Full Portfolio by Alex Priest

DESIGN PORTFOLIO.

ALEX PRIEST DESIGNER / BACHELOR OF LANDSCAPE ARCHITECTURE E. ALEXAPRIEST@GMAIL.COM P. +1 515.520.1768 W. PRIESTSCAPE.BLOGSPOT.COM CONTENTS / BRENNAN HAUS / BRIJ / CEMETERY HILL / DEFINITION LANDSCAPE ‘INCONGRUENT’ / IDENTITY / LAKE DELHI ROVER AND REBUILD TASKFORCE / LAND ART / LE CORBUSIER BROCHURE / MIXED FIBER ART / NORMAN RESIDENCE / PRIESTSCAPE / SIOUX CITY STOCKYARDS / THE LINE / WEST OAKS / WEST SIDE FLATS / WHAT IS AN ACRE? / WILDER PARK “REALITY IS FOR THOSE WHO LACK IMAGINATION” - FORTUNE COOKIE

DEFINITION LANDSCAPE ‘INCONGRUENT’. SPRING 2008. STUDIO. SITE PLANNING AND DESIGN 1. LOCATION. IOWA STATE UNIVERSITY. INDIVIDUAL SIZE. 530’ X 160’ (1.9 ACRES) 1. PLAN 2. PERSPECTIVE 3,4. MODEL

Incongruity gives this site congruency and begins to break away from the traditional ideals of what Iowa State’s campus looks like: Olmstedian principles of naturalistic plantings and winding paths. While the site remains strictly congruent, its relationship to the rest of the university makes its grid incongruent.

CEMETERY HILL. SPRING 2008. STUDIO. SITE PLANNING AND DESIGN 1. LOCATION. AMES CEMETERY, AMES IOWA. INDIVIDUAL SIZE. 275’ X 400’ (2.5 ACRES) 1. PLAN 2,3. MODEL “THE GROUND WE WALK ON, THE PLANTS AND CREATURES, THE CLOUDS ABOVE CONSTANTLY DISSOLVING INTO NEW FORMATIONS: EACH GIFT OF NATURE POSSESSING ITS OWN RADIANT ENERGY, BOUND TOGETHER BY COSMIC HARMONY” *RUTH BERNHARD Ruth Bernhand’s poem about dissolving back into nature generates two distinct areas within the design of Cemetery Hill. One side is a very regimented grid of railroad ties standing vertically, and the other a stand of white pine. The two begin to dissolve and converge to form a threshold. At the point of death, our body has already begun to dissolve back into the basic elements into which it started. Just as our bodies are reused, the pines are reused to create new objects that eventually dissolve. It is this never-ending cycle of life and death threshold that is the impetus of this cemetery landscape.

Within the variegated history of Allison, Iowa came the development of barn quilts. These quilts have begun to blanket barns across Butler County. The Wilder Park landscape is an enormous quilt that is superimposed and stitched into the earth near Allison. The path embroiders the patches of pixelated foliage together. The path also administers varying experiences and opportunities to discover areas off the path that are as diverse as the experiences on the path.

WILDER PARK. SPRING 2008. STUDIO. SITE PLANNING AND DESIGN 1. LOCATION. ALLISON, IOWA. INDIVIDUAL. SIZE. 575’ X 685’ (9 ACRES) 1. PIXELATED PLAN 2. VARIEGATED FOLIAGE PATH 3. WATER COLOR SKETCH

ELWOOD COMMONS. FALL 2008. STUDIO. SITE PLANNING AND DESIGN 2. LOCATION. IOWA STATE UNIVERSITY. GROUP. PLAN RENDERING. SECTIONAL MODELS. CONCEPTUAL WORK. SIZE. 700’ X 1,840’ (29.6 ACRES) 1. CONCEPTUAL ‘WHAT IS CAMPUS?’ MODEL 2. MAN VS. NATURE FOLLY 3. COLLEGE OF DESIGN HUB 4. TOWN ENGINEERING ‘BOXES’ 5. ICE SKATING / BASKETBALL COURT 6. COLLEGE OF DESIGN HUB 7 PLAN

Elwood Commons Greenway is the connective tissue that binds two naturalistic environments with a contemporary identity. Sequential experiences are ruptured by a sinuous reaction to the rectilinear armature and intimate architectural connection. Acting as a superhighway, this greenway breaks away from a traditional Olmstedian academy and underlines a forward-looking testament to P.H. Elwood.

