f2016 bailey portfolio cv by elizabethcbailey

elizabeth claire bailey 2016 LANDSCAPE ARCHITECTURE & GRAPHIC DESIGN

PROFESSIONAL EXPERIENCE

ELIZABETH CLAIRE BAILEY

2 elmwood place asheville nc 28804 919.624.1699 | bethbailey4@gmail.com

EDUCATION UNIVERSITY OF VIRGINIA CHARLOTTESVILLE VA Master of Landscape Architecture 2011 UNIVERSITY OF NORTH CAROLINA AT CHAPEL HILL Bachelor of Fine Arts Degree in Studio Art Additional focus in Biology & Environmental Sciences december 2004 | gpa 3.7 | Dean’s list NORTH CAROLINA STATE UNIVERSITY Lifelong education student in landscape design & horticulture | spring 2006

ACADEMIC HONORS UNIVERSITY OF VIRGINIA SCHOOL OF ARCHITECTURE REUBEN RAINEY GRADUATE SCHOLARSHIP UNIVERSITY OF VIRGINIA SCHOOL OF ARCHITECTURE KENNETH R HIGGINS GRADUATE FELLOWSHIP NOMINATION TO THE UNIVERSITY OF VIRGINIA RAVEN SOCIETY:

‘The oldest and most prestigious honorary society at the University of Virginia’

PV SYSTEMS DESIGNER [ SOLAR ENERGY INTERNATIONAL PROFESSIONAL SERVICES ] 2014-PRESENT Solar array layout, site shading analysis, construction documents, CAD Management DESIGN CONSULTANT [ ROOTS|FIRST ] 2015 | ASHEVILLE NC Graphic and landscape design for an emerging firm based in Asheville and Winston-Salem NC GRAPHIC DESIGNER [ WILD VIRGINIA ] 2014-2015 | CHARLOTTESVILLE VA Redesign of print.- new brochure as well as programs for the Wild & Scenic Film Festival. LANDSCAPE DESIGNER 2012-2015 | CHARLOTTESVILLE VA [ MARY WOLF LANDSCAPE ARCHITECT ] & [ SOPHIE JOHNSTON LANDSCAPE ARCHITECT ] Provide site design, research, planting plans, and details for high-end residential clients in Charlottesville and surrounding areas. Create presentation documents, 3d models, renderings,planting plans, and construction documents. Conduct client meetings; aid in construction administration and material sourcing. LANDSCAPE RESEARCH ASSISTANT [ ECOMOD SOUTH ] UVA SCHOOL OF ARCHITECTURE | 2012-2013 Site planning, research, planting design, and installation for the ecomod south projects in south boston and abington, va (faculty advisors: JohnQquale & Nancy Takahashi ecomod.virginia.edu PROJECT MANAGER OF COMMUNICATIONS AND OUTREACH [ OFFICE OF THE DEAN, UVA SCHOOL OF ARCHITECTURE ] 2012-2013 | DEAN KIM TANZER Graphic design of publications, press, and posters in both digital and print media. Center for Design & Health graphic designer and outreach coordinator. INTERN DESIGNER [ NELSON BYRD WOLTZ ] MAY 2008-AUG 2009 | CHARLOTTESVILLE VA Prepared analytical and schematic diagrams and documents. Planned and designed projects from schematic phases though to construction documents with principal, senior, and staff designers. Projects ranged in scale from residential to university campuses. Highly active in the firm’s conservation agriculture studio, developing strategies for sustainable design and construction. Contributed significantly to an overhaul of the firm’s website. EXTERN [ GUSTAFSON GUTHRIE NICHOL ] JANUARY 2011 | SEATTLE WA Helped on a range of projects- mostly cad and intial site study analysis for a university of washington project. EXTERN [ NELSON BYRD WOLTZ ] JANUARY 2008 | CHARLOTESVILLE VA Helped on a variety of projects from residential planting plans to a rendering for citygarden: a three-acre, two block sculpture garden in St Louis, MO GROUNDS KEEPER [ PRIVATE ESTATE ] JANUARY 2006-JUNE 2007 | DURHAM NC Aided in developing an overall site plan for the property. Maintained grounds and installed plants on the 30 acre site. Built a ceremonial tea house with felled cedar harvested from the property. Worked on a pamphlet to educate visitors to the property and to document the extensive variety of plants. Participated in a native plant rescue program.

TEACHING & RESEARCH TEACHING ASSISTANT [ UVA SARC ] SUMMER 2011 SUMMER DESIGN INSTITUTE, PROFESSORS BETH MEYER + MAURICE COX, HEAD TA JANA VANDERGOOT

Teaching, curriculum planning, and coordination for incoming graduate students in architecture and landscape architecture. Work included planning curriculum and projects, devising and holding skill workshops, desk critiques, creating class resources, and staging exhibit of student work. HEAD TEACHING ASSISTANT [ UVA SARC ] SPRING 2011 PLANTED FORM + FUNCTION, PROFESSOR JULIE BARGMANN Prepared handouts and led tutorials for school and course wiki page for planted form + function, held desk critiques, and helped to develop grading rubric and evaluation for the course. TEACHING ASSISTANT [ UVA SARC ] FALL 2010 HISTORY OF LANDSCAPE DESIGN, PROFESSOR ETHAN CARR Lead discussion sections, diagramming, and sketch workshops. RESEARCH ASSISTANT [ UVA SARC ] FALL 2007 PROFESSOR KRISTINA HILL Assisted in editing the manuscript for her forthcoming book “Landscape Urbanism in the Pacific Northwest: New Design for Cities”

ET CETERA: PUBLICATION, EXHIBITION, & AWARDS VIRGINIA ASLA PROFESSIONAL DESIGN MERIT AWARD 2016 The 1/8 acre ‘Working Garden’ project was completed in 2014 at Mary Wolf Landscape Architect (now WOLF|JOSEY) w/ myself as the Project Designer and Mary Wolf as Lead, w/ much collaboration from General Contractor, Darren Young, of Willow Tree Construction. [september 2016] UVA SCHOOL OF ARCHITECTURE YOUNG ALUMNI COUNCIL COMMUNICATIONS CHAIR [ AYAC ] [2014-PRESENT]

ARCHITECTURE MAGAZINE 2013 R+D AWARD FOR ECOMOD SOUTH Considered the most important research and development award in architecture, ecomod south was one of eight recipients of this year’s award [august 2013] http://www.architectmagazine.com/awards/r-d-awards/2013-r-d-awards-winner-ecomod_o DOUBLE DOODY: REMEDIATING THE GOWANUS CANAL Design entry in the GbD Water_Works competition in collaboration with Melissa Elliott and Daphne Lasky. Entry featured in the Gowanus by Design exhibit at the Old American Can Factory Gallery 232 third street brooklyn, ny [may 22, 2013] TEMPLEHOF INTERNATIONAL DESIGN COMPETITION w/ professor Jorg Sieweke, Tom Hogge, Jennifer Jones, and David Malda [spring 2010] 2013 DMY INTERNATIONAL DESIGN FESTIVAL BERLIN ‘thf park “mowing for freedom”’ [ summer 2013 ] paradoxcity.net/2013/06/06/templehofer-freiheit-mow-party/

ADMINISTRATIVE EDITOR, LUNCH: VOL. 7 AND PAPER MATTERS Worked with architecture department chair, Iñaki Alday, students Jack Cochran, Joey Hays, and Charles Sparkman to develop a publication course for the spring of 2013 that would focus, not only on the production of the journal, but serve as a means for students to investigate issues pertaining to graphic representation; to critically analyze work within SARC; to help design students develop skills in writing and scholarship; and to investigate directions in the fields of architecture, landscape, preservation, and planning. Additionally, my involvement focused on procuring a sustainable source of funding for future editions of the student-run journal. SENIOR EDITOR, LUNCH: SYSTEMS VOL. 6 Organized group of fifteen copy-editors, developed content and design for journals, selected submissions, and wrote grants and fundraised for nearly $20,000 to support journal. Vol. 6 Became first journal in series to achieve financial stability, be printed in full-color, and completely sell out of copies. uvalunch.com CONTRIBUTING AUTHOR & COPY EDITOR, LUNCH: FLUX VOL. 5 ‘After the Storm: Social Space as Flexible Infrastructure’ edited work: ‘Wild Food, Water Wells, Location Markers: Studies of the Body, Environment, and Art in a Landscape of Food’ by Jana Vandergoot REBOUND | GROUP DESIGN AND FABRICATION PROJECT w/ Hugo Fenaux, Brittany Olivari, Callie Broaduus & Adam Poliner Winner of ACCIAC fellows in creativity and innovation award; chosen to be exhibited in the 2013 AIA emerging professionals annual exhibit; awarded honorable mention at the 2012 appalachian state university 7th annual chair design competition; finalist in the 2012 UVa presidential research poster competition; published in lunch 7 EUROPEAN MASTER IN LANDSCAPE ARCHITECTURE [EMILA] WORKSHOP | FALL 2011 One of six students chosen to participate in a 10 day international workshop focused on landscape identity as a basis for a proactive approach to ‘conservation through development’ with an emphasis on rural cultural landscapes in the netherlands. Led by professor Jorg Sieweke. UVa was the only US university to be invited. MORVEN RESEARCH INSTITUTE Works selected to be presented at 2011 dean’s forum ‘a garden, a table, a classroom’ and ‘barns & bath house’ [fall 2011] WOLTZ SYMPOSIUM ON ADAPTIVE INFRASTRUCTURE Helped to curate an exhibition for the school of architecture w/ professor jorg sieweke [fall 2009] SCRABBLE SCHOOL Helped with the installation of a multimedia wall for the acsa award winning project “reconstructing the memory of the scrabble school” w/ david malda [fall 2009] VICENZA PROGRAM | SUMMER 2011 Learned and honed skills in drawing and observation while traveling in the veneto region of italy. DEW STUDIO | FALL 2009 Travelled to new orleans, louisiana to study the future role of landscape architecture on flood-control and infrastructure policy and design. DEW STUDIO | SPRING 2008 Travelled to barcelona, spain to study form, experience, and identity of public space from the exemplary urban models and strategies of the barcelona urban landscape.

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WORKING GARDEN CHARLOTTESVILLE, VA

Am (3) Li (12)

2016 VA Am ASLA Professional Merit Award (3) Sol 'F' Mary Williams Wolf Landscape Architect (4) Li Ach (12) (8)Willow Tree Contruction Darren Young, As (17)

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ASTER NOVEA- ANGLIAE (As)

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LIATRIS MICROCEPHALA (Li)

(50)

MONARDA 'RASPBERRY WINE' (Mon)

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PEROVSKIA 'FILIGRAN' (Per)

(50)

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(50)

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Dickenson Residence POLLINATOR / PERENNIAL SLOPE PLANTING

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ECHINACEA 'SUNDOWN' (Ech)

(50)

LIATRIS MICROCEPHALA (Li)

(50)

MONARDA 'RASPBERRY WINE' (Mon)

(19)

PEROVSKIA 'FILIGRAN' (Per)

(50)

SOLIDAGO RUGOSA 'FIREWORKS' (Sol)

(50)

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SOLIDAGO RUGOSA 'FIREWORKS' (Sol)

EXISTING VITEX ON NEIGHBOR'S PROPERTY

(3)RIBES UVA-HIRTELLUM x GROSSULARIA ' GLENDALE'; GOOSEBERRY 4'-5' O.C.

