TIMOTHY RYAN HORTON
Aquatic Park along the San Francisco Bay.
1.
urban design.
Cincinatti Public Library. Clifton Branch. Westcott House Foundation.
9. 11.
master planning.
Furniture and Follies.
15. multiple media.
Pedro House.
29. residential design.
Christ Church. Capitol Hill.
35. architecture.
CAUSTIC THREAD. Master’s Thesis.
43.
Credits
55.
Contents
ii.
Aquatic Park along the San Francisco Bay Aquatic park acts as the terminus for two experiential pathways through San Francisco: first, the axis from downtown along Van Ness Avenue, and secondly, as the final jutting of wharfs and docks into the bay on San Francisco’s northwest edge. Those two approaches allow it to be a significant point of rest within the city, and the current nature left something to be desired. The studio investigated ways of accepting both of those axis points, and generating a restive plan of terraces and gardens able to afford the city with outdoor rooms that could look both at the city as well as the water.
.circulation diagram showcasing dual arrival methods from downtown
BEACH STREET WATERFRONT AXIS
B A
VAN NESS AVENUE DOWNTOWN AXIS
A
B Much of the design’s real challenge was to generate a livelihood throughout the site, extending the laissez-faire festival atmosphere from the waterfront (figure B), further into the city through the Van Ness entry, currently an underwhelming lot. (figure A)
1. leaping into the bay
The project went through an evolutionary process, working to establish both a prescense in the bay as a terminus to Van Ness Avenue, yet also making allowances for slippage into the scheme from the wharfs.
2. anchoring in the bay
3. cantilevering into the bay
4. extending into the bay
04.
.aquatic park master plan
.longitudinal section
As a datum that runs through the length of the project, a series of pergolas extablishes a rhythm that is best showased in the center space along the terracing that helps define an urban room which is instilled with program included tea leaf pods, an aquarium within a low retaining wall, as well as benches and tables. These elements allow the space to become a restive element within the city from either direction traveled by patrons. The room also offers a wide vista off into the San Francisco Bay looking toward Alcatraz. The datum is carried through in lowered elements, such as planters and benches, toward the Southern Edge of the site, and also reappears as a column grid for a restaraunt along a pier thrust into the water. The project is meant to offer an array of options which can act as a recreational terminus fitting with the relaxed atmosphere of San Francisco.
06.
.southern entry section
.beech street transverse section
08.
.tea pavilion entry
10.
Cincinnatii Public Library. Clifton Neighborhood Branch. In an eclectic neighborhood near the University of Cincinnati campus, the Clifton Public Library is an important node, displaying the diversity of Clifton, and offering residents a point of meeting, a shared zone. Located on the corner of Ludlow and Ormond, it anchors the main commercial artery of the neighborhood, a series of structures housing an intriguing mix of restaraunts, theatres, music stores, and other alluring proprietors. The current library on the site was a one story drab building, one of the remaining members of the oder community. The structure needed a revitalized renovation able to express the renewed urban vitality of the community.
Westcott House Foundation Masterplanning As part of the Maimi University Fallingwater Honors Studio, The Westcott House Foundation in Springfield, Ohio acquired a series of sites adjacent to the Frank Lloyd Wright designed house. The sites included a series of delapidated structures, yet even in their state of disrepair, the structures predate the 1903 Wright structure and are an imporant point of context for the Westcott House. The Foundation had hoped they might be included in their plans for a regional and national conference center for both students and Wright scholars. The Masterplanning effort has been an ongoing process for the Fallingwater Honors studio since 2008, this series being completed in the second year of the investigation.
The extension of the site to the rear of the Westcott House created an approach condition from the back of the site, a condition never anticipated by Wright. In an effort to weave the pair of ideas together, the studio investigated the Froebel method, overlaying ideas of landscape, circulation, use, topography, and other architectural elements critical to making space. These notions were further explored in section and model, successively adding elements to affirm the composition, all the while maintaining reference to the key elements of the Westcott House itself.
14.
To affirm both the uniqueness of site, and allow the site to sit within the rural Ohio context, a grid was considered akin to the corn fields that surrounded Springfield, Ohio, generating a orthogonal plane which might be pressed and pulled in ways specific to the adjacent use. This allowed for intimate spaces as well as broad circulation swaths, yet all the while, the meandering order is maintained, and the user is invited to investigate the site as a whole, and explore the Westcott House Foundation’s uniqueness as a receptor for Springfield and the region.
