DESIGN
PORTFOLIO
2018
LA 201 Site Design Profs. Travis Rice & Robert Benson
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Table
of
contents
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Iowan Gothic
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No Bloomin’ Way
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City of Light
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Genesis
elitism brought to agrarianism
a flower blossoms in the rigidity of forms
a city is born of light, glass, and steel
a new beginning for ball state
iowan Location The rest stop for Iowan Gothic is found along Route 80 in Linn County, Iowa, the seat of Cedar Rapids. Here, in this desolate cornfield a few miles outside of the city limits, drivers pull off for much-needed sleep or to relieve themselves. Drab, with red roofing and deteriorating siding, the rest stop was a far-cry from a roadside attraction.
History Cedar Rapids boasts a large Czech and Slovak ethnic heritage. Two neighborhoods in the city – New Bohemia and the Czech Village – host a number of festivals and events about and celebrating Czech history. The National Czech & Slovak Museum and Library is home to the largest collection of Czechoslovakian and Eastern European history in the U.S. During 2016, the museum payed homage to famous artists like Grant Wood and Andy Warhol, both of whom had exhibits in Cedar Rapids. Andy Warhol is of Czech descent; his parents were immigrants to America in the early 1900s. Czechoslovakia (now the Czech Republic) is one of the greatest countries in Eastern Europe. The country has a storied history, especially in the capital, Prague. Today it is home to more than 100 UNESCO Heritage sites.
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gothic Design The project statement left much to the imagination. Each student was told to design a roadside attraction at this rest stop in Cedar Rapids. The rest stop had to draw in people from the highway. Iowan Gothic comes from the design style of architect, E. Fay Jones. His design of the skeletal Thorncrown church in Nebraska was christened Ozark Gothic. Inspired by Jones’ designs, I began to evolve the strong cultural ties Cedar Rapids has with the old Czechoslovakia. I took elements from Czech architecture and began to merge them into the site. This symbiosis morphed the rest stop into a destination rather than a passerby. Iowan Gothic represents the medieval brought to modernism, Czech history integrated with American history, and a Gothic elitism mixed with Iowan agrarianism. The rest stop is no longer an attraction, but a testament. The site plan was hand-rendered with color added in Photoshop. The plan view shows the crucifix design of the building, reminiscent of medieval cathedrals. The main building rests in the center, with a terrace and plaza in the rear and front respectively. The site then extends to the north and south, much like a church. The collection of buildings to the east is the art walk that rests in the median between automobiles and semi-trucks.
Our Lady of the Snows The Church of Our Lady of the Snows in Prague inspired the design for the rest stop extension. This cathedral – the highest vaulted cathedral in the world – would serve as a pavilion space at the rest stop.
Our Lady o
Photo Source: wikipedia.org
The ceiling of this picnic area is 18’ high, expanding by an classic red tile roof that is often seen in the Czech Republic. in churches. These panels have a faint glow, allowing natura modern with medieval. Steel mullions connect to the stonebetween the mullions, much like at Thorncrown.
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of the Light
nother 5’ in the apse. The apse is made of stone, with the . LED acrylic panes glow daily, reminiscent of stained glass al sunlight to also illuminate them. Our Lady of Light blends -and-terracotta apse. Glass panes fill the exposed spaces
E. Fay Jones’ Thorncrown Thorncrown, designed by E. Fay Jones, was another inspiration for the rest stop extension. Skeletal, open-air, and rural, Thorncrown was christened as “Ozark Gothic” by Jones himself. The unique, sharp geometries emphasized heaven.
Photo Source: thorncrown.com
The pavilion and picnic area at the northern end of the site is preceded by quartered gardens with statuary and fountains, the pavilion has large archways. Tables and chairs sit inside for people to use. The column details and orb lights break the simple forms of the sala terenna. The shelter provides another retreat from the busy Interstate and main building.
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SALA TERENNA A sala terenna is a large, formal room with direct access to a garden from one side of the building. This particular sala terenna is located at the Wallenstein Garden in Prague. The palace is home to the Czech Parliament.