BRENNAN HAUS. FALL 2008. STUDIO. SITE PLANNING AND DESIGN 2. LOCATION. IOWA STATE UNIVERSITY. INDIVIDUAL. SIZE. 25’ X 45’ (1125 SQ FT) 1. FRONT 2. BACK 3. PLAN

The Robert and Kitty Brennan Haus is a dwelling that explores the exaggeration of public and private spaces. This haus reinterprets traditional suburban architectural ideals and breaks them off the grid while still remaining in a rigid rectilinear form. The juxtaposition of constructed and unconstructed forms reinforces the awareness of public and private spaces.

WEST OAKS. SPRING 2009. STUDIO. REGIONAL/ECOLOGICAL DESIGN. LOCATION. ISU ARBORETUM, AMES, IOWA. GROUP. COLLAGE. PLAN RENDERING. WINTER SECTION. SIZE. 55 ACRES 1. SHEEP/WOOL PARK COLLAGE 2. HOUSING COLLAGE 3. PLAN 4. WHITE PINE WALK 5. NATURE CENTRE WINTER SECTION

West Oaks is a sustainable community that learns and grows together through a variety of experiences. These experiences are rooted in seeing and doing different activities that encourage positive community involvement. The Montessori method of education and age-mixing plays a pivotal role in inspiring lifelong learning throughout the entire community of West Oaks. West Oaks conveys characteristics of contemporary “off the grid” living with a sophisticated respect of locale to establish a communal learning district within Ames.

SIOUX CITY STOCKYARDS. SUMMER 2009. EDAW URBAN SOS COMPETITION. LOCATION. SIOUX CITY, IOWA. GROUP. PLAN RENDERING. PERSPECTIVES. COMPETITION BOARDS. SIZE. 4000’ X 2700’ (250 ACRES) 1,2. COMPETITION BOARDS 3. MARINA COLLAGE 4. RECYCLED MATERIAL WALL W/ SPORTS FIELD 5. CITY DIAGRAM W/ PARKS 6. GINKGO GROVE OVER PARKING GARAGE 7. PLAN

With a retrospective look into the 127-year cadence of the Yards, a variegated and undulating landscape unfolds. Beneath tidal forces of economic blight and opulence, an urban meadow propagates amidst a historic system. What emerges is a wash of social capital.

WHAT IS AN ACRE? SUMMER 2009. LOCATION. EMMETSBURG, IOWA. INDIVIDUAL. LAND ART. SIZE. 650’ X 825’ (12 ACRES) 1. 1 ACRE FLAG MARKER 2. FLAG LINE 3. ORANGE FLAG

The relationship between the Jeffersonian grid and the Midwestern agriscape is omnipresent. ‘What is an Acre?’ reexamines the correlations of a one-acre square and glacial pothole to approach the complexities of natural systems and rectilinear ideals.

LE CORBUSIER EXHIBIT BROCHURE. FALL 2009. MODERN ART HISTORY PROJECT. GROUP. DESIGN. GRAPHIC. PRINTING. SIZE. 5.5” X 8.5”

2 1

6 7

32 30

31 38 35

33 34

37 36

1. PROJECT STATEMENT 2. COORDINATES 3. DICTIONARY DEFINITION ‘BRIDGE’ 4. PRELIMINARY SKETCH 5. BRIDGE ENGINEERING DIAGRAMS 6. DICTIONARY DEFINITION ‘BRIDGE’ 7. PRELIMINARY SKETCH 8. TACOMA BRIDGE COLLAPSE STILL 9. TACOMA BRIDGE COLLAPSE STILL 10. TACOMA BRIDGE COLLAPSE STILL 11. RENE MAGRITTE ‘THIS IS NOT A PIPE’ 12. TACOMA BRIDGE COLLAPSE STILL 13. CONTEXT 14. PROFILE ELEVATION 15. BRIDGE COLLAPSE PHOTO 16. BRIDGE COLLAPSE PHOTO 17. WATER COLOUR SKETCH 18. MEASURMENTS 19. FUR TEACUP - MERET OPPENHEIM 20. LAYERING OF ALL ELEMENTS 21. CONCEPT STATEMENT 22. 24 SECTION CUTS 23. URBAN CONTEXT 24. WATER COLOUR PLAN 25. COLLAGE PERSPECTIVE 01 26. SURREAL BRIDGE 27. COLLAGE PERSPECTIVE 02 28. GLASS FLOOR / RAIL DETAIL 29. SKETCH PLAN 30. ELEVATION SKETCH 31. COLLAGE PERSPECTIVE 03 32. CABLE DETAIL 33. { INSPIRATION 34. SURREALISM QUOTES 35. WALKWAY SUPPORT DETIAL 36. WALKWAY WITH GLASS ELEVATION (PRIOR TO DECONSTRUCTION). 37. CABLE CONNECTION DETAIL 38. CABLE STRADDLE 39. BRIDGE AXON