Untitled. The Furniture Studio was a chance for me to expand on my design and craft in a 1:1 scale, and to consider how we directly interact with our designs. The project was begun as a series of model studies taken from the very abstract into more elaborate means of understanding the piece. From the onset I concentrated on ways of folding and splaying elements from a single form as well as a point of origin. The project eventually evolved into a more sculptural piece which was executed out of 1/8� sheet metal and welded together under the supervision of the university welder. .concept model
.process model
.process model
.H:14”. W:12”. L: 60”
B’S CHAIR As a quick two week project focusing on simple joinery techniques and structurally sound design, B’s Chair is a footstool made of African Mahogany. The project began with an 8-10’ section of 6X1 of unfinished wood. The original concept was a play on overstated box joints. The back and front become filled in slabs, but the front becomes an interrelation of vertical legs and diagonal supports. As the design moved from concept to sketch to finished work, the detailing became more dainty that originally intended. Coincidentally my cousin was turning three a few weeks later. She didn’t seem to mind.
.H:13.5”. W:12”. L: 13”
Sunken Garden. Monumental Ribbon. As the capstone to an introduction to Landscape Urbanism, the class participated in a day long charette for the redevelopment and reinterpretation of the National Mall. As an initial move, we flooded the pediment, reintroducing water in a more meaningful way, more relevant to L’enfant’s original notions of the mall. We then incorporated estuaries and wet gardens immediately south of the ellipse, and generated a boardwalk circulation pattern to connect them with the tourists. The Washington Monument was then given a new pediment, yet a more interactive notion, that considered vaulted walkthroughs, that could then be inhabited by vendors, giving relief of shade and nourishment to tourists who endure the pilgrimage through the National Mall. The gardens extend toward the Lincoln Memorial bordering the reflecting pool, and offer a lively series of moments against the monolithic backdrop.
26.
Five Part Credenza Helping moving my brother into his new apartment, my father and I wanted to build a piece of furniture to settle him in. We had a good deal of poplar left over from another project, and we were able to make a pair of cabinets from the leftovers, but we wanted a slab to encompass the two, and make it a cohesive piece of furniture. We thought we might head out to the lumber supplier, but while he was at work, I sieved through another one of his woodpiles, and found some useful scraps from an old pallet, at least for a prototype. As we cleaned it up, I was enamored by the colors in the grain, and it maintained the charm of a reclaimed project. We used some further remainders as facing for one of the cabinets, and the result was a five part reclaimed credenza, finished with some stainless accents.
28.
.ripped palette wood for drawer face
.dado joint on shelf
.face boards joined to cedar drawer
.feet cut from steel electric track
.H:19.5”. W:18”. L: 55”
Pedro House. As an independent collation in the summer of 2012, I joined in as a partner in a classmate’s (Ruben Morgado) design for a house for his brother back home in Mozambique. It offered a unique challenge to work toward a more complete version of practice, as well as engage culturally with an international project whose site, Maputo, Mozambique I had no current understanding. In an effort to deepen the intellectual basis of the project as well as further my knowledge of the site and culture of Mozambique, we submitted the project for the 2012 AIA AIA’s Innovation and Practice in House Design Research Grant program. While the project was unsuccessful in garnering funding, it offered some broader questions which would have been glossed over when considering it as a singular project for a family member.
A.
The oral histories of vernacular structures in Mozambique center around ideas of family, and utilize the idea of a tree as a poetic physicalization of that idea of togetherness. Structures consisting of larger homes and smaller huts all center around this idea of tree as a place of shade repose, and community. The client is currently a single professional, but has recently purchased this land on the outside of Maputo with the idea of settling down and starting a family. Bearing that in mind and coupling it with the vernacular traditions, we decided to employ the idea of phasing a set of structures around a central space that would allow the narrative of the house to grow to the changing nature of the client’s needs.
B.
A. The site is in a newly developed part of town, and while the boundaries are legally laid out, as the sites become developed those boundaries are easily blurred. B. In an effort to clearly define the site’s boundaries, the idea of a wall as a datum was considered. C. Programmable volumes are then able to interact with the wall and generate more intimate spaces, and circulation patterns across the site. The wall is then constantly shifting between interior, exterior; potential and ruin.
C.
30.
32.
The project is planned in phases, the initial phase establishing the datum wall, and the initial public spaces for the growing family. As the structures needs grow, additional program will interlock within the wall, the composition continually evolving, and explicating the technological advancements of the economically evolving African nation.
