I f a b u i l d i n g , a l an d s c ap e , or a cit y is no t beaut iful, i t w i l l n o t b e l o ve d , i f i t i s no t lo ved, it wo n’ t be mai n tai n e d an d i mp r o ve d . In s ho rt , it wo n’ t be s u s tai n e d . - D o u g l as K e l b o u g h
D
E
S
I
Making place is the fundamental role of any designer.
G
N
This holds
true for architects, landscape architects, planners, preservationists, and artists alike.
At its most basic, making place is inherently about
people, context,
and
meaning.
This demands that any
project be approached with an open mind, flexibility, and a desire to learn and collaborate throughout the design process. requires effort of the designer to
True place-making
research and experience a
place to understand what kind of intervention would make the most
positive impact
on the users and environment surrounding it.
Consequently, this means that no design should be applied with a predetermined style or an over-idealized philosophy. The world we share is composed of unique places, distinct communities, and amazing individuals that together contribute to a gestalt that is of its own. Making place is
challenging and fun! It is a rewarding process
from realizing a vision, discovering what it is made of, how those pieces fit together, and seeing that vision enrich
peoples lives.
Together
we mold our environments. This is part of the human experience, and has
S
T A T
E
M
E
N
T
been since the first shelter. To be human is to share an innate relationship between building and the land.
As designers, it is our calling to
serve and steward that relationship in order to make it the best that it possibly can become.
Sometimes this is accomplished through
contrast. Sometimes it is through preservation. Sometimes it is through building in a particular vernacular, thinking of the street beyond the site boundary, or of its
ecological function. Sometimes it is simply
returning something we have borrowed back to the land.
As an emerging professional it is my desire to help clients
enjoy great places.
create and
I want to share with them the excitement,
and reward of the design process. True place-making is my passion. I am dedicated to helping people realize their dreams through their
interactions between the built and natural environments. That is why I have chosen to dedicate my life to architecture and landscape architecture, and to use those skill sets as tools to sustain life. I have a strong interest in
historic preservation
and adaptive reuse.
At the same time I am excited by new forms, typologies, and
innovative use of materials.
I believe that some of the most
sustainable buildings come from the stock that we already have standing. By repurposing those structures we positively address resource depletion, climate change, ecosystem quality, and human health.
maintain a critical connection to their inherited its relationship to the land.
In this way communities
environments and
True place-making requires that the designer serve as a modern day
storyteller using words, brick, mortar, stone, steel, wood, glass, gravel, earth, water, and air. The nature of great tales is neither that they are timeless nor that they are even all that great in and of themselves. The truth about great tales is that
through the lives of others we can see
ourselves alive in another time and place, and somehow that holds meaning. It is the people whose lives and stories are fleeting, and extraordinarily ordinary that has put the meat on our bones. It is through their trials and sacrifices, that we find ourselves here today, working toward the future, making-place for our children to
live, work, and play.
Coggon Projector Project Citizen Awareness Campaign | Photo Credit: Self
Muller
through
winter-spring
terms
2012.
This
project
involved
the
rehabilitation of a historic small town school in Coggon, IA. The purpose was to adaptively reuse the vacant school building as an impetus for the revitalization and preservation of Main Street.
The school building dates to 1909 and serves as the town square and
economic anchor for the community.
Coggon, IA is an agricultural
town of 711, that has experienced both economic and population decline since WWII. A recent decision to consolidate the town’s elementary school at the district’s central rural campus put the future of the school building and the town in question.
This project took careful consideration to look
beyond the site boundaries to understand how one building,
or one project, could influence a whole community. A large part of this project involved
education
and
outreach
as it sought to raise
awareness through alternative approaches such as the Coggon Projector Project pictured on the left page. This project has resulted in the formation of C.A.B.A: The Coggon Area Betterment Association, a non-profit group working to gain ownership of the school building and implement this proposal.