Unraveling the materialistic, visual, and rhetorical definitions of a bridge into a horrific threshold between the surrealistic world and utilitarian reality acts as a {re}experience of a bridge. The heightened emotional and experiential qualities of the dream world and rational delirium of reality juxtapose into a climatically ephemeral celebration of terror. Through a melancholic {re} construction of a traditional suspension bridge, an informative dialogue into the unconscious world, where violent impulses mix with a frenzied liberated psychoanalysis, {re}defines the absolute truth of a “bridge.” BRIDGE COMPETITON {BRIJ}. FALL 2009. STUDIO. URBAN DESIGN. LOCATION. LISBON, PORTUGAL. INDIVIDUAL. SIZE. 13’ X 213’ 1. PRESENTATION BOARD 2. BRIDGE WITH GLASS WALKWAY 3. SURREAL GLASS WALKWAY 4. SURREAL ERODING BRIDGE IN ART PARK

NORMAN RESIDENCE. SUMMER 2009. PRO BONO RESIDENTIAL DESIGN. LOCATION. AMES, IOWA. INDIVIDUAL. BUILT. SIZE. 85’ X 190’ (0.4 ACRES) 1. PLAN 2-3. BEFORE 4-6. MID CONSTRUCTION 7. NEAR COMPLETION

The Norman Residence extends a gridded interior and prerequisite of entertaining/ local gastronomy into the surrounding landscape. Cutting and pasting these elements into a landscape that emerges as a contemporary collage, analyzes the potential fusion of family life and rectilinear living.

3 4

WEST SIDE FLATS. FALL 2009. STUDIO. URBAN DESIGN. LOCATION. SAINT PAUL, MINNESOTA. INDIVIDUAL. SIZE. 1500’ X 2250’ (80 ACRES) 1. GABION RIVER WALK 2. LIMESTONE/EARTHWALL RIVER WALK 3. PREFAB MODULAR HOUSING INSTALLATION 4. COMCAST WITH MODULAR ATTACHMENTS 5. POPLAR GROVE 6. RIVER WALK AMALGAMATION 7. PLAN

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

West Side Flats generates a new, uniformly diverse, urban vocabulary that competes and accentuates the existing grids and linear spaces of Saint Paul. The grammar of the site takes prefabrication to an overwhelming extreme, assembling a manufactured landscape of pre-fabricated modular tetris units superimposed over the current industrial desert. Contextualizing the surrounding neighborhoods into a hyper-rationalized form, the monotony of Saint Paul is translated into a repetitious form of conventional rhythms and variations that promote a spatial clarity of livable patterns.

LAKE DELHI RECOVER AND REBUILD TASKFORCE. FALL 2010. STUDIO. COMMUNITY DESIGN. LOCATION. LAKE DELHI, IOWA. GROUP. VISUAL VOCABULARY. WAYFINDING TYPOLOGIES. IDENTITY LEADER. SIZE. 24” X 36” BOARDS X 46 BOARDS 1. PRESENTATION DISPLAY 2. BOARD LAYOUT 3. WAYFINDING TYPOLOGIES

Working in conjunction with the Lake Delhi Recover and Rebuild Taskforce, a visual vocabulary was set up to unite three months of extensive research and stakeholder focus group findings. Research and analysis resulted in three alternative future scenarios that were legitimized, for the taskforce, through the consistent use of symbology, color, and typography.