34.
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Phase 1 Public Space and Master Bedroom
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4320 625
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Sala de Estar
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Closet 502
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Quarto Principal
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19 m² 200 2100
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Casa de Banho
10045
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-
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Upper Floor 5
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(figure 1)
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Sala de Jantar 5075
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Escritorio 004 4 m²
Ground Floor 200
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Hall de Entrada
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Cozinha
Sanitário
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1 m²
(figure 1)
36.
.boundary definition
Christ Church. Capitol Hill. The studio was interested in modern insertions amongst Historical urban fabric. Looking specifically at Christ Church in Capitol Hill, the project centered on better defining the site and ingratiating it within it’s quiet residential context.
.spatial diagram
.tectonic language diagram .redeveloped master plan
38.
As a continuation of the initial master planning, I investigated attaching the Church’s rectory alongside the existing row home structure of the street facade, and better drawing the church property out toward the street. I utilized similar understandings about tectonics, and saw the home as a layering of threshold to anchor it into the site, and frame the church proper.
.spatial layering section
1. utilizing adjoining fabric 2. adding a secondary masonry wall 3. glassing in the perimeter of the structure 4.thickening the secondary wall to include utility. 5. adding privacy to bedrooms
1.
5.
2.
3.
4.
40.
1/4”-1’ museum board model
South Street Elevation
42.
Eastern Elevation
Entry Hall Section
44.
CAUSTIC THREAD. RECONSTRUCING AND ILLUMINATING THE LATENT UNDERPINNINGS IN THE ABANDONED URBAN CORE.
The composition of the urban cores were drastically altered through the middle decades of the twentieth century. A combined set of properties including, a post war housing boom and a globalizing economy offered a migratory exodus from the center city of both economics and population, a combination which alienated aging neighborhoods within the city as well as the post industrialized working class which continue to occupy those zones. The loss of capital and interest has caused a continual contrition within those urban neighborhoods, and the aging building stock has begun to erode under the pressures of time and neglect. The remaining populations as well suffer from the same traumas caused by indifference. What results and emanates from these zones is a fearful energy, which questions our economic and governmental systems but more it fails to consider the humanity of its citizens, which are constricted amidst a kind of urbanism of alienation. Along these edges, we create subconscious boundaries; we approach them and move away from them.
This thesis is specifically interested in the de-urbanization of inner city neighborhoods, ones whose past and building stock hold a vast series of rich industrial narratives, demarcated through cultural and historical threads which continue to persist through time. Utilizing those characteristics as an initial framework, the project looks to deepen it’s knowledge of the placeless moments in the city, actively cataloguing the abandoned remnants within these zones, and questioning what role these remnants continue to play within the makeup of the city. After establishing that as a discourse, the resulting attitude will begin to make projections at how architectural insertions can restitch the latent readings of place, and develop strategies which are capable of traversing and crossing these physical and psychological boundaries, which exist to continually deteriorate and separate portions of the urban core. The architectural insertions will look to introduce a sympathetic tectonic language able to reestablish the role of the historical fabric, and furthermore, able to occupy the residual spaces in a manner capable of repositioning and repairing the demoralized street scape.
RESEARCH POSITION
Across a small alley two oppositions stare awkwardly at each other; the first the northern statue, riddled with strange iron contraptions dancing and darting along its face, wires and signs piercing through rotting holes, patched with some silicone paste which has taken on the complexion of dust. The second, the southern neighbor, is pierced as well, yet it is a considered piercing, and along a set of tiered railings, a few residents dot their heads over the balconies to smirk at me as I maneuver my way past. It’s bricks are rectilinear, and smooth. It’s windows are not ridden with iron gates and plywood boards, but in a few moving up its face, little sold signs seem to gleam like picked puppies at the pet store. The newcomer seems to have instigated a kind of game. Across the street, a wide broad building is hushed behind a series of scaffolds, muzzled and drowned for a moment as its skin is pulled away. Like some kind of burn victim, Tyveck plasters itself up the exposed muscle, and slowly a new-yellowed brick quiets the disheartened structure. The remaining buildings seem to have themselves done up just as well, perhaps already enraptured by the demonizing replacements, or simply pampered a bit so as not to appear too sad and out of place.