Photo Source: wikipedia.org
The cloister garden at the southern end of the site is modeled after those in medieval settings. This garden offers an escape from the monotony of the roadway, providing a lush landscape for pedestrians and travelers to walk through. With quiet reflection pools, thick copses of trees, and the arched colonnade, the cloister provides peace on a hectic freeway. It serves as a cap for the south. The right rendering was sketched with ink and then colored in Photoshop. It creates a perspective view from standing in the cloister garden. The reflecting pool is low enough for people to interact with, and the natural vegetation dampens the noise of the Interstate. The lights are electric orbs that glow faintly to provide illumination.
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The elevation truly shows the medieval properties of the site. Each end is The purpose behind this entire design was to bring an ancient formality to middle of Iowa, especially at a rest stop. Our Lady of Light is replicated on the northern and southern ends as well the sun, or access the sala terenna pavilion. The LED stained glass panels glo That window was inspired by the ceiling details in Vladislav Hall in Prague and fountains. The site was hand-rendered on vellum. I used Photoshop to create the col it’s clear that this rest stop is no longer a passerby but a destination. This allo travelers on the Interstate. The seating features in the plaza are taken from the design of the sala teren rectangular form mimic those of the northern pavilion. The floral blazon is These seats line the outer edges of the plaza. The other seating element in th churches. Flowering shrubs fill low planters along the protruding seats. A br daily. These seats line the inner portion of the plaza.
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capped with a structure and a garden between. o such a rural place. No one would expect to see a Gothic site in the
l. The shorter, northern end is for those who wish to remain out of ow daily, including the large “Rose window� in the main building. Castle. The cloister and courtyard gardens feature flowering shrubs
olor across the site, including the trees and the sky. From the section, ows for people in Cedar Rapids to also interact with the site, not just
nna. A protrusion in the center acts as a back rest. The columns and from the Vladislav Hall ceiling, which is located in Prague Castle. he plaza is taken from the design of stained glass windows in most ronze band runs around the lip of the seat. LED panels glow softly
Old Town Bridge The Old Town Bridge Tower is one of the largest Gothic towers in the world. Sitting on the end of the Charles Bridge in Prague, the tower is accessible to the public as well. The bridge is one of the largest Gothic pedestrian bridges in the world.
Photo Source: wikipedia.org
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The elevation shows the repetitive nature contains one of Warhol’s “Myth” screenprin artist, and it also ties into the artistic and cul also continues the blending of modern elem elevation, the screenprints are visible as one sconces light the way in the dusk.
of the Warhol art walk. Each tower nts. This walk pays homage to the great ltural connection the rest of the site has. It ments with medieval elements. In the below e ambulates through the towers. Modern
Andy Warhol’s “Myth” Series Andy Warhol’s “Myth” screenprint series shows figures from pop culture. This showcase was one of his last, contained in a private collection. This series was shown in 2016 in Cedar Rapids. It features prints of: The Wicked Witch of the West, Santa Clause, Uncle Sam, Superman, and Dracula. Photo Source: wikipedia.org
F l o w e r : Black-Eyed Susan
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A r t i s t : Tommy fitzpat
trick
No Bloomin’ Way The project began with a simple, 12” x 14” wooden frame, with a sheet of chipboard attached to the back. I began to merge Fitzpatrick’s geometric artwork with the symmetry of the black-eyed susan. There was a central seed cluster, raised above the petals. This design was easy enough to see in a grid formation, which I began to sketch and create. A design concern I had was the simplicity of the form. During the early stages, it was a series of rectangles. This bothered me, as Fitzpatrick’s art had a complexity hidden in the uniform lines and grid. I began to examine how to extrude the 1/2”- chipboard strips in order to better form the black-eyed susan.
Fitzpatrick mostly uses a palette of primary colors in his work. Vibrant or subdued, he always uses blue, green, red, yellow, and black. Sometimes he uses orange, purple, and other colors, even metallic hues. These colors were stark and confrontational, glaring at the viewer. I wanted this vivacity to be present in my piece. I created a base grid of blue-and-green construction paper, attached to chipboard strips, and placed them along the bottom of the box. I left blank chipboard strips so the piece did not become overwhelmed with color. This base layer, in effect, was meant to be the leaves and stem of the black-eyed susan.