VERBENA STRICTA (Ver)

MONARDA 'RASPBERRY WINE' (Mon)

PEROVSKIA 'FILIGRAN' (Per)

ASTER NOVEA- ANGLIAE (As)

LIATRIS MICROCEPHALA (Li)

AMSONIA HUBRICHTII (Am)

(8) CLETHRA ALNIFOLIA; SUMMERSWEET 3' O.C.

ECHINACEA 'SUNDOWN' (Ech)

ACHILLEA MILLEFOLIUM 'PAPRIKA' (Ach)

(2) PRUNUS 'STANLEY' OR 'PLUMCOT'; PLUM

CLEMATIS PANICULATA; SWEET AUTUMN CLEMATIS

MARY WILLIAMS WOLF LLC

1911 East Market Street Charlottesville Virginia, 22902 T 434.825.6678

mwilliamswolfLA@gmail.com

(14) FOTHERGILLA GARDENII 'MOUNT AIRY'; DWARF FOTHERGILLA 3' O.C.

COMPOST

VEGETABLE

(5)VACCINIUM ASHEI 'TIFBLUE' 'POWDERBLUE', CLIMAX' , 'PREMIER' & 'CENTURION'; BLUEBERRIES; 4'-5' O.C.

(2) RUBUS IDEAUS 'HERTAGE'; RED RASPBERRY (2) RUBUS OCCIDENTALIS 'JEWEL'; BLACK RASPBERRY

LAWN

RHUBARB

VEGETABLE

SEE ENLARGED POLLINATOR PLANTING PLAN

(9) MYRICA CERIFERA 'DON'S DWARF'; DWARF WAX MYRTLE alt. INKBERRY HOLLY 'NIGRA' or VIBURNUM NUDUM 'WINTERTHUR'; 4' O.C. FILL IN WITH ROSEMARY, CHIVES, CULINARY SAGE, TRANSPLANTED PEONY, IRIS, GERANIUM

LAWN

NO.

Date

Issues/Revisions

08/27/2013 09/06/2013 09/13/2013 09/16/2013

CARDOON

ROSEMARY

ASPARAGUS

STAMP

(18) AMSONIA HUBRECHTII; THREADLEAF BLUE STAR 18" O.C. NEPETA 'WALKER'S LOW' AND SALVIA PURPUREA 12" O.C.

AUTUMN FERN

NOT FOR CONSTRUCTION PROJECT NAME

Dickenson Residence

AUTUMN FERN 90 SQ FT

CAREX 162 SQ FT

(2) AMELANCHIER LAEVIS 'AUTUMN BRILLIANCE'; SERVICEBERRY MULTI-STEMMED

PROJECT NO.: DRAWN BY: CHECKED BY: (1) VITIS LABRUSCA ' CONCORD GRAPE FICUS CARICA 'BROWN TURKEY' FIG MALUS X DOMESTICA; APPLE TREES 'WINESAP', 'GRIMES GOLDEN' or 'RAMBO' alt. PLUM

SITE PLAN

(3) ILEX VERTICILLATA 'RED SPRITE' WINTERBERRY HOLLY 3' O.C. (10) ITEA VIRGINICA 'LITTLE HENRY'; VIRGINIA SWEETSPIRE; 30" O.C.

(5) ILEX VERTICILLATEA 'RED SPRITE' WINTERBERRY HOLLY; 3' O.C.

DRAWING TITLE

Planting Plan

(4) VBURNUM PRUNIFOLIUM; BLACKHAW VIBURNUM 12' O.C. UPRIGHT TREE FORM

DATE: SCALE: 41"=1'- 0"

2'-3' MOWN LAWN BORDER TO STREET OR SIDEWALK

DRAWING NUMBER

L3.00

RESIDENTIAL DESIGN â&#x20AC;&#x2030;â&#x20AC;&#x160;ALBAMARLE CO, VA

Sophie Johnston Landscape Architect Stonework & Carpentry, Lithic Construction Pool and entertaining terrace next to an existing guest house on the property of an historical mill in Albamarle Co. A complicated project with many different topographic and structural limitations that required creative earthwork solutions and lots of walls. I was responsible for bringing the design through to CDs, coordinating with the structural engineer to design and draw the many free-standing and retaining walls that were needed to accomodate the large swimming pool, commercial-sized diving board and plinth, as well as a shade structure.

BRICK WALL W/ SHADE STRUCTURE

STONE WALL W/ SHADE STRUCTURE POST 1 & 2

STONE VENEER RETAINING WALL

DIVING PLINTH SECTION, CROSS-SECTION, & ELEVATION

BRICK VENEER RETAINING WALL

BRICK WALL OF STORAGE CUPBOARD & SHED

DOUBLE-SIDED BRICK VENEER WALL

BRICK WALL W/ SCULPTURE NICHE

BRICK WALL AGAINST MECHANICAL SPACE

UNIVERSITY OF VIRGINIA - CHARLOTTESVILLE, VIRGINIA

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Beth Bailey, M. LARC 2012 U. of Virginia Erik De Los Reyes, B. A. 2011 U. of Virginia Elizabeth Rivard, B. A. 2011 U. of Virginia Michael Britt, B. Arch. 2006 U. of Kansas

Since 2004, in an effort to find sustainable and affordable solutions for affordable housing organizations, interdisciplinary teams of UVA students have been working with the ecoMOD project to design, build and evaluate low-cost energy efficient housing prototypes. The ecoMOD project is a design-build-evaluate program led by Professor John Quale at the School of Architecture at UVA. The program focuses primarily on producing affordable, sustainable and energy-efficiency homes using prefabricated, modular home construction techniques. Since August of 2011, a small research and development team funded by the Virginia Tobacco Indemnification and Revitalization Commission has been investigating designs for commercial units based on the ecoMOD4 prototype (completed and occupied in 2010). In collaboration with Cardinal Homes Inc., SIPS of America, Southern Virginia Higher Education Center and a Passive House consultant, the team is researching alternative building techniques, materials, systems and off-site construction strategies in order to construct four affordable, energy-efficient homes for low-income families. In September of 2012, the four units will be delivered to the affordable housing partners: People Incorporated, and Southside Outreach based in Southwest and Southside Virginia, respectively.

UVa School of Architecture; Professors John Quale & Nancy Takahashi Michael Britt, Erik De Los Reyes, & Elizabeth Rivard

LO C

â&#x20AC;&#x2030;SOUTH BOSTON, VA & ABINGTON, VA

Acting as the project manager of the Tobacco Commission Research Grant, the UVA team has converted the ecoMOD4 prototype design into a commercially viable set of modular home units.The goal is to assist in delivering the first affordable, sustainable, prefab and eventually passive houses to the residential markets of Virginia. The team has worked in tandum with Cardinal Homes, Southside Outreach, and People Inc. in order to facilitate a comprehensive design package for the grant project.

UPA

NTS

ITY

In an effort to more effectively understand our priorities throughout the design process, the team has created an analytic model to assist in decision making and discussions with community partners. The model attempts to quantify a wide range of parameters on a number of different scales, ranging from general project goals to manufacturing processes of individual building products. It is our hope that this model can be used in the future to assist in the continued project development for the possible next phases of research funding and use in future ecoMOD projects.

ANALYTIC MODEL DEVELOPMENT

MINIMUM

MEAN

MAXIMUM

TREES (canopy and understory) Red Maple, Acer rubrum ‘Sun Valley’ Sweetbay Magnolia, Magnolia virginiana Serviceberry, Amelanchier Canadensis

SHRUBS Blueberry, Vaccinium ashei ‘Tifblue’ Dwarf Blueberry, Vaccinium x ‘Tophat’ Virginia Sweetspire, Itea virginicus ‘Henry’s Garnet’

PERENNIALS & GRASSES Wand Flower, Guara lindeimeri ‘Whirling Butterflies’ Little Bluestem, Schizachyrium ‘Standing Ovation’ Hummingbird Mint, Agastache ‘Tutti-Frutti’ Black-eyed Susan, Rudbeckia fulgida ‘Goldstrum’ Toffee Sedge, Carex flagelilfera

site plan - south boston

100

STORMWATER CALCULATIONS

SOIL INFORMATION ecoMOD South South Boston, VA; Abingdon, VA University of Virgnia

School of Architecture School of Engineering & Applied Science quale@virginia.edu Charlottesville, VA 22904

ecoMOD Project Director

TEMPORARY SEEDING

John Quale, Associate Professor quale@virginia.edu [p] 434.924.6450

ecoMOD Engineering Director

Paxton Marshall, Professor marshall@virginia.edu [p] 434.243.4986

Client

Southside Outreach 547 Main Street South Boston, VA 24592

People Inc. 1173 West Main Street Abingdon, VA 24210

KEY NOTES SF

SS TS

TS TS

LEGEND SF

REVISIONS: 1

PROGRESS SET - 08.27.12

SHEET NUMBER

L-140

NOT ISSUED FOR CONSTRUCTION

PV SYSTEM DESIGN Solar Energy International Professional Services & Engineering Layout, wiring diagrams, details, and shading analysis for 1.18MW to 27MW ground-mount fixed-axis PV Solar Farms, as well as, commercial rooftop PV Systems. These are systems are grid-direct systems tied to the existing utility grid, intended to be operated in parallel with the utility service provider.