GLOBAL
WW1 1848 _revolution of German states forces mass emigration
Berlin
VIETNAM
WW1I
Paris
Dublin
GLOBALIZING OF ECONOMY
NATIONAL
London
New York
# of Americans living in Urban Settings increases from 10 million to 54 million
Bridgeport. Chicago, IL. founded in 1833; strong Irish working class settlers
Pittshbugh
Stearn’s Quarry. Supplied Limestone to Chciago from 1833- 1969
New Orleans
MIDWEST
REGIONAL
Chicago
Black Bottom Detroit, MI.
Cleveland
URBAN REMOVAL _cultural height over 350 Black owned businesses; pride being the Paradise Theotre
_Lafayette Park Modernist Mixed Use Community designed by Mies van der Rohe
_writer Hen
St. Louis
1850 43,000+
during 1857 crisis many residents entrust their money to brewers rather than banks
1900 44,475
1960 30,000
Prohibition chokes off vibrant brewery district many local brewers live in OTR; become fixtures within the community
brewers dominate the industrial base of the area. over 35 breweries by 1860
OVER- THE- RHINE CINCINNATI, OH
_opening in 1855 Findlay Market has been continuously operated and is the only public market remaining in the city.
LOCAL
1850 _63% of OTR’s population consists of German immigrants 1802 _Initial city grid laid perpendicular to Ohio River
1819 _Intial parcels laid in Over-The-Rhine neighborhood.
Vine Street Revitaliza 1920 _Miami Eerie Canal is drained; replaced by Central Parkway an Olmsteadian Parkway.
1837 _construction of Eerie Miami Canal connected Cincinnati with Region, expanded industrial potential 1857 _Canal is abandoned as main mover of goods into the city.
_ground zero in Reason Magazi
_Cincinnati’s Street Car lines run from 1889 - 1951; connecting downtown to the northern outlying neighborhoods.
SOCIAL
SUBURBAN EXPANSION _post world war II housing boom _urban flight
1967-1968 _Riots break out across the count to festering tensions over issue of Liberties.
ECONOMIC
1913 Henry Ford’s Model T and Assembly Line Revolutionize manufacturing process
POLITCAL
GREAT DEPRESSION 1929-EARLY 40’S
CIVIL WAR 1861-1865
1800
1850
19th Ammendment Prohibition
1900
1920
Civil Rights Act of 1964 outlawed discriminatory processes
1950
1960
April 4, 1968 Martin Luther King Jr. shot
1970
1980
Over-the-Rhine has persevered through a tumultuous half century. It’s historic populations were highest toward the beginning of it’s histories. It contracted slowly to a more optimum population by 1950, and was an ideal urban neighborhood for a mixture of cultures. By the late 1960’s much of that population had left. The construction of 1-71 and 1-75 allowed for quick travel from suburban neighborhoods to downtown. The mass exodus was expedited by racial riots which left massive physical and psychological scarring on the neighborhood. In the span of twenty years a neighborhood whose population was at a healthy 30,000 residents was emaciated, under 10,000. The lack of residents and interest led toward a loss of capital and investment in the neighborhood, and OTR spent much of the latter half of the 20th century as a wasteland.
Stearn’s Quarry Reconstructed to become a 27 acre park
Detroit, MI.
nry Payne, “it may be more accurate to call it cultural homicide.”
1970 15,525
1980 11,914
1990 9,572
2000 7,500
2010 6,801
70% of 19th Century historic fabric lost between 1956-1991. Over 500 vacant buildings _ground zero in inner city decline. Reason Magazine
ation
_3 days of rioting from April 10-13 of 2001, in response to back teenager shot and killed by white officer. ended with city-wide curfew issued by the Mayor (aided by heavy thunderstorms that evening
n inner city decline. ine
_reconcieved in 2002, Cincinnati’s broke ground on February 17th, 2012 to bring Street Car lines back into the city
Despite the difficulties in the neighborhood, certain elements and thread continued to persist through time. Findlay Market, the oldest outdoor market in Ohio has been continually open since 1855. It still remains the center of capital in the neighborhood, and acts as positive ambassador to continuing fears surrounding OTR. In an effort to draw on Findlay Markets example, Cincinnati and residents are beginning to re-establish other historic elements consistent with OTR’s golden age. In November of 2012, the city broke ground on a new light rail system that will run through key corridors in the neighborhood, harkening back to Cincinnati’s history as a trolley car city. Also, OTR’s early German immigrants establish large breweries which were responsible for much of the neighborhoods capital investment in the 19th century. Prohibition was responsible for the industries demise, but the culture is returning in a series of trendy microbeweries keen on rekindling the ancient recipes brought over from Germany 200 years ago.
try in response Civil Rights and
These key elements begin to draw potentials for OTR’s rich building stock, as it attempts to reinvigorate nearly 500 vacant or abandoned structures. July 19, 1987 Black Monday Massive Stock Market Crash affected Global markets
1990
2000
2008 Bank Bailout
2010
48.