1
R E V I T A L I Z E
The work presented here represents my capstone project under Professor Brook
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A SMALL TOWN CENTER A G R E AT P L A C E T O S TA R T; A F I N E P L A C E T O S TA Y
REC / C OM MUNI T Y S PAC E L I NCH-PI N
PHASE T WO : GERMINATE A NEW BEGINNING
MIRC O - B U S IN ES S IN C U B ATOR S
PHASE TH REE: MONITOR GROWTH
PH ASE FOU R: SHARE T HE HARVE ST
ELEMENTARY SCHOOL & MIXED USE TYPOLOGIES: IMPACTS OF RENOVATION EXPRESSED AS A PERCENTAGE OF NEW CONSTRUCTION
SCHOOL
MAIN STREET SECTION NORTH
Population Change Rate
Iowa Population Projection
Coggon Population Trends
Coggon Pop. Distribution
Location of New School Coggon City Limits
VS
P O P U L AT I O N
STATIC HISTORY
TRENDS
LIVING HISTORY
P R O B L E M
P R O B L E M
S T R A T E G Y
S T R AT E G Y
OPPORTUNITIES FOR YOUTH
PLACES FOR SENIORS EST. MAIN STREET AS A HISTORIC DISTRICT
This project looks beyond the struggles of one town, and explores strategies to
reverse small town decline nationally.
Roughly 760 of the
nations 3,142 counties are fading away due to seniors who are no longer having children and an exodus of young adults who leave to seek jobs elsewhere (Yen, Raby). significant
amounts
This widespread decline represents the loss of of
existing
resources
and
embodied energy affecting resource depletion, climate change, ecosystem quality, and human health. In the United States there are 8,820
similar communities of < 1,000 with a combined population of 4,386,450 (2010 Census). Coggonâ&#x20AC;&#x2122;s Main Street is composed of 31 commercial buildings most of which now sit vacant. By using this number as an estimate, for communities < 1,000 their cumulative downtown
Travel Time to Work
Coggon Business Trends
Males: Industries
Males: Occupations
Food Environment Statistics
Females: Industries Females: Occupations Number of Grocery Stores: 27 Linn County: State: Coggon:
ECONOMIC
1
Supercenters and club stores: 5
1.31/10,000 pop. Linn County: 2.14/10,000 pop. State: Coggon:
DECLINE
Number of convenient (with gas):88
Number of full-service restaurants:146
Linn County: State: Coggon:
Linn County: State: Coggon:
1
4.28/10,000 pop. 5.55/10,000 pop.
1
7.10/10,000 pop. 8.01/10,000 pop.
M AR GINALIZ E D COM M UNITY
P R O B L E M
P R O B L E M
S T R A T E G Y
S T R A T E G Y RESTRUCTURE
0
.24/10,000 pop. .23/10,000 pop.
INCUBATE
GROWTH
TOGETHERNESS
commercial building stock represents 5,370,893 tons
of aluminum, 193,352,138 barrels of oil, or 8,942,536,381 gallons of gas.
S TA R T- U P
COMMUNITY
This excludes roads, infrastructure, or residential units. This project sought to
inspire citizens
to take action by
providing a vision and
connecting them to existing preservation and revitalization programs and resources.
N R E T I R E Mech.
Office
Kitchen r.r.
P L
A
Cafe
M O V E
M A K E
Reception
L O O K
S
G R O W
A
Office
Office
Office
Office
Office
r.r.
H
W E L C O M E
LOWER LEVEL
S P L
Y
r.r.
r.r.
D R E A M
1/64” = 1’ FIRST FLOOR
0 ft 20
40
60 80
Office
r.r.
r.r.
r.r.
r.r.
Office
SECOND FLOOR
Office
THIRD FLOOR
12”x12” Wood Member 1 ft.
1/8” in. Steel Plate Collar
1.5 ft. 1 ft.
3 ft. 3.25 in.
4 ft. 2.78 in. 18 ft. 11.59 in.
Steel Knifeplate Tie
2X4 Wood Member
4 ft. 2.78 in.
SENIOR/VETERANS W ING SEC T I ON 0 ft 10
20
30 40
3 ft. 3.25 in. 1X2 Mitered Wood Member 1 ft. Light Ballast
1.5 ft.