STRUT TO RACKING SECTION GROUNDING DETAIL NTS

INVERTER & SUBPANEL MOUNTING DETAIL

NTS

CARPORT PV EQUIPMENT MOUNTING NTS

INVERTER MOUNTING DETAIL NTS

RACKING SECTION TO RACKING SECTION GROUNDING DETAIL NTS

MULTIPLE CONDUIT IN TRENCH DETAIL NTS

ARRAY GROUNDNG & SOURCE CIRCUIT PLAN

0 1" = 25'-0"

SOURCE CIRCUIT WIRING DETAIL 1/2" = 1'-0"

OAKENCROFT FARM ALBAMARLE COUNTY, VA

Nelson Byrd Woltz Landscape Architects as an intern landscape designer The masterplan for this rolling 262-acre farm in central Virginia balances livestock production, vineyards, and production gardens with new goals of improving water quality and biodiversity. The new plan incorporates rotational cattle grazing, ecologically balanced crop production, native forest and meadow plantings, stream restoration, and pond design to ensure that land cultivation will enrich and preserve the regional landscape. The masterplan for this rolling 262-acre farm in central Virginia represents the culmination of a unique collaboration between a team of scientists from SUNY College of Environmental Science and Forestry and NBW’s Conservation Agriculture Studio. This is the first NBW project to undertake a “bio-blitz” exercise. The bio-blitz documented the current site’sw biodiversity in prder to provide a reliable baseline from which to assess the future success of the design. Our ultimate goal with this masterplan was to establish a sustainable balance between agricultural production and ecological conservation. Specifically, this new approach to farming in Virginia strives to integrate organic livestock production, viticulture and vegetable production with an intensive riparian, forest and open-land restoration/conservation effort. The plan incorporates rotational livestock grazing, extensive warm season meadows/ ‘open-land’ habitats, organic vegetable production, an existing vineyard, riparian corridor and habitat restoration, 15 acres of proposed wetland, invasive species removal/ forest restoration, and a family homestead into a complex, yet selfcontained, sustainable working farm system

The Conservation Agriculture Studio, a project of NBW, is a strategic association of designers, scientists, and landowners that works collaboratively to reinvision the productive and symbolic potential of cultivated landscapes. Through its work, the studio seeks to uncover and express the unique character and ecology of each site, while augmenting existing and/or future agricultural opportunities. Projects that emerge from the ConAg process are artful and efficacious. They protect and preserve the ecological, cultural, and aesthetic value of cultivated landscapes, while maximizing public benefit through productive conservation. By synthesizing best management practices of sustainable agriculture and conservation ecology with the highest standards of design excellence, the Conservation Agriculture Studio offers a model of landscape stewardship that can address complex needs in uncertain terrain. Currently the studio is responsible for more than 65,000 acres of cultivated land in the United States and New Zealand.

WNC ESTATE CONCEPTUAL PLANTING PALETTES in collaboration with Kate Ancaya of Living Roofs Inc. Planting palettes with seasonal interest diagrams for a Western North Carolina Estate. The garden was conceived for yearround interest, focusing intially on structural plantings with showy winter color.

STRUCTURE WEST GARDEN Create an illusion of effortlessness in the garden with a balance of structure + softness as well as formality + naturalized forms that are always present yet change throughout the year. Plant material to contribute a visual interest through foliage, stems, blooms, and fruit.

Cornus sanguinea ‘Midwinter Fire’ Crategus ‘Winter King’ Hydrangea ‘Annabelle’ Ilex glabra Ilex verticillata ‘Red Sprite’

WINTER

Leucothoe fontanesiana

w w

s f

Cornus sanguinea ‘Midwinter Fire’ Red Twig Dogwood

Multi-stem deciduous shrub; greenish white spring flowers, orange/red foliage in autumn; bright red stems in winter

SPRING

w sp f

Crategus ‘Winter King’ Winter King Hawthorne

Vase shaped deciduous tree with silvery stems; white flower clusters in spring; apple like fruit appear in summer/autumn and persist through winter w

sp s f

Deciduous shrub with large white moplike flowers in spring, flowers persist all summer and turn a light green before golden in the autumn

Annabelle Hydrangea

w sp

Ilex glabra Inkberry

Evergreen shrub with glossy green leaves and small white flowers in spring; more natural looking than a boxwood

Ilex verticillata ‘Red Sprite’ Dwarf Winterberry

Deciduous shrub with green foliage that turns yellow in autumn; bright red berries appear in fall + last all winter

sp s

Hydrangea ‘Annabelle’

s f

SUMMER

Leucothoe fontanesiana Doghobble

Evergreen shrub with a cascading habit; nice loose plant for edge of garden; white bell like flowers in spring

FALL

STRUCTURE WEST WALK Create pockets of plants along water feature to better integrate it into the landscape and connect the West Garden with the Game Room Patio; Use similar plants along walk that are found in West Garden + Game Room Patio; Plant material to be smaller in scale

Arctostaphylos uva-ursi

Cornus sanguinea ‘Midwinter Fire’

Dryopteris marginalis

Ilex glabra

WINTER

Helleborus orientalis

w sp f

w sp

Arctostaphylos uva-ursi Red Twig Bearberry

Evergreen groundcover with green foliage; foliage turns reddish in winter; white flowers in summer; red fruits appear in fall and persist through winter

Ilex glabra Inkberry

Evergreen shrub with glossy green leaves and small white flowers in spring; more natural looking than a boxwood

SPRING

Cornus sanguinea ‘Midwinter Fire’

Red Twig Dogwood

Multi-stem deciduous shrub; greenish white spring flowers, orange/red foliage in autumn; bright red stems

Helleborus orientalis Lenton Rose

Evergreen perennial with attractive leathery green foliage; drooping white - pink/purple flowers in winter / early spring

w sp f

Dryopteris marginalis Wood Fern

Evergreen fern with finely cut, dark green fronds

SUMMER

FALL

(4) Osmanthus x fo Teaolive; 6' O.C.

RESIDENTIAL DESIGN

Arborvitae 4' O.C

â&#x20AC;&#x2030;â&#x20AC;&#x160;RICHMOND, VA

(2) Osmanthus x fo Teaolive; 6' O.C.

(14) Thuja occiden Arborvitae; 4' O.C

Mary Williams Wolf Landscape Architect A residential project in an upscale neighborhood in Richmond VA. Shown are quick Sketch-up and photoshop renderings to show different options of specimen trees along the main axis of the newly designed West Lawn. Color-coded planting plans were overlaid atop a 90% DD plan (that includes grading and new paving) in order to help the client visualize the complexity of her planting plan within the context of her property.

(2) Buxus x 'Green Green Mound Box

(4) Thuja occident Arborvitae; 4' O.C

(7) Hydrangea arb 'Annabelle' 4' O.C.

(4) Ilex 'Nellie R. S Holly; 6-8' O.C.

(1) Cornus florida 'Cherokee Princess' as shown (5) Viburnum dentatum/ Arrowwood viburnum; 4' O.C. (5) Rhododendron vaseyi/ Pinkshell Azalea; 4' O.C. (2) Ilex 'Nellie R. Stevens'/ Holly; 6-8' O.C. (8) Rhododendron 'Roseum Elegans'; 4' O.C. (2) Rhododendron 'Roseum Elegans'; 4' O.C. (5) Rhododendron vaseyi/ Pinkshell Azalea; 4' O.C. (1) Kalmia latifolia Mt. Laurel; 4' O.C. (5) Hydrangea arborescens 'Annabelle' 4' O.C. (4) Osmanthus x fortunei/ Teaolive; 6' O.C.

MARY WILLIAMS WOLF LLC

ortunei/

1911 East Market Street Charlottesville Virginia, 22902

(1) Cornus florida 'Cherokee Princess' as shown

(4) Fothergilla major 'Mount Airy' 4' O.C.

ortunei/

T 434.825.6678

mwilliamswolfLA@gmail.com

(4) Cornus florida 'Cherokee Princess' locations to be staked in the field

ntalis/ C.

n Mound'/ xwood; 4' O.C.

talis/ C.

peony

(2) Viburnum x pragense/ Prague viburnum; 6' O.C.

ex. spiraea

borescens

existing small arborvitae

peony

Stevens'/

peony

dogwood

(5) Spirea japonica 'Anthony Waterer' 3' O.C.

ex. azalea

246 ex. box ex. azalea 4

dogwood

ex. boxwood

250

248

dogwood

247

24 9

ex. large box (prune)

(7) Fothergilla major 'Mount Airy' 4' O.C.

transplant ex. fig

(3) Spirea japonica 'Anthony Waterer' 3' O.C.

(3) Buxus sempervirens/ American Boxwood; 5' O.C.

(5) Spirea japonica 'Anthony Waterer' 3' O.C.

(5) Fothergilla major 'Mount Airy' 4' O.C.

ex. boxwood to remain

6 245

200 SF

ex. holly ex. boxwood

red maple

244

242

243

ex. holly 10 SF

peony

241

dogwood

peony

ex. viburnum

246

90 SF

170 SF

STAMP

(1) Cladrastis kentuckea Yellowood

peony

dogwood

Ex. edge of drive

60 SF

245

(1) Buxus sempervirens as shown

Protect ex. peonies

50 SF

dogwood

244

(6) Buxus sempervirens/ American Boxwood; 5' O.C.

new bed line

ex. azalea

(4) Viburnum nudem 'Winterthur'/Smooth witherod 5' O.C.

Hutcheson Residence

248

247

246

45 SF

ex. rhodo.

ex. boxwood

NOT FOR CONSTRUCTION PROJECT NAME

250

existing bed line

85 SF

ex. boxwood

Issues/Revisions

ex. boxwood

(7) Hydrangea arborescens 'Annabelle' 3' O.C.

ex. boxwood

Date

250

(6) Fothergilla major 'Mount 247 Airy' 4' O.C.

ex. dogwood

NO.

(1) Cornus kousa/ Kousa dogwood as shown

(1) Quercus coccinea/ Scarlet oak 4" cal. (3) Ilex verticillata 'Red Sprite'/Winterberry; 4' O.C. (1) Acer Rubrum 'October Glory'/ Red Maple; (2) Viburnum burkwoodii/ Arrowwood viburnum 5' O.C.

25 SF

(1) Quercus coccinea/ Scarlet oak 4" cal.

dogwood

80 SF

(7) Spirea japonica 'Anthony Waterer' 3' O.C. . (5) Buxus sempervirens/ American Boxwood; 5' O.C.

(2) Viburnum burkwoodii/ Arrowwood viburnum 5' O.C.

Groundcover and Perennials (typ.) 35 SF

(7) Buxus x 'Green Mound' 4' O.C.

(5) Ilex verticillata 'Red Sprite'/Winterberry; 4' O.C.

ex. holly

dogwood ex. rhodo.

(4) Clethra Alnifolia/Summersweet 4' O.C. (3) Cornus florida 'Cherokee Princess'/ Dogwood as shown

(3) Osmanthus x fortunei/ Teaolive; 6' O.C.

90% Design Development

PROJECT NO.:

ex. boxwood

DRAWN BY: CHECKED BY:

(3) Viburnum nudem 'Winterthur'/ Smooth witherod; 5' O.C. (1) Cornus Florida 'Cherokee Princess' TBD; removal of existing TBD

249

ex. boxwood

ex. privet

DRAWING TITLE

Planting Plan

340 SF

(1) Cornus Florida 'Cherokee Princess'/ Dogwood; 5" caliper

248

(5) Rhododendron catawbiense 'English Roseum' 5' O.C.