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THE LINE. FALL 2010. LIVING CITY DESIGN COMPETITION. LOCATION. SAINT PAUL, MINNESOTA. GROUP. DESIGN. RENDERINGS. LINEWORK. SIZE. 3000’ X 2500’ (172 ACRES) 1. PLAN 2. TRAIN TRACK AGRICULTURE 3. CSA / TRAIN STATION 4. RESIDENTIAL ENVIRONMENT

The interrelationship between mechanization and cultivation emerges as a new typology for St. Paul. Re-envisioning an assembly line, interchangeability of seasonal yield interlocks with the daily sequential movement of the city. What unfolds is a methodical landscape extending beyond the boundaries of the site. Process.

SNOR

club 8 mei 27 21:00 - 03:00 5€ / 4€ met SNOR

feest / dans / knutsel elektronisch. dansbare. drum. op je zitzak

BEAR. PALMBOMEN. MARTIN HOOKE.

MARCUS MCBRIDE. LOLA KITE. 1

helvetica noun. 1. a typeface in which characters have no serifs. 2. a widely used sans-serif typeface developed in 1957 by Swiss typeface designer Max Miedinger with Eduard Hoffman. 3. helvetica club. 01.11.11. college of design atrium. 4. perfection.

l i 297

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz

Helvetica Club monday october twenty-fifth 17:30 college of design atrium helveticaclub@gmail.com

IDENTITY. SPRING 2010/ FALL 2010. LOCATION. AMSTERDAM NL. AMES IOWA. SNOR INDIVIDUAL. HELVETICA CLUB GROUP. SIZE. A4. 8.5” X 11” 1-2. SNOR PARTY IDENTITY. PROMOTIONAL POSTER 3-8. HELVETICA CLUB PROPAGANDA Snor (Moustache) identity posters were developed as promotional propaganda distributed throughout Amsterdam. The Helvetica Club is established to promote and recognize the amazing potential of the font. This club is devoted to the font Helvetica, parallelS the motives and interests of likeminded Helvetica users. Pulling the graphic strengths of the members, the club designs a creative poster each meeting, initiating a dialogue not only about the font, but about many contemporary issues in design such as creativity, sustainability, and innovation. This interdisciplinary interaction between the members and Helvetica furthers many of the standards applied in the creative design studios of each member.

Janssen

Janssen 1

Honey Farms

Honey Farms 2

IDENTITY. FALL 2010. LOCATION. EMMETSBURG, IOWA. AMES, IOWA. INDIVIDUAL. 1. 1.5” X 1.5” HONEY BEAR LABEL 2. 3” X 3” HONEY LABEL 3. 2” X 3.25” HONEY LABEL 4. 24” X 36” MUSEUM EXHIBTION POSTER 5. 8.5” X 11” MUSEUM EXHIBITION FLYER

A GARDEN THAT DOES NOT GROW Courtney Lehmkuhl Stephanie McEnroe Kylie Shelangoski Wil Sunstrom Lindsey Seitz Erin Barnard

A FLOWER FOR MY LADY Jessica Muntz Morgann McCoy Becca Drustrup Tiffany Falduto Sunsett Reynolds

GOLDEN GARDENS Zack Davis Alex Priest Nicole Smith Emily Funk Erin Greer

FLAUNTING FLORALS Leo Guaiquirian Heather McCall Cailey Lantz Amy Thompson Stacie Stearns Alex Strait

Golden Gardens A Garden That does not Grow A Flower for my Lady Flaunting Florals From WWII to Woodstock

In every culture, flowers hold a symbolic and emblematic significance. The objects in this exhibit are representative of the varying perspectives of different cultures and time periods that used flowers for aesthetic purposes. Additionally, the flowers in this exhibition represent the popularity and diversity of botanicals throughout art history. This artistic diversity is exemplified through the five groups of the exhibition: Golden Gardens, A Garden that Does Not Grow, A Flower for My Lady, Flaunting Floral, and From WWII to Woodstock. As a class, we formulated these five groups with the intention of providing each viewer the opportunity to *insert their own flower reference here.

FROM WWII TO WOODSTOCK Taylor Miggins Bailey Berger Jenny Stites Brittany Robinett Kristina Emerick

a. b. c. d. e.