Concrete Base
SENIOR/VE TER ANS HOUSING R OOM S TU DY
1.5 ft.
HAL L W AY COL UMN DE T AI L 0 ft
1
2
3
4
C O U R T Y A R D / L I N C H P I N
M O D E L
A D A / U N I V E R S A L
LINCHPIN/COURTYARD SECTION
A C C E S S
0 ft 10
20
S T O R M W A T E R
30 40
S W A L E S
Cap F lashing
2’ x3. 75” Blo cking Rub b er Ro o fing
T ap ered Rig id I nsulatio n A ir Barrier T o ng ue & G ro o ve Ceiling 4x4 P urlins 4ft. O. C. 6 ft. 6 in.
M irro r F lashing 1/8” G alvanized S teel S heet 3/4” P ly Rig id I ns. F lashing
3x2 HS S
F A C I L I T A T E
I N T E R A C T I O N
L I N C H P I N
2x4 Wo o d M emb er
I N T E R I O R
2’ x4”Blo cking 9x3 HS S Rub b er T hermal Barrier 2x4 HS S 2” S teel Ro d - Web 5. 75” Wo o d en Co rd
16 ft. 6 in.
2 ft. 7 in.
Do ub le- p ane Curtain Wall
Do ub le L- Bracket Channel
6 ft. 11 in.
LINCHPIN LOOKING WEST TO MAIN STREET
L I NCHPI N CUR T AI N W AL L & SCR E E N DE T AI L
1/ 4 ” = 1 ’
community of Eugene, OR.
The design creates habitable lanterns that
illuminates the lifeblood of the neighborhood: craft and children. Without a flame, a lantern serves no purpose. Without children a community holds no future.
By complimenting the surrounding landscape, the
neighborhood, and the character of the community the Moss Street Childrensâ&#x20AC;&#x2122; Craft Center becomes a series of habitable lanterns
constructed from the landscape and the community it is meant to serve. This project was undertaken as part of a fall 2008 studio under Professor Howard Davis. This was my second studio project at The University of Oregon. The studio challenged us to place a childrenâ&#x20AC;&#x2122;s craft center between a residential neighborhood and a busy university district. I chose to use the
act of making as the centerpiece for this design, rather than focusing
on the product or the gallery. By placing the activity on the street front, I was able to create an active street presence that provided a sense of security. This studio helped me understand the importance of grounding a design concept
with
a
strong
parti
that
evokes
understanding through a common vernacular.
meaning
and
2
I N S P I R E
The Moss Street Childrenâ&#x20AC;&#x2122;s Craft Center is a sacred place within the
MOSS STREET WEST ELEVATION
N
Admin. Bldg. 2nd Fl.
1/4”=1’ STAIR SECTION | 3L11
courtyard while protecting an existing 300 year old Oregon
White Oak.
This project was developed in Professors Brad Strangland and Rich Hindleâ&#x20AC;&#x2122;s Tech Studio, winter 2010.
The purpose of this studio was to refine an existing
working drawings conventions, workflow,
conceptual plan, and to create a set of
while
learning
and
naming file-structures used
in working firms.
I collaborated with Karim
Hassinein and Leanne Wageaner. My particular focus for this project was the installation of a flight of
stairs that led from the lobby and cafeteria up to
the oak. The stairs had to provide access over an existing retaining wall, while providing a degree of privacy and protecting the oaks root structure.
access, privacy, and a process of unveiling and celebrating the oak as the centerpiece of the The concept became one of
entire garden.