247

(1) Cornus Florida 'Cherokee Princess' TBD; removal of existing TBD

DATE: SCALE:

1/8" = 1'-0"

DRAWING NUMBER

(5) Osmanthus x fortunei/ Teaolive; 6' O.C. 246

L4.00

KRANKIES BIERGARTEN

& Beer

Conceptual Landscape Design, Graphic Design & Marketing of a biergarten for client, John Bryan’s hipster joint, The Wherehouse, in Winston Salem’s newly penned ‘Innovation District”

recipe for a biergarten to say this place is memorable is an understatement. if you happen upon the inconspicuous entrance to the biergarten at Krankies in downtown winston salem, be sure to wander inside. slip past the rolling tree boxes for a combination of beer, food, coffee, games, and an overwhelmingly lush and vibrant atmosphere that will please even the hardest to please in your crowd. krankies is hip, yet laid back. heck, you might forget that you arent in your own living room.

‘tis tasty

ions: direct

dients: ingre

the foyer.

we suggest tree= boxes on wheels is one way something that by day night and another by

vvvv

first things first. you will need to attract beer lovers to your establishment. the entrance should be inviting. curious, but not overt. it is important to have plenty space to circulate. there will be a large number of people that will be coming to check out the biergarten, and they might be a little hesitant to walk right in. your regulars will know whats up, but might also need to time and space to scope out the scene. you must provide ample room for this key step of the process.

backy ard

can’t find these,

feel free to substitute other tables DO NOT however, scrimp on this substitution!!

dining

the garden

juneberries, blueberries, fruit trees, etc.

grow veggies and other goodies along the east wall for easy access by the kitchen as well as ample sun exposure for your plants to grow.

in a large open space, add several rows of those long skinny german biergarten tables. arrange them methodically, at least 2 rows with 9 to 10 tables in each.

the kitchen.

the quality of these tables is VErY important. Long benches and tables will encourage impromptu conversation and possibly even new friendships.

be sure to have set aside some space to work, youll need a place for prep, as well room for service, lastly you dont want the space to be too tight or youll be stepping on each others toes and you definitely dont need unnecessary distractions keeping you from your beer enthusiasts.

in addition, it is wise to provide a space with some shade. add a trellis up the east wall. fold it over to create an arbor and encourage hops to grow here.

remember, beer is enjoyed best when its cold.

the living room.

possibly the most important and dynamic space in your biergarten. you will need (in equal parts): a bunch of movable seating flexibility in function and form good conversation = I find that

garden

the backyard.

enclose the above rooms on the uphill side with an edible forest and native plantings. this will provide some privacy as well as plenty of loot for urban foragers.

if you*

vvvvvv

add to the above ingredients: a smattering of fun games a healthy dose of competition one large grassy knoll to stretch out on

the dining room.

foyer

a nice cold pint of beer

Design Consultant for Roots|First

!!!!!!!!!!!!!!

WINSTON SALEM, NC

cheers. it doesn’t

matter what kind, as long as folks can move them around..

kitc hen

....

all kinds of games . veggies

gam

oo.

ving r

o om

ive pl nat ant e s and edibl

juneberries ripe for urban foraging!

v v vv v v

!!!!!!!!!!!

vv vvvv

pull / open

push / closed

FOURTH STREET 60' PUBLIC RIGHT-OF-WAY

SO U RA

50' PUBLIC RIGHT-OF-WAY

N ER

PATTERSON AVENUE

es an tabl ny germ ng skin ese lo s of th bunche

W IL

mov

eab

AY CO .

tin

sea

mix up shapes & heights

les

r so

tab

che

wooden barrel table

sol

ben box

THIRD STREET WIDTH OF RIGHT-OF-WAY VARIES

ROOTS | FIRST helping you grow ideas

40 ft

CONCEPTUAL DESIGN | NOT FOR CONSTRUCTION

IN PARTNERSHIP WITH IN PARTNERSHIP WITH

ROOTS || FIRST FIRST ROOTS helping you grow ideas helping you grow ideas

WESTEND MILLWORKS

CURRENT OF WATER CURRENT OF WATER

WINSTON SALEM, NC

Design Consultant for Roots|First Conceptual Landscape Design, Graphic Design & Marketing

CURRENT OF PEOPLE CURRENT OF PEOPLE

WS WS NC NC

THE CONNECTOR = THE CURRENT THE CONNECTOR = THE CURRENT

RIPARIAN URBANISM URBANISM RIPARIAN

modelfor forhow howtotoredevelop redevelopwithin withinand andalong alongurban urban AAmodel riparian land riparian land

ENTRANCES + THRESHOLDS ENTRANCES + THRESHOLDS

riparianadjective adjectiveri·par·i·an ri·par·i·an riparian

2. Describes land adjacent to streams that is strongly 2. Describes land adjacent to streams that is strongly influenced by the presence of water influenced by the presence of water Aesthetically, riparian urbanism signals a juxtaposition between Aesthetically, riparian urbanism signals a juxtaposition between industrial, built structures and the soft, flowing quality of a waterfront industrial, built structures and the soft, flowing quality of a waterfront landscape. The buildings reflect the cultural history of the site and landscape. The buildings reflect the cultural history of the site and its industrial uses, while the landscape becomes an ecological space, its industrial uses, while the landscape becomes an ecological space, offering the opportunity to rethink a civic landscape as regenerative offering the opportunity to rethink a civic landscape as regenerative and productive. and productive. You guys are not the typical developers. You want to show an You guys are not the typical developers. You want to show an underlying care for the land and a sensitivity to the ecological systems underlying care for the land and a sensitivity to the ecological systems and cultural history of this place. You can distinguish yourself as a and cultural history of this place. You can distinguish yourself as a leader in the southeast in integrating ecological processes into the leader in the southeast in integrating ecological processes into the social infrastructure of your redeveloped spaces. social infrastructure of your redeveloped spaces.

VALUES: VALUES:

• Dynamic ecological process valued over static end product, • Dynamic ecological process valued over static end product, e.g. manicured lawn e.g. manicured lawn • DIY or phased implementation allows for experimentation/iteration • DIY or phased implementation allows for experimentation/iteration and ecological emergence and ecological emergence • Local and native species bring ecological balance to the site and • Local and native species bring ecological balance to the site and speak to the history of the place speak to the history of the place

WS WS NC NC

THE RS T HAED W ATTEER S H EA D W A HE THE FARM ON THE BLUFF THE FARM ON THE BLUFF THE THE TRIBUTARY TRIBUTARY

THE THE HIGH BANK HIGH BANK

TH E ED DY TH E ED DY

THE STEEP BANK THE STEEP BANK

THE THE LOWERBANK LOWERBANK

PROGRAMMING ZONES PROGRAMMING ZONES

C CO ON NC CE PE PT U A AL LD DE SE SI GI GN N| |N NO OT TF OF OR RC CO ON NS ST RT R U UC CT ITOI ON N TU

1. Relating to or located on the bank of a natural watercourse 1. Relating to or located on the bank of a natural watercourse

T H E T R I B U TA R Y

THE HIGH BANK B UFTA FA R M O NT HT EH ET RBILU F RY HD E WAT H I G HE RB SA N K T H E H ET A FA R M O N T H E B LU F F

THE EDDY

T H E H E A D WAT E R S

T H E S T E E PT BHAE NE KD D Y T H E LO W E R B A N K

THE STEEP BANK

T H E LO W E R B A N K

THE TRIBUTARY

THE HIGH BANK

STORMWATER RAINGARDENS PLANTS ‘EDGEY’ THE TRIBUTARY THE IN HIGH BANK DISGUISED AS LUSH ENTRY CONTAINER MATERIALS STORMWATER RAINGARDENS (METAL PLANTS IN ‘EDGEY’ GARDEN CONTAINERS/POTS) DISGUISED AS LUSH ENTRY GARDEN

Echinacea purpurea

Bouteloua gracilis

Purple Coneflower

Blue Gramma Grass

Native; long stems with orange central cone; Echinacea purpurea

droopingConeflower rosy purple rays; bristly seed Purple heads lasting through winter; finches Native; long stems with orange central cone; like drooping the seeds; rosy purple rays; bristly seed summer fall interest heads-lasting through winter; finches

Liatris spicata

like the seeds; summer - fall interest

Blazing Star

Liatris spicata Native; basal tufts of narrow, grassy leaves,

Blazing Star tall stems densely set with leaves and Native; tufts of narrow, grassy leaves, topped withbasal narrow plume of small, stemsordensely set withheads; leaves and fluffytall purple white flower topped with narrow attract butterflies, greatplume plantofforsmall, fluffy purple or white flower heads; pollinators; summer interest attract butterflies, great plant for pollinators; summer interest

Osmunda cinnamomea

CONCEPTUAL DESIGN | NOT FOR CONSTRUCTION

Cinnamon Fern cinnamomea Osmunda

CONCEPTUAL DESIGN | NOT FOR CONSTRUCTION

CONTAINER MATERIALS (METAL CONTAINERS/POTS)

Cinnamon Fernarch out toward top; Native; erect fronds cinnamon brown fronds in arch the center Native; erect fronds out toward top; remain cinnamon and turn yellow - orange in center brown fronds in the fall; young fronds are in remain and (fiddleheads) turn yellow - orange young (fiddleheads) are edible;fall; thrives in fronds dry + moist edible;- thrives in dry + moist soils; spring fall interest

Native prairie grass; horizontal seed heads Bouteloua gracilis

from chartreuse to blonde + Blue change Gramma Grass hover over blue/green stems; drought Native prairie grass; horizontal seed heads tolerant change from chartreuse to blonde +

Calamagrostis brachytricha Feather Reed Grass

Calamagrostis brachytricha Ornamental grass; foliage is green with pink Feather Reed Grass

feathery plumes in the fall

Ornamental grass; foliage is green with pink feathery plumes in the fall

Carex flacca ‘Blue Zinger’

Blue Sedge Carex flacca ‘Blue Zinger’

Blue Sedge grass; creeping blue/gray grass; Ornamental

semi-evergreen; Ornamental grass; creeping blue/gray grass; drought tolerant semi-evergreen; drought tolerant

Deschampsia cepistosa

Deschampsia Tufted Hair Grass cepistosa

Ilex glabra Inkberry Inkberry

Native; evergreen shrub; thick dark green Native; evergreen shrub; thick dark green leaves; black berries; wet soil;wet soil; leaves; blacktolerates berries; tolerates birds eat the berries, round birds eat theyear berries, year round interest interest

Cornus Cornus sericea sericea

Twig Dogwood Red TwigRed Dogwood Native; multi-stem shrub; bright Native; multi-stem deciduousdeciduous shrub; bright foliage the fall; red winter red foliagered in the fall;inbright redbright winter twigs; whiteinflowers in summer; twigs; white flowers summer; bluish bluish fruits after bloom; tolerates wet/ fruits after bloom; tolerates wet/ moist soils; birds eat berries; moist soils; birds eat berries; year round interest year round interest