The yellow and orange peta 2� above the base layer. This g overlapped with many chipbo depth. The central seed cluste susan was replicated by creatin initial design, the raised grid l This was not close to Fitzpatr worked with. I laid chipboard strips of var the raised prism. These create broke the monotony of the gr forms into chipboard sheets th of the box. These forms, agai monotony of the grid within
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al strips were placed grid was pressed and oard strips to give the piece er present in the black-eyed ng a raised grid. In the looked cellular and prismal. rick’s shaken forms he
rious lengths at angles on ed visual interest but also rid. I then cut geometric hat I placed on the exterior in, helped break the the box.
City of
City of Light built on the design concepts and formulas used in No Bloomin’ Way. The abstractions and the artistic style replicated in the previous project had to be designed on a life-size scale. This was to be a large installation piece at the College of Architecture and Planning at Ball State University. Tommy Fitzpatrick’s artistic style used a series of intricate geometries. These grid forms were intersected at random intervals by diagonal objects. As to color, Fitzpatrick utilized complementary colors. Orange, yellow, violet, green, and blue were his predominant colors. He would also paint with various hues and with different media. These combined ideas revealed a potential unity project, one that could keep to CAP’s geometric architecture but also provide a visual escape from the monotony of the interior.
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Ligh
ht The sculpture parallels Fitzpatrick’s design. The roof was divided into sections using a grid, with the lines attached to the mullions of the existing windows. The grid, in the conceptual phase, looked bland and too geometric. The central mass was intersected by perpendicular, vertical lines, leaving larger, horizontal spaces at the edges of the grid.
The grid form was broken open, leaving an exposed, jagged area for natural forms. This began the design phase of “City of Light”. The glowing rectangular towers in warm colors are confined within the grid. The glowing spheres in cool colors exist within the exposed field. These spaces reflect the broken nature of the grid, with linear contained in linear, and curvilinear in expanse.
genesis - an evolution
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n
Her Story Genesis is the evolution of Beneficence at Ball State University. Beneficence, the iconic statue to the south, acts as a gateway from University Avenue; Shafer Tower, the enormous bell tower, acts as a gateway from McKinley Avenue. It is only fitting that Riverside should have a gateway as well. Beneficence is gentle and serene, with plush wings and gifts outstretched. Genesis’ wings are enormous and sharp. She is not clothed in a toga, but in a muscular form of wire and steel. She is the sharp minds of students and pioneers. Genesis is a beginning. The site, located to the west of Applied Technology, is a symbiosis of past, present, and future. Pavement appears to dissolve into individual concrete slabs. Some of these forms serve as benches, appearing to mold directly from the landscape. This evolutionary method shows how the hard, old forms of education are beginning to break and evolve into more experiential methods. Water elements add a natural clarity to the site, making it appear pure and serene. The dais upon which Genesis stands is flanked by pools. It’s as if this beginning is born of earth and water. The Ball Brothers are another element in Muncie’s history. The iconic symbol of five is present in the winged panels at Genesis. Stone is also piled around them, as if they unfurled from the stone columns at Beneficence to the south. Ball State University has a past, present, and future of excellence. These periods are distinct, but they are also unanimous in the undivided attention these periods pay to student education. From teachers, nurses, and pediatricians, to architects, fashion designers, and artists, Ball State is no longer education redefined. Ball State flies to newer heights and newer horizons. She flies to new beginnings. A genesis.