3
D E T A I L I N G
The SAIF Corporation of Salem, OR sought assistance redesigning the companyâ&#x20AC;&#x2122;s
STAIRWAY GARDEN PLAN 1/8”=1’
G RE E N C O N N E C TO R | A RTI S T: S E LF
RENEWAL
This summer abroad studio in
Kyoto, Japan focused on re-envisioning a
parking lot located at a major intersection in the heart of the city. Professor Ron Lovinger led this studio as we worked to make the place a destination that
subway terminal, a light-rail terminal, and walkable connections to a university and cultural heritage sites.
accommodated a
This project represents collaborative work with Cristo Brehm, Caitlin Gilman, Erin Rice, and myself. The goals and challenges of this project involved the generation of a design that aligned with the cities future goals. The
Kyoto Vision Statement aimed to make Kyoto a city enjoyed by walking through revitalizing the historic center as its true urban core
and connecting it with its historic landmarks. Our efforts also involved
By
softening the harsh cityscape, this studio was able to transform a parking lot
green-node connector, and icon.
into
a
that
serves
as
a
sanctuary,
4
URBAN
mitigating traffic and reimagining streetfronts.
BUS T ER MINAL | ART I S T: S E LF
PLAZA PERSPECTIVE | SELF, CRISTO BREHM, CAITLIN GILMAN, & ERIN RICE
SITE PLAN | SELF, CRISTO BREHM, CAITLIN GILMAN, & ERIN RICE
PEDESTRIAN ALLEY | ARTIST: SELF
SOLIDW OR K S MODE L
Kinetic Architecture
project was part of a Spring 2010 study
abroad program in Vancouver B.C. with Professor Stephen Duff. The purpose of this project was to create a memorable
shopping experience that
attracts more patrons into the heart of Granville Islandâ&#x20AC;&#x2122;s commercial district along Railspur Alley. The challenges of this design intervention were such that it had to provide rain
protection and create a visual icon for the
shopping district. I collaborated on this project with Daniel Frey and Ali
retractable fan that, when open, would transform Railspur Alley into an outdoor room. Each McQueen. We chose to design a
fan would be equipped with a sensor that would automatically open during rain events. These fans would open and close together and would be lit at night to create a visual
alike.
This
beacon for citizens of Vancouver and tourists
project
was
fundamental
in
challenging
my
engineering skills for problem solving and involved ditigal modeling with Solidworks to test and animate our design.
5
K I N E T I C S
The
26’
60’ RAILSPUR AL L E Y SHOPPI NG DI ST.
V IE W FR O M ABO VE | ARTIST: SELF
K I NE T I C AW NI NG
open position
R ETRACTA B LE
QUART ER SCAL E MODEL
CL OS E D
closed position,drawn behind building edge.
OPE N
Photo Credit: Andy Hooper
Mendocino, CA
under Professor
Robert Melnick. The Mendocino park is a historical park built by the CCC as part of the New Deal. The studio collaborated with the firm MIG, out of Portland, to write the
Culture Landscape Inventory Report
for the
park. In addition to this collaborative portion of the studio, we each chose to focus on one issue in the park and addressed that issue within the context of
historic landscape. I chose to focus on ADA experiences within a historic woodland park. As technology changes
a
what it means to have a handicap, we have to adapt the way we think about these as limitations.
My goal for this studio was to challenge our
preconceptions of ADA compliance. When people visit a park they should be able to share a
universal woodland experience.
This
experience is distinctly a different experience than universal access as it is applied to an urban setting. By accessing the typical conditions that prohibit accessibility, I was able to develop a set of design strategies that would allow all people to share universal woodland experiences that are mindful of the historic context and Redwood
ecosystem they were designed for.
6
HUMAN EXPERIENCE
The spring 2011 studio took place in
FROM COMPLIANCE TO EXPERIENCE: CHANGING THE WAY WE
ada
EXISTING | SATISFACTORY
PROPOSED
TS
EXISTING | T.B. MODIFIED
independent work to larger design-build endeavors undertaken as part of various student organizations. This body of
range from
creative work spans from undergraduate to ongoing projects. Together they emphasize the need to
explore, labor,
and
create
as modes of
investigation and problem solving. By continually expanding existing skill sets and exploring new ones, I have grown a desire and commitment to
life-long learning.
This set of interdisciplinary skills, which I
continually work on, have been paramount in helping me
converse, and problem solve.
collaborate,
It is my belief that the more we
work towards cultivating a culture of collaboration, the more effective we will be at addressing the challenges of the future.