ROOF TOP GARDENS FARM ON THE BLUFF ROOF TOP GARDENS

Seasonal Veggies Seasonal Veggies

hover over blue/green stems; drought tolerant

soils; spring - fall interest

Ilex glabra

FARM ON THE BLUFF

Tufted Hair Grass

Native; tufted mound of narrow green Native; tufted mound of narrow green foliage; light green/golden inflorescences foliage; light green/golden inflorescences in early summer; semi-evergreen in early summer; semi-evergreen

THE HEADWATERS

Feather Reed Grass

Edible +Ornamental Cut Flowers grass; foliage is green with pink Feather Reed Grass

feathery plumes in the fall

Ornamental grass; foliage is green with pink feathery plumes in the fall

Year Round Herbs Year Round Herbs

THE STEEP BANK

THE LOWER BANK

ACCENTUATE ENTRANCE THE HEADWATERS

STABILIZE BANK WITH THE LOWER REESTABLISH THEDEFINE EDDYTHE EDGES OF THE THE STEEP BANK BANK RIPARIAN WITH PLANTINGS + PROVIDE EDDY WITH NATIVE + EDIBLE NATIVE FLOODPLAIN PLANTS EDGE WITH NATIVE PLANT ACCENTUATE DEFINE THE EDGES OF THE STABILIZE BANK WITH REESTABLISH RIPARIAN BUFFER TO ENTRANCE PARKING PLANTS WITH PLANTINGS + PROVIDE BUFFER TO PARKING Ilex glabra Inkberry

Ilex glabra Native; evergreen shrub; thick dark green

leaves; black berries; tolerates wet soil; Inkberry birds eat the berries, year round Native; evergreen shrub; thick dark green leaves; blackinterest berries; tolerates wet soil; birds eat the berries, year round interest

Edible + Cut Flowers

THE EDDY

Espalier Fruit Trees

Pears, Peach, Cherry

Espalier Fruit Trees Fruiting trees or vines to act as a buffer to Pears, Peach, Cherry

the parking lot but also as an attraction + Fruiting treesinteresting or vines toliving act asfence a buffer to the parking lot but also as an attraction + interesting living fence

Container Gardens

Pots and Containers to delineate entrance Container Gardens Pots and Containers delineate Containers to or pots to spillentrance out into parking

lot orand into Bank Containers pots to Mill spill Works out intoHigh parking area; toBank be planted with lot and into Millcontainers Works High area; containers to beas planted with herbaceous well as trees + herbaceous as well as trees + shrubs shrubs

EDDY WITH NATIVE + EDIBLE PLANTS

NATIVE FLOODPLAIN PLANTS

Cornus florida

EDGE WITH NATIVE PLANTS

Ceonanthus americanus

Flowering Dogwood

white flowers in the spring; oval scarlet Flowering Dogwood fruits in the fall; birds eat the fruit; Native understory tree; horizontal branching; deciduous white flowers in the spring; oval scarlet

Fringe Tree

Native; small flowering tree; lightly fragrant Native; small greenish floweringwhite tree;flowers; lightly flowers fragrantfollowed clusters flowers of small followed olive-like fruit; greenish whitebyflowers; eatolive-like berries; deep by clusters ofbirds small fruit;yellow foliage in the fall; spring - fall birds eat berries; deep yellow foliage in theinterest fall; spring - fall

interest

Spicebush

fruits in the fall; birds eat the fruit; deciduous

Blueberry

New Jersey Tea

turn yellow in the fall; white flowers in Spicebush spring - early summer

Native deciduous shrub; dark green leaves turn yellow in the fall; white flowers in spring - early summer

Carpinus caroliniana

Spicebush

Fruiting blueberry bushes in full sun areas; Edible Blueberry deciduous shrub Fruiting blueberry bushes in full sun areas; deciduous shrub

Ironwood

Lindera benzoin Native, deciduous shrub; light green leaves Carpinus caroliniana Native, deciduous tree; dark green lea Spicebush turn brillant yellow in fall; bright red Native, deciduous shrub; lightbirds greeneat leaves fruits; fruit turn brillant yellow in fall; bright red fruits; birds eat fruit

Ironwood

trunk is blue gray and smooth; nu

Native, deciduous tree; darkfruits green leaves; trunk is blue gray and smooth; nutlet fruits

Rhus aromatica ‘Gro Low’

Hydrangea quercifolia

Oakleaf Hydrangea Hydrangea quercifolia

Oakleaf Hydrangea Native, deciduous shrub; leaves resemble

oak; shrub; large white in late spring / Native, deciduous leavesflowers resemble early summer; oak; large white flowers in lateflowers spring /turn pink and early summer;remain flowersthrough turn pinkfall and remain through fall

Native, deciduous shrub; light green l turn brillant yellow in fall; bright re fruits; birds eat fruit

Native, deciduous shrub; light green leaves turn brillant yellow in fall; bright red fruits; birds eat fruit

Lindera benzoin

Edible Blueberry

Blueberry

Cornus sericea

Fragrant Rhus aromatica ‘Gro Sumac Low’

Cornus sericea Red Twig Dogwood Native, deciduous shrub; foliage turns red Red Twig Dogwood Native; multi-stem deciduous shrub; in the foliage fall; yellow in the spring; Native, deciduous shrub; turns flowers red red foliage the fall; bright red w Native; multi-stem deciduous shrub;inbright small in redthefruit in the fall; yellow flowers spring; twigs; red foliage in the fall; bright red white winterflowers in summe

Fragrant Sumac

small red fruit

Clethra alnifolia ‘Sixteen Candles’

twigs; white flowers in summer; bluish fruits after bloom; tolerates fruits after bloom; tolerates wet/soils; birds eat ber moist moist soils; birds eat berries; year round interest year round interest

Amelanchier arborea

Clethra alnifolia ‘Sixteen Candles’ Sweetshrub

Amelanchier arborea Serviceberry

Sweetshrub

Serviceberry

Native; deciduous shrub; fragrant white to

Native; deciduous shrub; fragrant white to pink flowers in summer pink flowers in summer

Native, deciduous understory tree; wh

Native, deciduous understory tree; white flowers inbythe spring followed by e flowers in the spring followed edible berries; yellow to orange fall fo berries; yellow to orange fall foliage

Equisetum hymales Equisetum hymales

Ilex verticillataIlex verticillata

Horsetail Horsetail

Winterberry

Native; slender, narrow, upright rush; bright Native; slender, narrow, upright rush; bright a ring of black at each greengreen stemsstems withwith a ring of black at each use only in containers or pots joint;joint; use only in containers or pots

Winterberry

Native, deciduous tree; brightdeciduous red berriestree; bright red ber Native, in early fall and last all birds in winter; early fall andeatlast all winter; bird berries berries

Chionanthus virginicus

Chionanthus virginicus Fringe Tree

Lindera benzoin

New Jersey Tea

Native deciduous shrub; dark green leaves Cornus florida Native understory tree; horizontal branching; Ceonanthus americanus Lindera benzoin

Hamamelis viriginiana

| FIRST ROOTS | FIRST ROOTS helping you grow ideas

helping you grow ideas

Witch Hazel

Hamamelis viriginiana Witch Hazel

Native; multi-stem deciduous shrub; bright Native; multi-stem deciduous shrub; fall foliage,

foliage, nodding clusters fall of yellow to red blooms in winter nodding clusters of yellow to blooms in winter

MORV: a roving agricultural research center in collaboration w/ Amadeo Bennetta [MArch ‘11] critic: Bill Sherman 2

As part of the initial research into the site at Morven, we were divided into groups and given topics to explore in further depth. The topics ranged from History & Archaeology, Ecological Structure, Environmental Science, Succession Acceleration Research, the Built Environment, and our topic, Agriculture. We were asked to design a research station that could house all the materials needed while out in the field as well as the option for a place to sleep. We were inspired by large-scale agricultural sprinkler systems and decided that our research station would need to be mobile. We aptly named him ‘Morv’.

4 3

SUSTAINABLE FORESTRY / FOREST PATH PLANTING

EXTENDED EDGE / ECOTONE

POLYCULTURE / INTERCROPPING

HEDGE

EROW

POLYCULTURE / INTERCROPPING

SUSTAINABLE FORESTRY / FOREST PATCH PLANTING

NO-TILL / COVER CROP / DROUGHT-RESISTANT AGRICULTURE

MOBILE MODE

PLAN

CROSS-SECTION

SECTION

WET-FIELD / TROUGH IRRIGATION PLANTING

DEPLOYED MODE - STORAGE / SOLAR PLAN CONFIGURATIONS - MOBILE / DEPLOYED

3 4

NO-TILL / COVERCROP / DROUGHT RESISTANT AGRICULTURE

DEPLOYED MODE - SHELTERED

WET FIELD / TOUGH IRRIGATION

DEPLOYMENT DIAGRAMS

DEPLOYED MODE - WORKING

MORVEN RESEARCH INSTITUTE: barns + bath house critics: Karolin Moellmann + Bill Sherman in collaboration with Assad Abboud [BArch ‘11], Amadeo Bennetta [MArch ‘11], Colin Curley [BArch ‘11], + Amanda Swanekamp [MArch ‘11] The overall concept for a living experience at the proposed Morven Research Institute is one which questions conventional standards of living for university students. Our vision is one of a living and learning environment that engages, and has minimal impact upon, Morven’s stunning landscape. In a design process which oscillated among site visits, case study analysis, and design charrettes, we considered a number of different sites and bathing concepts, all of which were fundamentally rooted in water systems, natural features, and infrastructural design. Our final design is systematically and formally positioned on a slope between the “Living Barn” and a damp, low-lying valley. Aiming to operate independent of wells or conventional water infrastructure, the bathing facility creates and occupies an intersection within the natural flow of water from the roof of the “Living Barn” to the damp lowland, harvesting rainwater and filtering it using a combination of a Living Machine filtration system and constructed wetlands. Water consumption is mitigated through the use of composting toilets as well as through making visible the water storage cisterns and filtration systems.

MORVEN FARMâ&#x20AC;&#x2122;S WATER & LANDSCAPE NETWORK / TREATMENT TRAIN

46 in / year

2 year rain event

RAIN 27000 cuft / year 2230 cuft / event

28500 cuft / year

WATER COLLECTION & WATER STORAGE

2320 cuft / event

46000 cuft / year 3960 cuft / event barn 3

WATER FUNCTIONS

spring

WATERWAYS

LANDSCAPE

bathing terrace wetland bath

kitchen garden

CENTRAL WHARF PLAZA: figuring movement graphic analysis of Reed Hilderbrand’s Central Wharf Plaza, Boston critic: Elizabeth K. Meyer As a knuckle connecting the wharf to the Rose Kennedy Greenway, the Central Wharf Plaza filters people into and out of the adjacent areas. Workers, vistors to the wharf and aquarium, as well as tourists and bostonites, pass through, relax, and linger. This project realizes a classic urban landscape - a continuously paved plaza shaded by a dense grove of mature trees - responding to challenging conditions through the development of a simple but innovative structural and horticultural design solution. Part of what was once the busiest commercial port in North America, Boston’s Central Wharf became a parking lot in the second half of the twentieth century, severed from the city by the highway known as the Central Artery. The Big Dig and the creation of the Rose Kennedy Greenway, with its ample walks and gathering spaces, released this one-third acre site to the possibility of a renewed urban life. The project fulfills two essential urban roles: reconnecting pedestrian activity from downtown to the harbor and providing a shady spot for residents and tourists to relax and linger under the trees.