Circulation Analysis
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Clim
Located on the west side of campus, sitting beside the Applied Techn of campus. Used mainly by pedestrians as a cut-through to Cooper Sci desire-path into the site in an attempt to shorten their time with a diago The site now features an extensive number of paths for students to us run Allegre. The landscape is dissolving, but also forming and breaking brick of the site.
mate Analysis
Site Inventory
nology (AT) building, and nestled along Riverside Avenue, the site is a stagnant spot away from the hub ience and the Quad, the site is covered in patches of dirt and scrubby trees. Students have even eroded a onal route. se, broken and complete. The terrace outside of Applied Technology is perfect for patrons of the studentg and peeling. It appears cosmic and evolutionary, as if something new is breeding in the grass, leaves, and
The new gateway wire, amorphous, a This statue was in metals. These metal alumni. This statue Crumbling stone panels behind her. T
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Genesis
at this site is Genesis. Inspired by Beneficence, this winged creature is no longer bronze and Neoclassical. She is made of genesis that is soaring to new heights. nspired by works from English sculptor, Richard Stainthorp. He works with metallic forms: wire, steel, copper, and other ls are intended to appear modern or futuristic. Genesis is the future of Ball State, a new beginning for students, faculty, and falls along the axis of Beneficence to the south. sits around her feet, as if she has broken out of her cage. This same element of broken masonry surrounds the five winged This combination – Beneficence and Genesis – symbolizes the goals of Ball State: servitude and beginnings
. . . Breaking . . .
The hill on the site posed both a problem but also a solution. To keep a varied topography, I decided to slice through the hill, walling it on either side. This creates an avenue for students to walk through, a feeling of enclosure before it opens onto Genesis and Warwick Road. The walls have gentle waves of water running down them, collecting in runnels that cut into the sidewalk. The runnels cycle the water up to the terrace and down to Genesis’ dais. This natural aquatic element creates serenity in the space, and it also provides white noise to an otherwise quiet site. Despite it’s proximity to two major roads, the site is silent most of the day. This wall helps shield the site from the elements as well.
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. . . Dissolving . . .
The terrace at Applied Technology will be the head of the site, beginning the transition from past to present and into the future. This terrace is uniquely separate but also cohesive with the rest of the site. It allows students to interact better with the site and with the student-run restaurant, Allegre. In addition, the grass and the limestone begin to intersect at the terrace. This symbiosis of landscape and hardscape occurs throughout the site, but it begins here. This destination connects students with students, becoming an attraction rather than a transition. It is also a representation of the present state of Ball State, immersing students into real-world experiences.
. . . Ephemeral . . .
The unique design of the axis connecting Genesis to Allegre is the dominating piece of the landscape. Runnels of water flow from the terrace to the dais. These runnels collect excess runoff, and also recycle it through the water feature on the retainer walls blocking the hill. These runnels wrap around the perimeter of the Genesis dais, making her appear as if she is on an island. These water features highlight the natural and ephemeral qualities of the site.
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LA 202 Park & Open Space Design Profs. Peter Ellery & Natalie Yates
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Table
of
contents
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Precedent Park an industrial graveyard bears new life
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Piedmont Park
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ClockWorks
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Eden’s Song
history is remembered through nature
a piece of history frozen in time
a strong voice in whitely for everyone to hear
PR Dilapidated. Contaminated. Haunted.
These are just a few of the words landscape architect Richard Haag used to describe the old coal gasification pla Sitting on 20.5 acres, the plant dominated the landscape. The peninsula on which it sat jutted 400’ into Lake U into a park, as the Olmsted brothers had suggested during a cursory visit to the city. Even they were at a loss of w Haag viewed the site in the ‘70s. He was overcome by the haunted feeling that seeped from the buckling tower children. Inspired by this domesticity, Haag created a park for families. The cracking towers were kept whole, almost like a sculpture. The boiler house was converted into a shelter an at the pinnacle. The entire site was cleansed using bio-phytoremediation, ensuring that the toxic chemicals and m With commanding views of the Seattle skyline, Gas Works Park is a testament to the power of industry and to t over the park, the hills are a space for people to play at, relax at, and to enjoy the summer air. The treeline offers a cycles through. It also serves as a visual buffer at the hills, which look over them. The old administrative facility and generator complex was converted into a picnic shelter. The space has pipes a to. The gasification towers are the landmark piece of the park. Isolated, with panoramic views of the skyline and lake, the space is both haunted and serene in its resolute stance on the shore. Way, Thaisa. “Gas Works Park: A Brief History of a Seattle Landmark”. 15 Apr. 2015. Web. Saunders, William S. (Ed.). “Richard Haag”. Blodel Reserve and Gas Works Park. New York: Princeton Architectural Press. 1998. Print.