7
MAKE BUILD CREATE
The following collected works represent creative and trade related works. Projects
L I G H T
G A R D E N
L A M P S
M O S S
W A L L
C O O L I N G
S Y S T E M
S T U D I E S
2 0 1 0
|
E U G E N E ,
O R E G O N
P A C I F I C
N O R T H W E S T
P R E S E R V A T I O N
F I E L D
S C H O O L
2 0 1 2
|
F R E N C H G L E N ,
O R E G O N
L
A
N
D
S
C
A
P
E
A
S
B
O
D
Y
L
A
N
D
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A
P
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K
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MICHAEL D. LECLERE 1901 Augusta Street
|
Eugene, OR 97403
E-mail:
leclerefarms@yahoo.com or leclere@uoregon.edu
|
EDUCATION SPECIAL RECOGNITIONS The University of Oregon, M.Arch & M. L.Arch, June 2012, GPA: 3.7 • Oregon Design Conference Student Presenter • Study Abroad: Kyoto, Japan - Summer 2009, Vancouver B.C.- Spring 2010 • U of O Graduate Research Symposium The University of Iowa, B.F.A. - Art & B.A. - English, Dec. 2005, GPA: 3.64 • U of O AAA Student Research Symposium Pacific Northwest Preservation Field School 2012 • ASLA Oregon Student Awards Honorable Mention • U of O Student Travel Scholarship WORK EXPERIENCE • The University of Iowa Dean’s List Non-Profit Organizer 2011-Present C.A.B.A. Coggon Area Betterment Association | Coggon, IA • Initiated historic preservation/adaptive reuse campaign for a rural community icon • Efforts are ongoing, and have resulted in the formation of a non-profit citizens organization Design-Bridge Safety Manager & Volunteer 2010- 2012 The University of Oregon Dept. of Architecture | Eugene, OR • Coordinated and planned regular tool trainings and safety classes for volunteers of this student organization • Volunteered and helped in the construction of Design-Bridge projects along with fellow volunteers Woodshop Supervisor/Instructor October 2008 - Present The University of Oregon Craft Center | Eugene, OR • Monitored and maintained public woodshop • Worked with students and public to help design, build, and teach woodworking skills Design Intern June 2010 – August 2010 (Under Linda Pauly) City of Springfield, OR • Created digital and hand media renderings to help the city and community visualize future planning agenda • Researched relevant precedents in other communities and cities to present before design council Senior Specialists for US Order Operations Group November 2006 – May 2008 Symantec, Springfield, OR • Collaborated with local and global partners for order processing, reporting, and trouble shooting • Quality control through written, digital, and professional communications. Landscaping/Gardening Avante Gardening, Iowa City, IA Summer 2005 • Applied sustainable environmentally conscious landscaping and gardening practices • Weeded gardens, mowed, planted, repaired walkways and sidewalks Intern/Handyman August 2001 – August 2004 (Under Gregory Cilek) Iowa Sports Management, Iowa City, IA • Collaborated with Mr. Cilek to help restore/remodel his childhood home in Iowa City, IA • Conceptualized and built designs with Mr. Cilek, for his home and estate TECHNICAL SKILLS • Adobe Suite CS5: Photoshop, Illustrator, InDesign • AutoCAD • Google SketchUp • Excel REFERENCES Professor Roxi J. Thoren Professor Robert Z. Melnick Diane E. Hoffman Linda Pauly
Phone: 541-653-7622
April 2012 Feb. 2012 Oct. 2011 2011 2010-2011 Academic Year Undergraduate school
• Multi-Media Rendering • PowerPoint • Revit • Softimage & Solidworks
rthoren@uoregon.edu rzm@uoregon.edu dianehof@uoregon.edu lpauly@ci.springfield.or.us
(541) 346-3641 (541) 346-2193 (541) 346-0600 (541) 726-4608
Advisor and Studio Instructor Studio Insructor & Master’s Chair Craft Center Coordinator City of Springfield Principal Planner | Intern Manager