SHIFTING ACCESS_interior

SHIFTING ACCESS_exterior

C I R C U L AT I O N _ v e r t i c a l

WALLS AND PLANTING BEDS PREVENT A C C E S S ( O C C A S I O N A L LY P U N C T U R E D ) TREE TRUNKS AND ARBOR POSTS ALLOW ACCESS THROUGH

WALLS AND PLANTING BEDS PREVENT ACCESS S TA I R S A N D R A M P S I N V I T E C I R C U L AT I O N THROUGH AND IN

S TA I R S A N D R A M P S N E G OT I AT E T H E C H A N G E IN GRADE

C I R C U L AT I O N _ e a s t - w e s t

C I R C U L AT I O N _ n o r t h - s o u t h

H O R I Z O N TA L E N C LO S U R E _ c a n o p y + a r b o r

FLOWS CONNECT THROUGH THE PLAZA FROM T H E R O S E K E N N E DY G R E E N WAY O N T H E E A S T TO T H E W H A R F AT T H E W E S T

A C C E S S P R I V I L E D G E S PAT R O N S F R O M T H E ADJACENT BUSINESS BUILDINGS

THE CANOPY AND ARBOR PROVIDE A H O R I Z O N TA L E N C LO S U R E , M A K I N G T H E PA R K INTO ROOM WITHIN THE CITY

STRUCTURE

SYMMETRY + BALANCE

R E S T I N G + WATC H I N G

WA L L S , P O S T, T R E E T R U N K S A L L C O N T R I B U T E TO THE CHOREOGRAPHY OF FLOW

T H E PA R K I S W E I G H T E D TO T H E N O R T H E A S T, HOWEVER AN ASYMMETRICAL BALANCE IS ACHIEVED WITH THE ARBOR ON THE SOUTHERN EDGE

B E N C H E S A R E C O N G R E G AT E D U N D E R CA N O P Y ( N AT U R A L + A R T I F I C I A L ) V I E W S B O T H I N A N D O U T O F T H E PA R K A R E CONSIDERED

SHIFTING ACCESS AM

C I R C U L AT I O N W I T H I N AND THROUGH THE PLAZA IS INCREASED DUE TO THE WORKING C L A S S PAT R O N S O F T H E PLAZA. ACCESS INTO THE PLAZA PRIVILEDGES THE ADJACENT BUILDINGS AND NORTHS O U T H C I R C U L AT I O N . A DIRECT CONNECTION BETWEEN THRESHOLD OF BUILDING TO THRESHOLD OF PLAZA IS MADE. PEOPLE TEND TO C O N G R E G AT E U N D E R T H E CANOPY AND CANOPY STRUCTURES, WHILE ALSO PREFERRING TO SETTLE IN THE NORTHEAST CORNER AS WELL AS TO OCCUPY THE P E R I P H E R Y.

E V E N I N G C I R C U L AT I O N IS DECREASED A N D A N E A S T-W E S T C I R C U L AT I O N PAT T E R N F R O M G R E E N WAY TO WHARF IS PREFERRED. THE PLAZA BECOMES MORE OF A FIGURE IN THE LANDSCAPE C O N TA I N I N G M O S T O F I T S PAT R O N S WITHIN ITS BOUNDS AS OPPOSED TO THE AM WHEN THE EDGES A R E M O R E H I G H LY P O P U L AT E D .

TRESPASS: a river, rail, and road Independent Research along the Jones Falls Corridor in Baltimore MD, critic: Jorg Sieweke The term trespass has typically only been considered a positive term by those who consider themselves to be part of a subversive subculture, where it is considered ‘cool’ to infringe on others space. However, I hold that we are all part of our own subcultures – in fact, and almost always, we participate in many subcultures – and thus the idea of trespass could be reinterpreted to take on a more positive and generative meaning. Can we create new public space in a grassroots manner? Is it plausible to develop a design strategy that proposes an appropriation of space as a means to created a user-defined landscape? Would these spaces be any more successful than traditionally designed landscapes? And how do we obtain metrics that evaluate/provide evidence to critique this approach? Who’s right is it anyway?

LAYER

STITCH

STEP 1: LOCATE THE ENTRANCE TANGLE

CONCEAL

DIVIDE

STEP 2: CROSS THE RAILROAD

BULGE

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tilt NW to SE

fold in along N Charles St 4

fold in towards the river

the folded and faulted ground of the Jones Falls corridor

From North to South, the Jones Falls River undergoes a stark change, transforming from a steep valley of urban wilderness to a cramped corridor of bundled traffic infrastructure. Linear rail– and motor-ways weave over the river and along the Fall line until the Jones Falls is buried in an underground concrete conduit just north of Penn Station. This subway-sized culvert opening is where the river “ends” and this project begins. Over the past twenty years, several initiatives have suggested the razing of the expressway and the transformation of the corridor into an “urban boulevard” that would increase local property values, spur lively mixed-use urban development at its margins, and generate additional taxes for the city. However, the manicured lawn of the boulevard proposals still represents a late-modernist understanding of “Green” as a largely visual quality. These projects seek a more performance-focused conception of the public realm. The Jones Falls corridor is a barrier in the city, a repository of waste generated by consumption and excess: the unfinished expressway, the pollution of suburban development and deforestation, the narrative of neglect both in maintenance and in imagination. The river, buried to make way for a grand boulevard, instead opened a corridor for the JFX, a direct conduit from the suburbs to the Harbor and back again that disengages from its urban adjacencies in its speed and in its disconnection from the ground. The river, the railroad, and the road together characterize the layered history of the city and the Jones Falls corridor; this project takes on the corridor at the point of confluence of the these systems, at North Avenue, to recharge Jones Falls. The systems and implications of the site are multiscalar, and untangling this knot generates partnerships and investments across the city, watershed, and region.

FIRST CAME THE RIVER...

...THEN CAME THE RAIL...

...NEXT CAME THE ROAD.

WHO’S RIGHT OF WAY?

“…mathematical sciences [and I argue many other sciences] , in the theory of wholes, concern themselves with closed and open spaces…they concern themselves very little with the question of partially open, with wholes that are not clearly delineated, with any analysis of the problem of borders.’ -Luce Irigaray

BERLIN TEMPLEHOF Design Competition entry with Professor Jorg Sieweke, Tom Hogge, David Malda [MArch, MLA ‘10] + Jenny Jones [MUEP, MLA ‘10] STRUCTURING PROGRAMMATIC INDETERMINACY:

The future of Tempelhofer Freiheit, the last unresolved inner-city area is currently debated between the top-down PRO-Park and the bottom-up NO-Park. A petition not to build anything opposes the current city master-planning schemes, yet ‘pioneers’ and interim users bring new life to Tempelhofer Freiheit. Intermediate and “pioneer” uses are the results of economic and social structural transformation. In other words, new and open spaces that provide room for experimentation and creative potential arise in areas where the original use of the location has come to an end This project proposes to structure the vast open field with a continuous point-grid framework, only indicated by it’s focal points. These points prescribe a minimum order and orientation, but more importantly allow for flexible open zoning of indeterminant programs. The circular ‘enabling fields’ can easily be adjusted in scale by shrinking and growing their radius, which is only signified by the grass being mowed shorter, This result is minimum physical intervention with maximum programmatic flexibility. A complementary point-grid of retention depressions allows for storm water to drain and infiltrate, recharging the groundwater, and dynamic programming incorporates the nature preserves since many ecosystems thrive on disturbance. DESIGN AND CURATE:

Typical park management constantly monitors and anticipates programmatic demands. Instead of fixing and determining the park and its program this design is a framework for curating the full scope of informal to institutional programs. The design of the park is adaptable, and can be updated weekly, for example on the occasion of the next World Cup a series of soccer fields would be provided. The anticipated collisions of scheduled events and everyday park users instigate unforeseen encounters – precious moments that have become rare in many parts of the city.

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FASHION

2013

ART SPORTING EVENTS

FAIRS

CURATION OF PROGRAM

INFORMAL PERFORMANCE

2017

2020

A100 Exit Tempelhof

S-Bahn stop

Circulation south

economic inequality

B8 C5

Entwaesserungspunkte Point Grid

enabling fields

decentralized infiltration

The winning design results of the 2010 Desgin Competition were rejected by the public. With the DMY Berlin 2013 exhibition happening on the Templehof site it made sense that we revisit this project, as well as some of the ideas we had conceived of intially. The DMY proposal became even more about flexible programming and user initiated design. As part of our DMY Exhibit, we created a scaled version of our proposal at Tempelhof. Near the western entrance we established a point grid and began testing our previous proposal by mowing circles. These circles ranged up to 120 feet in diameter. Each day more mowing happened, by us and by those interested in participating in our little experiement. The programmable spaces to accumulate, overlap, and disappear. Our objective was to empower park users and DMY participants to â&#x20AC;&#x153;mow their ownâ&#x20AC;? space; creating an armature for flexible programming while incorporating park users in the design process.

DOUBLE DOODY

DOUBLE DOODY: remediating the Gowanus Canal

bacteria

Gowanus Canal Brooklyn NY Gowanus by Design Competition entry with Q U O R U M (Elizabeth Bailey, Melissa Elliott, & Daphne Lasky)

TODAY Double D is a continuing source of Gowanus Canal pollution, as NAPL from the former Fulton MGP contaminates ground water flowing into the canal. Additional pollution occurs in the form of combined sewer overflow outfall into the canal. Alcanivorax borkumensis and Geobacter metallireducens bacteria released into the combined sewer system can reduce CSO frequency by increasing CSS capacity by metabolizing waste that has accreted on sewer walls.

in-situ thermal remediation

NAPL barrels

Double Doody reimagines a major source of Gowanus Canal contamination—sewage—as an eventual means to its remediation.Through a phased plan, Double Duty accommodates in-situ remediation of the Fulton MGP and the gradual separation of NYC’s combined sewer system into individual storm and sanitary sewer systems. Tanks initially constructed for CSO retention are later repurposed as biogas vaults, returning the site to energy production. Increasing quantities of storm water are brought to the site, pressurized in water towers, and used to flush sewer overflow and contamination from the canal, eventually replacing the Flushing Tunnel and normalizing salinity levels in the Gowanus Canal. The byproducts of biogas production are utilized in the construction of floating wetlands and offsite habitat restoration projects.

