is not immediate or IDPLOLDU 3HUKDSV LW ZDV D EHQHÀFLDO VXUYLYDO WDFWLF IURP an evolutionary standpoint, but today, to be fearful of what’s different is a dangerous shortcoming. It has become too easy to fall into the trap of Othering. :H ORRN IRU WKH LQKXPDQLW\ LQ RWKHUV DQG ÀQG RQO\ humanity in ourselves. But landscape architects are trained to see systems. Our profession is transdisciplinary because we know the value of diverse perspectives. Like an ecosystem, the resiliency of the global community is based on our ability to foster and safeguard relationships across divergent cultures, ideologies, traditions, politics, etc. If design is an expression of our values, then public space needs to advance individual and collective liberty by widening the scope of participants, challenging public apathy, and initiating critical dialogue. However, more than just changing the physical structure of
Boston Harbor, Boston Boston Tea Party, 16 December 1773
Kent State University, Kent Kent State shootings, 4 May 1970
Place de la Bastille, Paris Storming of the Bastille, 14 July 1789
Azadi Square, Tehran Iranian Revolution, October 1977
Decembrists’ Square, St. Petersburg Decembrist Uprising, 26 December 1825
Plaza de Mayo, Buenos Aires Madres de Plaza de Mayo, 30 April 1977
Union Square, N.Y.C. Great Sumter Rally, 20 April 1861
Pureora Forest Park, New Zealand The Tree Sitting of Pureora, 1978
Trafalgar Square, London Bloody Sunday, 13 November 1887
Tiananmen Square, Beijing Tiananmen Square massacre, 4 June 1989
Epsom Downs Racecourse, Surrey Suffragette Movement, 4 June 1913
Wenceslas Square, Prague Velvet Revolution, November 1989
National Mall, Washington, D.C. March on Washington, 28 August 1963 present
Independence Square, Kiev Orange Revolution, Nov. 2004 - Jan. 2005
Edmund Pettus Bridge, Selma Civil Rights Movement, 7 March 1965 Plaza de las Tres Culturas, Mexico City Tlatelolco massacre, 2 October 1968
The Arch, Athens Numerous protests since the 1800s
“There we were, literally in the lap of power of our country framed by the capitol and the Washington Monument on either end. I never felt threatened or cornered; the boulevards, streets, and signage kept us bouyed up on the gray day. This is what good design can do for us in the face of profoundly serious engagement in the democratic process.� Quote from a Women’s March participant (21 January 2017)
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2017 Georgia Landscape Magazine
space, our profession needs to become deeply engaged in a paradigm shift that transforms how we conceptualize and interact with the environment and each other. In June 2016, over 700 landscape architects were assembled by the Landscape Architecture Foundation (LAF) to craft “a new vision for landscape architecture for the 21st century.� The outcome, the New Landscape Declaration, is a call to action to build a culture of “inclusive leadership [and] advocacy� by strengthening alliances across diverse interests and professions. With the rising number of increasingly complex, interrelated environmental, social, and economic challenges, we need all voices in order to develop transformational solutions. This includes the often excluded, forgotten, and oppressed. It includes people who are of all nationalities, color, ability, age, beliefs, gender identity, and sexual preference. It includes immigrants and refugees. If “humanity’s
common ground is the landscape itself,â€? then we need to design public spaces that enhance tolerance and provide a platform for peaceful protest.2 There is nothing more truly artistic or revolutionary as broadening our circle of compassion to embrace all people and creatures. Landscape architect and theorist, James Corner, whose projects include the New York High Line, asserts that during this time when “democracy is being challenged,â€? public city squares are “great spaces for people to be exposed to other people—people who are not like themselves.â€?3 We need to design spaces where disparate ideas and people casually collide. As understanding grows and intimate connections are formed, the public sphere can cultivate insurgent acts of empathy. $V WKH VFDOH DQG VFRSH RI RXU LQĂ XHQFH DQG SURMHFWV JURZ designers need to remember that all landscapes are potential sites
Womeon’s March in Atlanta, photo by Arianne Wolfe. Womeon’s March in Washington, D.C. (right) by Melissa Tufts.