VINE ST.
VINE ST.
VINE ST.
1819.
1802.
1850.
DEVELOPMENT OF CINCINNATI.
PROHIBITION ERODES ECONOMIC STABILITY OF OTR.
(OTR first neighborhood settled after downtown) City was founded along the banks of the Ohio River. A 6 block by 10 block 400’ X 400’ city grid was laid out parrallel to the river.
CULTURAL HEIGHT OF NEIGHBORHOOD.
Beyond those borders, Main Boulevards were carried northward, the most important beling Vine Street, the postal road, connecting Cininnati to cities such as Dayton, OH and beyond.
VINE ST.
VINE ST.
1855
URBAN FABRIC OF OTR THROUGH TIME (OTR first neighborhood settled after downtown)
1855
VINE ST.
URBAN FABRIC OF OTR THROUGH TIME
VINE ST.
1891 (OTR first neighborhood settled after downtown)
VINE ST.
Allied win in WWI open door to persecution of progerman sympathies of OTR population. Beginning of a cultural exodus from neighborhood.
Cincinnati was founded along the banks of the Ohio River in a 400’ X 400’ block configuration parallel to the river. The extents of downtown were clearly defined but the grid was only suggestive moving northward, as three boulevard were extended
Riots were staged in low income neighborhoods surrounding OTR, and some skirmishes went along breifly in the neighborhood. The stigma associated caused a fear and exodus of many remaining residents and businesses
1950
VINE ST.
Second wave of riots in 1991, reversed much of the economic momentum the neighborhood was experiencing. It’s after affects caused a prolong period of economic stagnation, only now wearing away.
1991
VINE ST.
2011
Growth basically flatlined between 1970 and 1990
Highway act allowed building of I-71 and I-75, which encircled downtown. Transit corridors made interacting with Urban Core less necessary
50.
FINDLAY MARKET EST. 1855
THE MORELEIN BREWERY AND THE CINCINNATI BALLET ARE REPRESENTATIVE OF THE FLEDGLING CIVIC ENVIRONMENT THAT IT WORKING ITS WAY BACK INTO OTR. THE BALLET HAS RECENTLY UNDERGONE A MAJOR RENOVATION, AND THE BREWERY IS A REPRISAL OF ONE OF THE ORIGINAL BEER BARONS OF CINCINCINNATI
LIBERTY STREET LIBERTY STREET SERVES AS TO SEVER THE NORTHERN AND SOUTHERN ENDS OF THE OVER THE RHINE NEIGHBORHOOD. IT’S PRESCENCE HAS DEBILITATED THE SURROUNDING GRID, AND FORCED A LACK OF GROWTH AND REVITALIZATION ACROSS ONE OF OTR’S MAJOR BOULEVARDS.
OVER THE RHINE CINCINNATI WASHINGTON PARK EST. 1802
WASHINGTON PARK AND FINDLAY MARKET ARE TWO OF THE OLDEST CONTINUALLY OPEN PUBLICLY USED PLACES IN THE CITY. THEIR PRESENCE HAS BEEN CRITICAL TO THE SURVIVAL OF OTR, AND WILL PLAY A MAJOR ROLE IN THE NEIGHBORHOOD REVITALIZATION.
FUTURE STREET CAR LINE THE STREET CAR BRINGS BACK THE SPIRIT OF THE ORIGINAL TROLLEY CARS WHICH RAN BETWEEN DOWNTOWN AND OTR. THE MOVE SIGNALS STRONG POTENTIAL GROWTH WHICH COULD REINVORATE THE DELAPIDATED OTR.