PHASE 1 (18 months) In-situ thermal remediation: Using electrical resistance heating, NAPL contamination is recovered through wells at former Fulton MGP site and sent off-site for recycling or reuse.

stormwater storage

excavate & mound

cso storage

to sewer treatment plant

biogas vaults

CH4 biogas

CH4 biogas filterkuchen floating wetland

PHASE 2a (5 years) CSO retention facility: Combined sewer overflow is screened and stored in tanks before being returned to the sewer system. If the system has exceeded capacity, CSO may outfall into the canal. Stormwater collected on site and from adjacent streets is pressurized and filtered in water towers; in the event of a CSO, it is used to flush the canal and disperse contaminants. PHASE 2b Following conclusion of in-situ thermal remediation, remediated soils are excavated, mounded and capped to create play area, basketball and handball courts, and ice rink. PHASE 3 (10 years) Separated sewer system: As NYC separates stormwater and sanitary sewer lines, CSO tanks are gradually converted for use as biogas vaults, using sewage to produce methane for use in Gowanus community. Increasing quantities of stormwater are pressurized and filtered in water towers and released into canal, eliminating need for the Flushing Tunnel and normalizing salinity of canal water. The existing grove of Platanus x acerifolia trees is underplanted with native Platanus occidentalis. Double D Recreation Center opens to public.

UP THE POOL RAMP AND OVER THE BASKETBALL COURTS

7 12

1 Entry Grove 2 CSO / Biogas Vaults 3 Walkway to Upper Levels 4 Mounded Play Area 5 Handball Courts 6 Ice Skating Rink 7 Half-court Basketball 8 Community Recreation Center 9 Swimming Pool 10 Changing Rm / Lifeguard Rm / Pool Equip. 11 Sun deck / Seating Area 12 Skate Park 13 Water Towers 14 Stormwater Outfall to Gowanus Canal

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5 4

ACROSS THE ICE AND INTO THE GROVE

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1 2

AT THE SKATEPARK ON TOP OF THE TANKS

ENDLESS SUMMER

endless summer

LAGI: Land Art Generator Initiative competition 2014 in Copenhagen, Denmark with Q U O R U M (Elizabeth Bailey, Melissa Elliott, Daphne Lasky, & Joy Wang) During the winter months, Copenhagen has short days and long nights. ENDLESS SUMMER uses the energy from the moon to create artificial sunlight.The gravitational pull of the moon causes the oceans’ tides. ENDLESS SUMMER converts this kinetic energy into electrical energy using the VIVACE converter (Vortex Induced Vibrations for Aquatic Clean Energy), developed by University of Michigan. Each VIVACE converter consists of two sidewalls with horizontal cylindrical cross bars, oriented perpendicular to the direction of the water current. As the current passes over the round cross bars, tiny vortexes are created, causing the bars to move up and down. This, in turn, moves a magnet along a metal coil to create Direct Current (DC) power. Once converted to Alternating Current (AC) power, the electricity is then harnessed to power the ENDLESS SUMMER installation.

as the currents pass through, the water causes cylinders to move up and down, creating vortexes that are then harnessed for energy. water currents as slow as 0.25m/s can extract energy with a high power conversion ratio.

VIVACE WATER ENERGY TECHNOLOGY

7200 LEDS PER LIGHT TUBE

LED LIGHT TUBE ART INSTALLATION

PRISMATIC DIFFUSION GLASS

ENDLESS SUMMER !

juhuu!! Ha! ha!

Adr....Ej!

on average there are only 45 hrs of sun per month in the winter. the prevailing winds blow from the arctic ice sheet, summer tmeps only reach 8-20° and there is 68-70mm of rain during the rainy season.

= dreary copenhagen

5.5 CENTS PER KILOWATT HOUR 500-KILOWATT PER UNIT

Excess energy is sent back into the city center to power buildings in Copenhagen. VIVACE is distinct from other forms of hydropower in that it is able to capture energy from slow-moving waters and does not require a dam or turbines. In addition to capturing energy from the tides, it may also capture energy from other movement in the water body. It is considered less expensive than wind and solar energy, making it a viable competitor with conventional energy sources.

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10.45 10.45

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HEX SCREWS

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LED

PRISMATIC DIFFUSION GLASS

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LED PRISMATIC DIFFUSION GLASS STAINLESS STEEL PLATE

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LAMP BASE / DRIVER CONDUIT OPENING CONCRETE BASE

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PRISMATIC DIFFUSION GLASS

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The ENDLESS SUMMER art installation provides a visible register of the energy production occurring below the water’s surface. Light tubes, spread across the site, dim and brighten based on the amount of energy collected each day. Each light tube is 12m tall, and contains 7200 full spectrum LEDs. The light from the LEDs passes through prismatic diffusion glass, causing the tubes to appear as if they were glowing. The tubes emit full spectrum light, which offers the same moodenhancing benefits as sunlight – evoking the feeling of an ENDLESS SUMMER, even during Copenhagen’s dreary winter. The ENDLESS SUMMER light feature will only operate for one half hour before sunrise and after sunset, minimizing concern regarding light pollution. Artificial sand dunes, created using dredged material from the harbor, create a defined and protected space on the pier recalling Copenhagen’s tradition of artificial land formation. At 10 m tall, the dunes will be a unique topographic feature in the city. The south sides of the dunes are covered in sand, creating a warm space for sunbathing. The north sides are covered in beach grasses, creating habitat for ground-nesting birds. Observation areas on the dunes afford views back to the city. The height difference between the dunes and light tubes allows the tops of the tubes to be visible from the city, but requires that Copenhageners visit the site to fully experience the installation.

FULL SPECTRUM LIGHT-EMITTING DIODE

GRASSHOPPER: metamatic musings or modeling dynamic terrain theories of parametric design course in collaboration with Lauren Hackney critics: Robin Dripps + Lucia Phinney

a rain cloud:

a metamatic rain cloud:

We modeled the flows of water particles across a GIS-generated surface and have created a soil retention topography; using Kangaroo, we studied how soil retention capacity might be modified through uptake interventions (trees, soil amendments, etc.) We utilizied the GISGrasshopper connection by mining excel soil and topography databases for attributes of porosity and composition, as well as topographic elevation. Representation based in GIS is often planimetric, with layersâ&#x20AC;&#x2122; embedded data conveyed through color ramps subject to categorizations and qualifiers. Spatializing and manipulating this data output effectively is difficult, particularly for dynamic data. Grasshopperâ&#x20AC;&#x2122;s potential to recombine and manage this data in physical terms and space. Color ramps are a means of differentiating data in GIS across a planimetric surface. Either through gradient (algorithmic) and random (distinct colors along a spectrum) color ramps, the position of data relative to the spectrum has important implications for the representation, interpretation, valuation, and spatialization of embedded data, as a field and in relation to other data.

depending on gravity settings, a prototypical tree or soil cell

INTERVENING / WATER UPTAKE TACTICS: SOIL CELLS COLLECTING PARTICLES OF WATER, MODELED IN KANGAROO

THE PROCESS 1. surface differentiation: surface made from GIS contours and represented through a gradient of particle size (porosity) based on topographic elevation data 2. importing, organizing, and culling data: moving from tabular data used for the surface, we created a database using microsoft access,. we worked using the GIS-Grasshopper connection by mining excel soil and topography databases for attributes: porosity, composition, and topographic elevation, then extracted a range of values in grasshopper, resulting in volume representing soil depth by type. 3. visualizing data: comparative representation of 4 soil typesâ&#x20AC;&#x2122; available water capacity and particle size percentages.

the calm before the storm: a metamatic raincloud hovers over our GIS -genreated slope

utilizing kangaroo, a physics modeling plug-in for rhino, we begin to see the droplets of rain hit the surface of the ground

4. intervening / water uptake tactics: soil cells collect particles of water, based on soil type, amendments added, treeâ&#x20AC;&#x2122;s evaporation and water uptake rates; modeled in kangaroo. kangaroo allows us to model the affects of gravity on the simulated water droplets. In the next interation we are hoping to reverse this force and simulate evapotranspiration

the soil cells absorb some of the rain, while the remainder runs of off an unvegetated slope Nola Girl with Umbrella by Banksy

MIDCITY STORMWATER PARK: social space as flexible infrastructure DEW studio New Orleans, LA critic: Jorg Sieweke published in lunch vol. 5 Located in an abandoned railyard within New Orleans’ Lafitte corridor, the site is an in-between, a non-space, a vague terrain, neither a part of the surrounding neighborhoods nor able to sustain the role it once held for the economic and social vitality of the city. As it currently exists, it is seemingly void and lifeless. The project attempts to give new meaning to this liminal space, re-envisioning the role of a former industrial corridor as an Urban Stormwater Park. This project identifies 3 types of flux as a means for identifying a site within the context of a larger city, negotiating boundaries and edges to develop a design strategy that responds to the cultural, social, political and ecological pasts and future of this new urban space. The MidCity Stormwater Park illustrates that social space can function as flexible infrastructure, providing an alternative to the traditional and taxed water infrastructure systems of the city of New Orleans. Water in New Orleans is a paradox, both sustaining and potentially destroying the city in one fell swoop. Historically, the city’s hydraulic endeavors have attempted to subjugate the natural flows of water in this deltaic plain, using huge infrastructural feats to combat the threat of flood. Many of the social, economic, and infrastructural challenges that the MidCity neighborhood faces are tied to the city’s struggle to keep New Orleans afloat. The pumping of ground and storm water in New Orleans has lead not only to ground subsidence but continues to be a significant economic drain on the city. With these challenges in mind, there is an opportunity to rethink the city’s current drainage infrastructure

and to focus on the cultural and functional aspects of water in MidCity, the Lafitte Corridor and New Orleans as a whole. In its heyday, the Lafitte Corridor was one of the earliest locations in the New Orleans community where residents could experience public and private outdoor space created for recreation and leisure. Unfortunately, today, the Lafitte Corridor is nothing more than an underutilized post-industrial site. While the corridor was largely derelict far before the complications of Hurricane Katrina revealed the shortcomings of the city’s infrastructure systems, the adjacent neighborhoods have maintained, if not responded remarkably well, to the surrounding challenges. In fact, the post-Katrina return rates for the MidCity neighborhood total about 70% which is significantly higher than most New Orleans neighborhoods. In this proposal, the MidCity Stormwater Park would alleviate pressure on the existing drainage system by day-lighting the drainage canal that runs from the French Quarter along Lafitte Street at North Jefferson Davis Parkway. Allowing the Park to serve as the primary drainage system, the current system would be maintained to serve as backup during large storm events. The Park would create a network of “urban wetlands” that

would allow for flooding during times of high water volume. Creating a floodable landscape in MidCity could contribute to an overall strategy for the city to manage stormwater and subsidence by establishing a more permeable landscape. Addressing the issue of water as one of both cultural and functional importance, the MidCity Stormwater Park revitalizes an existing and underutilized public space by re-establishing the economic and cultural importance of the land and water. Obliging social space to double as flexible infrastructure, the park engages the surrounding communities with the water that defines their city, and by doing so blurs the boundaries that currently separates them from each other. This new social infrastructure sets forth a dynamic spatial framework that will grow and morph. By engaging this liminal space, matrices of circulation, seasonality, habitat and social patterning begin to overlap. This is a prescriptive and responsive flux, a choreography of space and flow that becomes a strategy for fostering positive urban growth and a new landscape identity.