Scale: 1” = 100’
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RECEDENT PARK
ant in Seattle, Washington. The site had been abandoned for decades, vacated by the old gas company. Union, forcing ships and aquatic craft around its rusting body. The City of Seattle wanted to convert the peninsula what to do. rs and generators. Yet he also saw a family, two large paternal towers, with two smaller towers nestled close like
nd play-barn with painted machinery. A large hill was built for flying kites on the lake-shore, with a sculpted sundial minerals were gone. the endurance of nature. The hills around Kite Hill break the monotony of the flat topography. Providing views a buffer from the intense wind coming across the lake. They also form the other pincer of the tunnel western wind
and towers for children to climb on. Surrounded by trees, the site is meant to be a quiet place for families to retreat
Views from Site To the north, the views are more obstructed by trees and residential/commercial buildings. To the east, viewers have a clear, but rather drab, view of an industrial park and ships along the wharf. To the south, viewers have a clear and panoramic view of the Seattle skyline. To the west, the viewer can clearly see the Freemont Bridge and the setting sun.
Wind The trees filter the lake-driven wind, which merges with the larger western air flow, cooling the area around Kite Hill. The site is located on a peninsula, so strong winds from the water will blow cool air over the site. Despite the intense sunlight, the park remains cooled by the lake. Treelines channel the western winds into a tunnel. Wind moves through major structures to cool the indoor spaces. The undulating pink arrow shows how wind whips around the major structures.
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Hydrology Surface water collects from the northern boundaries and sluices to the lake. The purple arrow moves people to Kite Hill. The pink arrow moves people to the picnic shelter. The red arrow moves people to the gasification towers, by far the largest attraction. The blue arrow moves aquatic traffic to the dockyards.
sun analysis Gas Works will receive more sunshine in the early morning and evening hours. The lake reflects much of that sunlight onto the park warming it. This intense light eliminates the need for multiple streetlights. Some are present, as the weather is often overcast, but on sunny days, light is natural. Location on a peninsula allows Gas Works to receive sunlight most of the day. Kite Hill and the gasification towers would receive the most light, as they are the tallest structures. The southeastern space of the park will receive the most sunlight, as no trees block reflected or direct sunlight.
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The north-south section examines the picnic area at the northwestern edge of the site. This area is where management and the final phases of gasification occurred. Haag worked with architects and builders to convert the space into a play area for children. The shelter has colored pipes, machinery to climb on, and spaces for families to gather. Trees poke through the rust-colored towers and pipes, bringing a natural element to this heavy space. As Haag also stated, the towers looked like a family, and he designed a park with family in mind.
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PIEDMONT PA
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ARK
. . . PARK Piedmont Park is located in Charlottesville, Virginia. Surrounded by residential complexes, a theatre, and an art exhibit with a cafe, the site was inspired by the rustic downtown. This city is rich in colonial history, ideally located near Monticello, wineries, and the University of Virginia. These cultural and historical aesthetics blended together with the twists, curves, and voids of a painting by Richard Diebenkorn. The paths ambulate around the site, connecting to the composite-decked terrace to the east. The namesake of the park is from the region Charlottesville rests in. The piedmont is the region of fertile hills and lowlands east of the Appalachians, in the states of Virginia and North Carolina. During the colonial age, the British flocked to Virginia and the Carolinas for its fertile lands, ripe for tobacco and other goods. Because of this natural fertility, I chose a plant palette native to Virginia. A red maple sits at the northwestern edge of the site, with an Eastern redbud nestled nearby. By the off-street terrace, two persimmon trees provide pedestrians shade and natural fragrance from the fruit.
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Scale: 1/8� = 1’
LINE . . .
SKETCH . . .
PLANE . . .