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Tahrir Square, Cairo Egyptian Revolution, 25 January 2011
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for revolution. Whether it’s a port, bridge, or piazza, we need to At times, our profession has ignored various give artistic physical form and function “to the ideals of equity, groups of people in the pursuit of progress. sustainability, resiliency, and democracy.�4 A well-designed space Recently, the field of landscape architecture should foster physical and psychological well-being, showcase has been trying to address this tendency. At pluralism, and encourage diversity. To build an identity of activism in our profession, we need the CED, this is reflected in this year’s lecture to use our unique position as curators of the common ground to series, gallery exhibits, and the formation of raise awareness of the most extensive and pressing issues of our a Diversity Committee. time. Vaughn Rinner, president of ASLA, who visited the CED last September, urged us burgeoning landscape architects, planners, 1,4 “The New Landscape Declaration.� Landscape Architecture Foundation. Accessed and preservationists to be ambassadors to our clients, families, and communities. We need to be bold and ambitious as leaders and in our March 16, 2017. 2 Green, Jared. “An Ambitious Vision for the Next 50 Years: The New Landscape vision of a more sustainable and equitable future.
Declaration.� The Dirt (blog). October 24, 2016. Megson, Kim. “Well-designed public squares can enhance tolerance during volatile political times, says James Corner.� CLAD. February 8, 2017.
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LANDSCAPES OF PROTEST “We pledge our services.” - The New Landscape Declaration Stewardship has been an intrinsic and essential component to landscape architecture since its inception. Whether designing for people, natural ecosystems, or in Olmsted’s case, both, we were all drawn by the romantic notion that through shaping the landscape, we could improve the lives of all organisms. As humans, however, we have a tendency to distance ourselves from what is not immediate or familiar. Perhaps it was a beneficial survival tactic from an evolutionary standpoint, but today, to be fearful of what’s different is a dangerous shortcoming. It has become too easy to fall into the trap of Othering. We look for the inhumanity in others and find only humanity in ourselves. But landscape architects are trained to see systems. Our profession is transdisciplinary because we know the value of diverse perspectives. Like an ecosystem, the resiliency of the global community is based on our ability to foster and safeguard relationships across divergent cultures, ideologies, traditions, politics, etc. If design is an expression on our values, then public space needs to advance individual and collective liberty by widening the scope of participants, challenging public apathy, and initiating critical dialogue. However, more than just changing the physical structure of space, our profession needs to become deeply engaged in a paradigm shift that transforms how we conceptualize and interact with the environment and each other. In June 2016, over 700 landscape architects were assembled by the Landscape Architecture Foundation (LAF) to craft “a new vision for landscape architecture for the 21st century.” The outcome, the New Landscape Declaration, is a call to action to build a culture of “inclusive leadership [and] advocacy” by strengthening alliances across diverse interests and professions. With the rising number of increasingly complex, interrelated environmental, social, and economic challenges, we need all voices in order to develop transformational solutions. This includes the often excluded, forgotten, and oppressed. It includes
people who are of all nationalities, color, ability, age, beliefs, gender identity, and sexual preference. It includes immigrants and refugees. If “humanity’s common ground is the landscape itself,” then we need to design public spaces that enhance tolerance and provide a platform for peaceful protest. There is nothing more truly artistic or revolutionary as broadening our circle of compassion to embrace all people and creatures. Landscape architect and theorist, James Corner, whose projects include the New York High Line, asserts that during this time when “democracy is being challenged,” public city squares are “great spaces for people to be exposed to other people-people who are not like themselves.” We need to design spaces where disparate ideas and people casually collide. As understanding grows and intimate connections are formed, the public sphere can cultivate insurgent acts of empathy. As the scale and scope of our influence and projects grow, designers need to remember that all landscapes are potential sites for revolution. Whether it’s a port, bridge, or piazza, we need to give artistic form and function “to the ideals of equity, sustainability, resiliency and democracy.” A well-designed space should foster physical and psychological well-being, showcase pluralism, and encourage diversity. To build an identity of activism in our profession, we need to use our unique position as curators of the common ground to raise awareness of the most extensive and pressing issues of our time. Vaughn Rinner, president of ASLA, who visited the CED last September, urged us burgeoning landscape architects, planners, and preservationists to be ambassadors to our clients, families, and communities. We need to be bold as leaders and in our vision of a more sustainable and equitable future.
WRITING & LAYOUT SAMPLE
GEORGIA LANDSCAPE MAGAZINE Last year, I was co-editor of layout for the 2017 issue of Georgia Landscape Magazine, an annual student-run publication. This is a sample of one of the articles I wrote and put together.
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WATERCOLOR & SKETCHES
ARTWORK 28
ZINE
C E +D B O O K C LU B HOW TO MAKE A ZINE: fold
Begin
fold
fold
cut so there’s a slit in the middle
ZINE /zēn/zeen/ noun 1. Short for magazine or fanzine 2. Most commonly a small-circulation self-published work of original or appropriated texts and images, usually reproduced via photocopier, often motivated by a desire for self-expression, not for profit*
fold pop it out
* art.uga.edu/dodd-library fold End
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Thank you! Danielle Schwartz T: +1 404.291.5870 E: schwartzdns@gmail.com