MINIDOKA: Japanese Internment Memorial national parks design studio in collaboration with David Ericsson [MArch ‘11] critic: Ed Ford The story of Minidoka is one of alienation, dislocation, endurance, grief, and loss. It is a time in American History that is preferably skipped over. Fear, hysteria, and racism led to almost 13,000 Japanese Americans being removed from their homes and relocated to the high desert plain of South Central Idaho from 1942-1945. By 1945, the Japanese were free to leave and the site was quickly raized and turned into farming land, thus the story of these people and of this place was, in a sense, erased from that land. The landscape, as we know it, is dotted with agricultural artifacts with little to no evidence of the camp. We found both the period of internment and the subsequent shift of the site to agricultural land fascinating and chose to tell the story of Minidoka as one that was layered and multifacted--one that calls into question the term ‘native’. What does it mean to be ‘native to a place’? Is it possible to become native or will there always be a duality between what is perceived as native and what is alien? For us, there were three main themes that commemorate this period of time and we have chosen to represent these through minimal incisions in the landscape. These minimal incisions guide you throught the landscape, down into spaces that evoke the themes of dislocation, transition, and endurance. The agriculture history of the site post-internment is left undisturbed while the history of the camp is revealed below a datum. Our hope is that this minimal approach to telling the story of Minidoka will be one that encourages collective memory, reflection, education, discussion.

volcanic layers of geolgical time

hyrdrological sytems of the high-desert plain overlaid with a highly intensive agricultural irrigation network

mountains in the distance and flat plains describe this barren landscape carved by the snake river

left top: models illustrating dislocation transition endurance left lower: located atop a volcanic range, Minidokaâ&#x20AC;&#x2122;s dynamic geological history is revealed in the materiality of the basalt wall which appear as scars across the agicultural landscape recalling at once, the geological history of the site and the emotional disturbance of those interned there.

above: the dry desolate high desert plain 33,000 acres | 950 acres approx 13,000 internees 20 people per apt range in temp 21 to 104

warehouse / dislocation

checkpoint / transition

barrack / endurance

VICENZA PROGRAM VICENZA ITALY

critic: Charlie Menefee The Vicenza drawing program at the University of Virginia was a 5 week program in and around the Veneto Region of Italy, primarily Vicenza and Venice. This experience, was for me, not only a lesson in learning to see and draw, but also a lesson in striking a balance between precision and expression. My experience was a process laden with much trial and error. There were days when drawing was a complete delight and others when I was frustrated beyond belief. Upon my return, I compiled a book of my sketches that represented both my successes and failures — some that were complete and most others that were not, it included my measurements, notes, and scribbles. Through this experience, drawings began to function as a tool and move beyond something so precious and so serious. These are a few examples.

SOL LEWITT

ASHEVILLE ART MUSEUM Installation of Sol Lewitt’s Wall Drawing #618 Bands of Lines in Four Directions with Color Ink Washes Superimposed with Sarah Heinemann (Sol Lewitt Foundation), Dennis Ambrogi, Todd Charles, Anna Child, & Tracy Scott Lucas

A ‘NUTHER MODERNISM: the slow parametrics of particularity, peculiarity, and place in collaboration with Melissa Elliott critic: Elizabeth K. Meyer Landscape architecture theorist Elizabeth K. Meyer has described landscape architecture as ‘modern other’; we hold that modern art, architecture, and landscape architecture, as practiced in the South, might be described as another ‘other’ Modernism. With this project we aim to equate the spatial strategies of landscape architecture with the collective, artistic, and cultural practices of quilt-making, with specific reference to the quilt-making community of Gee’s Bend.

quilt by Lucy Mooney ‘Blacks and Strips’ Workclothes quilt c. 1935

GEE’S BEND

The community of Gee’s Bend, Alabama has become recognized over the last ten years as the center of a quilt-making tradition that has developed over several generations. The quilts, now the subject of major exhibitions and several books, have been described as remarkably similar to modern art. We hold that these quilts represent another instance of a southern adaptation of Modernism. The Gee’s Bend community history began in 1816, when Joseph Gee purchased a plantation on the Alabama River. After Gee’s death in 1824, the plantation was acquired by Mark Pettway, of Halifax County, North Carolina. Pettway’s slaves walked from North Carolina to Alabama; it is the descendants of these slaves that comprise the community of Gee’s Bend today. Following emancipation, Pettway’s former slaves became tenant farmers on the plantation.

quilt by Linda Pettway ‘Housetop’eightblock variation c. 1975

quilt by Loretta Pettway string-pieced quilt c. 1960

A drop in cotton prices in the 1920s left the community in extreme poverty. In the 1930s Gee’s Bend became the site of a New Deal projects that included construction of a number of homes - making the former tenant farmers land owners. Throughout this time, a tradition of quilt-making was developed. This art was put to economic use in the 1960s-1980s when the Freedom Quilting Bee sold quilts to major retailers. Gee’s Bend was rediscovered by William Arnett in the late 1990s. The history of Gee’s Bend illustrates that the community has been connected to and influenced by greater historic events, but the landscape of Gee’s Bend illustrates the extent to which it has been isolated. Located on low land in a meander of the Alabama River, Gee’s Bend is nearly surrounded by water and swamps. The landscape is dominated by agricultural fields, timber plantations and wetlands, all bearing the signature of of the river’s shifting course (ox bows). While the history of Gee’s Bend, and the relationship between quilt patterns and vernacular architecture have been studied, little research has been devoted to the relationship between the quilts and the surrounding landscape. SLOW PARAMETRICS

Quilting is a craft based in parameters related to patterning and material availability. Through analysis of the quilt, we develop a system of slow parametrics based on pattern, tradition, collectivism and improvisation that will guide future landscape design. Here we also rely on Elizabeth Meyer’s description of slow landscapes - we do not imagine a project instantly completed, but one slowly accumulated, developed, and grown driven by process and not product PIECING, PATCHING, PROCESS

We submit that the Quilts of Gee’s Bend provide a spatial strategy for exploring place-making in landscape architecture. First, these quilts represent several strands

of current art theory: the work is abstract, the artists are outsiders, the working method is constellatory. The material use is economical. The completed work is both aesthetic and functional. Second, the quilt corresponds with current ideas in ecology. In ecological terms, patch refers to the basic unit of the landscape -- a relatively homogeneous area distinct from its surroundings. The quilt suggests a patterning of patches; a range of sizes and configurations. The seams between patches are referred to in ecological terms as ecotones. Quiltmaking creates a hierarchy of seams: minor seams withing each square, which are then pieced into strips, and finally into a quilt. Quilting creates a three-dimensional seam between layers. This suggests a range of patches and ecotones that could be explored on the landscape. Quilts also represent process and performance, tradition and improvisation. Patterns are repeated, adapted to the materials at hand, scaled up or scaled down, combined, tesselated, reversed. Fabric is cut, ripped, reused. Scraps are combined. Old quilts are burned to drive away mosquitoes. Even where a single hand has constructed the quilt, we can read accumulation and collectivism in the final product. We believe that the collectivism and accumulation represented by the quilt are a more appropriate image of Moderism in the United States, especially that of the American South.

“The crux of Mary Lee’s visual style is her ability to create small vignettes, composite blocks of three to six forms (sometimes with miniature medallions), and then arrange these blocks into larger compositions where everything balances, interacts gracefully, and preserves the dynamism of the component parts. Nearly any detail of a Mary Lee Bendolph quilt would work as a quilt unto itself.” (Arnett 27)

PARTICULARITY, PECULIARITY, PLACE

We expect that our research and documentation of the cultural landscapeof Gee’s Bend will enhance the discourse on cultural landscapes already occurring within the field of Landcape Architecture. The image that emerges is one of a landscape with loose, changing composition shaped by many hands and intended to commemorate history and express identity - not unlike a quilt. The quilt, with its system of interlocking patches and squares, provides us with a language for creating new particular, peculiar, and culturally relevant landscape

quilt by Mary Elizabeth Kennedy ‘Housetop’ Log Cabin variation c. 1935

REBOUND: a responsive chair in collaboration with Callie Broadus, Hugo Fenaux, Brittany Olivari+ Adam Poliner [BArchs ‘12] critic: Melissa Goldman The chair is a tool suited to the human form. The chair has developed over time to enable rest, interaction, work, and comfort. A group of five undergraduate and graduate students collaborated to develop aggregating, modular, and kinetic system that adjusts to external forces and needs of the user. This project explores the relationship between the human form and the act of sitting, working, standing, etc. In addition to the goal for kinetic responsiveness of the chair, the course, led by professor and fabrication manager, Melissa Goldman, asked the students to explore the methods of ‘popup’-- the cut, the score, the fold, the joint —in order to produce a portable structure that could hold weight. Experimentation with various material and fabrication techniques coupled with a highly iterative process allowed the students to explore these ‘pop-up’ mechanisms extensively.

previous page: exploded axon showing assembly of parts; CNC-routed ply-wood, washers, threaded metal rod, elastic band left: diagrams illustrating full kinetic rangefrom table to chair as well as detail drawing of joint exploration right: documentation of the many full-scale iterations - the intent was that the chair would be completely interactive and respond to the weight of the human body below: infinite assembly of aggregated units

LUNCH: the independent student journal of the university of virginia school of architecture lunch is the student-run design and research journal of the University of Virginia School of Architecture. This annual journal aims to provide an interdisciplinary voice alongside pressing international dialogues, both academic and professional in nature. I helped to lead the development and editing of Vols. 5, 6, and 7. I organized groups of fifteen copy-editors, developed content and design for journals, selected submissions, and wrote grants and fundraised for nearly $20,000 to support the journal. Vol. 6 became first journal in series to achieve financial stability, be printed in full-color, and completely sell out of copies.

uvalunch.com volume 5: Flux copy editor volume 6: Systems lead editor volume 7: Conversations administrative editor

iâ&#x20AC;&#x2122;m rad.

ELIZABETH CLAIRE BAILEY

2 elmwood place asheville nc 28804 919.624.1699 | ecb8r@virginia.edu

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