DOWNTOWN CINCINNATI
1/4 MILE 128’
128’
128’
390’
390’
145’ BETWEEN BUILDING FACE
_A
FARM
_B
245’ BETWEEN BUILDING FACE
PARK
_A _B
PARK _C
PARK
_D
_C
_E _F
_G _H
PARK
125’ BETWEEN BUILDING FACE
PARK
_I
_D
115’ BETWEEN BUILDING FACE
_E
126’ BETWEEN BUILDING FACE
_F
98’ BETWEEN BUILDING FACE
_G
354’ BETWEEN BUILDING FACE
SYCAMORE ST
BLVD MCKMICKEN
WALNUT ST
VINE ST
RACE ST
ELM ST
PARKWAY CENTRAL
_H
174’ BETWEEN BUILDING FACE
_I
52.
ABANDONED AUSTERE
CLAUSTROPHOBIC
OBSTINATE DEGRADED MUZZLED
UNKEPT SCARRED OMINOUS
BARREN PLACELESS EXPOSED
54.
to: Fi _Ohindlay Ma o’s ol r dest ket Farm
Future Street Car Line: Growth corridor connecting to Downtown. er’s m
arket
Residual spaces: left over from dissipating fabric
T
LIB
Cincinnati Ballet
TY R E
EE R ST
Morelein Brewery building.
RACE
ELM ST
REET
STRE E
The frontage to Liberty Street has suffered from decades of neglect, as the widening of the transit corridor connecting I-75 and I-75 took precedence over the neighborhood. The ressurection of the street car line should help to repair the northern and southern edges of Liberty, and connect vital historical threads; Findlay Market and Washington Park, and further south to Downtown itself. A center street in between the street car corridor, has the ability to offer an interior pedestrian life, and sponsor a variety of recreational uses as the neigborhood reknits itself into a vibrant functioning piece within the city.
T
Pleasant Street: potential organizing spine for recreaction uses to: W a _Cinshingto cy’s n olde Park st p ark Transverely, cultural fabric is begging to reorganize along Liberty street, as the Ballet has relocated to the area, bordering the OTR neighborhood. Also, one of the city’s original brewers, the Morelein Brewery, has ressurected itself, and relocated to a larger warehouse space to North of Liberty street. Those two have the ability to act in concert and generate a cultural spine which can restich the street face with purposeful mixed use fabric. 56.
FRANCISCAN FRIARY
MORELAIN BREWERY
VINE STREET
VINE STREET FINDLAY MARKET
CINCINNATI BALLET
LIBERTY STREET
LIBERTY STREET
SCHOOL
VINE STREET ENTREPRENURIAL BOUTIQUES
_OBJECTS IN PLAY. > _RESIDUAL SPACES. > _INFORMATIVE AXES. _OBJECTS IN PLAY
VINE STREET
VINE STREET
LIBERTY STREET
LIBERTY STREET
_OBJECTS IN PLAY. > _RESIDUAL SPACES. > _INFORMATIVE AXES. > PUBLIC SPACE GENERATED.
_OBJECTS IN PLAY. > _RESIDUAL SPACES.
RECREATIONAL SPINE
FINDLAY MARKET
AGRICULTURAL SPUR MORELEIN BREWERY
URBAN FARMING
CINCINNATI BALLET
CIVIC SPINE
AD HOC THEATRE SPACE
NEW OTR LIBRARY BRANCH
GREEN SPUR
CIVIC USE MIXED USE COMMERCIAL/ RESIDENTIAL RESIDENTIAL COMMERCIAL RECREATIONAL WASHINGTON PARK
INSERTED FABRIC
58.
Aquatic Park along the San Francisco Bay. Spring 2011. Vytenis Gurekas : Critic.
1.
Cincinnati Public Library. Clifton Branch. Spring 2008. J.E. Elliott : Critic.
9.
Westcott House Foundation. Fall 2009. John M. Reynolds: Critic. Group Project. Furniture and Follies.
11. 15.
Pedro House. Summer 2012. Independent Collaboration. Ruben Morgado, Partner.
29.
Christ Church. Capitol Hill. Fall 2011. Erick Jenkins, Mark McInturff : Critic.
37.
Caustic Thread. Spring 2012 - Spring 2013 Master’s Thesis. Julie Kim, Advocate. T. Williams, D. Palladino: Readers.
45.
Credits
Timothy Ryan Horton. Master of Architecture Candidate. The Catholic University of America. 1108 4th Street. N.E. District of Columbia. 20002 281. 705. 1779_60horton@cardinalmail.cua.edu
60.
Timothy Ryan Horton_Master of Architecture Candidate_ The Catholic University of America. 1108 4th Street N.E. _ District of Columbia. 20002 _ 281. 705. 1779_60horton@cardinalmail.cua.edu