Three sturdy, well-crafted frames constructed of chipboard began to translate a painting into linear forms. Using basswood and chipboard lengths of varying sizes, the painting underwent a series of iterations. Photographic studies were conducted on the boxes, to understand light, shadow, and the creation of spaces.
Sketching studies were conducted on the linear boxes, seeing how forms began to exist in a two-dimensional representation of the models. Scale figures were drawn to understand how the designer perceived space and dimensionality. These sketches were used in the initial design phase of the conception of the park space.
Three sturdy, well-crafted frames constructed of chipboard began to translate a painting into planar forms. Using basswood and chipboard lengths of varying sizes, the painting underwent a series of iterations. Photographic studies were conducted on the boxes, to understand light, shadow, and the creation of spaces. In these iterations, Bristol paper better juxtaposed the relationship of shadows.
The examination of the boxes led to the design of a hypothetical urban site. Exploring spatial concepts as they relate to an urban public landscape, the design manipulated the ground plane, plant material, circulation, spatial volume, and edge conditions.
A raised pedestrian walkway extends through the site, moving over the stream in the center. This stream collects runoff and stormwater, circulating it to a swale between two residential buildings north of the site. The walkway is constructed of pine. When it crosses the stream, it is anchored into the soil with posts in concrete. This is the main artery of the site, where one can hear the rapport of boots on the wood echoing solemnly. To the right in the section, people chat at a table at the off-street terrace. It is divided from the site not only by the persimmons, but by a brick wall. This barrier is intentional, allowing pedestrians to interact with two sites in one area.
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The private spaces along the stream are constructed of pervious concrete, allowing for better stormwater management. Railings prevent smaller children from falling into the stream. Victorian-era street lamps add to the colonial aesthetic, as do the cannon by the stream. Nestled in the grasses, in a cross-axial relationship with the private spaces, Revolutionary War-era cannon sit resolute. This aesthetic is juxtaposed to the urban development around it, but this Romanticized landscape allows an escape from contemporary settings. Much like Charlottesville, it is a snapshot of a previous period, a point in history that defined what the nation is. The park represents Charlottesville’s past and present.
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The model articulates not only the small size of the park, but also the relationship of the trees. They also create a cross-axial path that cuts through the other axes at a higher line. Laser-cut on chipboard, the model has little grade change. This was intentional, as the park functions more as a place of circulation rather than a stagnant site. The trees, represented with trash paper on dowels, create intense feelings of height. In the contextual model to the left, the trees press against the residential buildings. They cast dramatic shadows across the site, cooling the park in Virginia’s muggy summers. The trees also decrease in canopy size as one moves from northwest to the southeast. The terrace can also be seen, interacting with the street and the art center across the way. Piedmont Park accommodates the bustling downtown in a colonial aesthetic. The history, culture, and native landscape translated themselves into a site worthy of Charlottesville.
CLOCKW
RKS
a piece of history frozen in time
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In the 1970s, the Ball Brothers Corporation constructed a glass manufacturing factory in Muncie, Indiana. Ball jars were the next iteration of glasswork in modern history. From obsidian daggers in the prehistoric period, to canning jars in the 20th century, glass was a staple for humanity. So was the factory work. The Muncie factory employed thousands of workers, erecting modular housing nearby for the workers to commute easier. Until the natural gas was sucked dry. Now, the once bustling hub is a vacant lot, with only the gargantuan, white-washed batch tower as evidence of a past. Now, the southside of Muncie is one of the more decrepit neighborhoods in the city. With high crime, food deserts, education shortages, and blighted housing, the site is a far cry from Middletown. In the site analysis, the site bared its desolate landscape. It is located in an area devoid of vegetation, with strong winds blowing from the east. It is connected to the Cardinal Greenway, through the historic Heekin Park and Ball Field. Railroad ties run through the site, a curious find when one stomps through snow. This place appeared to defy time, and so it was the landscape’s duty to define time.
Circulation People move through the park along the primary clockwise and counter-clockwise pathway, indicated with the red arrow. The blue arrows sprouting from the red arrow indicate secondary paths, into the market spaces. The pink arrows indicate vehicular circulation.