A student run exhibition designed to illuminate the importance of flowers throughout culture and time. The title *insert flower reference here was chosen to encourage visitors to develop their own personal interpretation as they explore the educational and aesthetic value of the exhibit's presented floral objects. Each student researched the objects displayed, and each object is from either the ISU Textiles and Clothing Museum or the Brunnier Art Museum.

*insert flower reference here:

Museum exhibit posters and flyers generated to enhance the exhibition *Insert Flower Reference Here. This student-curated initiative, illuminated the transcultural and temporal importance of flowers through a spectrum of objects and micro-exhibits.

a. b. c. d. e.

Golden Gardens A Garden That Does Not Grow A Flower for My Lady Flaunting Florals From WWII to Woodstock

a student curated exhibition TC 257 /// Museum Studies

facing page Honey identity and labels developed for Janssen Honey Farms. The identity expands the sellers goals for a successful farmers market venture and unique approach to vernacular agricultural products.

A student run exhibition designed to illuminate the importance of flowers throughout culture and time. The title *insert flower reference here was chosen to encourage visitors to develop their own personal interpretation as they explore the educational and aesthetic value of the exhibit's presented floral objects. Each student researched further information on the objects displayed, and each object is from either the ISU Textiles and Clothing Museum or the Brunnier Art Museum

Brunnier Art Museum 295 Scheman /// Schemen Building

Tuesday December 7, 2010 6:00 - 8:00pm presentation and reception

PRIESTSCAPE. FALL 2009-10 INDIVIDUAL. CROCHET. 1-4. SNOOD. WOOL. ACRYLIC. 5. SAK. FISHING LINE. WOOL. ACRYLIC 6. SAK. HAND DYED FABRIC. COTTON.

facing page

MIXED FIBER ART. FALL 2010 - 2011. INDIVIDUAL. MIX MEDIA. PIGMENT. DYE. 1. FALLING UP. 2. CALLOUSED SERIALITY. 3. TRANSITION. 4. DESOLATE MATRON. 5. MANUFACTURED PROSPECT. 6. DISORGANIZED REASONING.

“We are the ingredients of a normal pedestrian urban landscape” -Marc Jacobs Fashion is not about clothes, just like landscape architecture is not about plants.. They are deeply cultural concepts with omnipresent qualities. By dissecting each city and re-pasting it together into a collage the city can be understood in a new way. Landscape architecture is about understanding the environment from the micro to macro scale, and fashion is a way of understanding the environment. By redefining what topical information I had obtained from each city and re-assembling it into an abstract collage about context, many unique situations arise that promote a new way to understand the environment.

FASHIONSCAPE. SPRING 2011. THE BARBARA KING LANDSCAPE ARCHITECTURE SCHOLARSHIP FOR INNOVATION AND ENTREPRENEURSHIP. INDIVIDUAL. GALLERY 181. SIZE. 11”X14” BOARDS X 30 BOARDS 1. AMSTERDAM 2. ANTWERPEN 3. ANTWERPEN 4. DÜSSELDORF 5. LONDON 6. LONDON 7. PARIS 8. PARIS 9. PARIS

1,2

CONSTRUCTED EPHEMERALITY. SPRING 2011 LAND ART STUDIO. LOCATION. AMES, IOWA. SEATTLE, WASHINGTON. INDIVIDUAL. 1. BIRD SEED LINE. 2. BIRD SEED & COOKING FLOUR LINE. 3. PEA GRAVEL BEACH LINE. 4. STREAMLINE 5. 134 PAGES 6. TIMBER ZIG ZAG LINE. 7. BEACHLINE1. 8. LIGHTLINE. 9. TIN LINE 1 10. CASSETTE LINE 11. SHADOW LINE 12. LINE WALL 13. FILM STILLS: APPROX 95:53 14. APPROX 95:53

Constructed Ephemerality questions the current role of lines as political boundaries and topographic projection both discovered and made by man. It is a new form of site analysis attempting to address the responsibility of the art object and the contemporary world, thus pushing line aggressively into the “real” world of everyday spaces. Put simply a line is pragmatic, polemical, ephemeral, contemporary, and complex. This notion of line is a compound of extensive research, poetry, collage and land art. At one point it is out of context, the next moment it is in context. The context needs the line and the line needs the context to make the space legible.

5,6,7,8

12,14