Forms The main forms of the site are the four circular nodes that constitute the park. Linear forms create a border to the north and south, while curvilinear forms border the east and west. Small section vignettes show how trees relate to the hardscape. The dotted line encompasses the park.
Wind Wind is the strongest element on the site. The blue arrow indicates winter winds, with the red arrow indicating summer winds. The park, powered by wind turbines, would have ample supply to continue to power itself. Small vignettes of the tower show how wind power works in the park.
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The batch tower became a timepiece, keeping vigil on the site. During the height of the Muncie factory’s production, the batch tower is where the glasswork began. It housed the raw materials needed for glass production. Now, it is the last structure standing on the site. Thus began ClockWorks. The movement of the pathways in the park mimics the clockwise and counter-clockwise movements of hands on a clock. The gardens designed in between the market plots are based off the inner mechanisms of pocket watches. Finally, the batch tower stands off the beaten path, looking resolute over the market and park.
ClockWorks also maintains the industrial aesthetic of the former Muncie factory. Old I-beams form archways over the farmer’s market plots. This market solves the blighted problems of the neighborhood. It provides fresh produce to people who have limited access to food that isn’t packaged. The gravel semicircles look to a grassy area with old railroad ties laying around. This grassy, prairie area is where parents can let their kids run and play. Lenten rose, sage, dogwoods, and a variety of tall grasses rustle and wave in the wind.
ClockWorks also experiments with wind power. Vertical axis wind turbines (VAWTs) are installed in the tower and on the archways. There are 27 VAWTs in the tower based off the Verger Wind company’s designs at the Oklahoma Medical Research Facility. These VAWTs are 18.5’ tall, at 4.5 kW. They produce electricity in 10mph winds, the same annual wind speeds Muncie receives. Overtime, the VAWTs will produce enough electricity to power seven, family-of-four homes. They have less than 5 dB of noise, silent as they sit 100’ up in the tower.
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Scale: 1” = 30’
Scale: 1” = 30’
CLOCK 52
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E D E N‘S s o n g
a strong voice in whitely for everyone to hear
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Whitely is in the red-lined district of Muncie. Like the southside, Blaine, and Industry, these neighborhoods were crippled when the Ball Corporation factories vanished. Whitely has shown the strongest solidarity though. Though it is blighted in some areas, the community has banded together to make it a more desirable place to live. An architecture firm proposed renovations to an old roofing company, turning the structure into a community center. The community wanted an orchard on the site. They wanted a farmer’s market. They wanted community involvement in an art installation. Whitely had a dozen wishes and ideas, all of which fell on the landscape architects and architects. They wanted a place in Whitely, but not for Whitely. Thus became Eden’s Song, a strong voice in Whitely for everyone to hear. With an emphasis on auditory experiences, the park became more than a plaza between two buildings. It infiltrated the wooded area to the east, and evolved into a space for all of Muncie to gravitate toward.
Circulation People move through the park in a variety of ways. The red arrows indicate movement to the pole barn, while the pink arrows indicate movement along the orchard. The green arrow shows people moving through the gardens, and the black arrow indicates vehicular traffic.
Hydrology A large volume of stormwater exists on the site. With the swale, water is diverted into the channel, sending it to the bioretention areas by the amphitheater or the parking lot. This provides not only a possible irrigation program, but decreases inundation for much of the plantings.
Sun / Shade The surrounding wooded area creates a shade border around the site. In the center is where the sun will shine directly, where the orchard lies in its plots. The garden circles are shaded, as the produce planted there is sensitive to sunlight.
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Scale: 1” = 30’
Eden’s Song is an emphasis on not only the auditory elements of the site, but the religious culture of the community. Many of the community members talked about worship, church, and coming together under that entity. Eden, in Judeo-Christian theology, is the garden of paradise the first man and woman were placed in. It was a bliss for them, and this park reaches some of those motifs. With fruit trees, fresh produce, and an amphitheater as an outdoor worship space, Eden’s Song allows the neighborhood to come together as a congregation and a community.
. . . voice . . .
Landscape architects often are stuck in the visual realm of sensory relationships. Eden’s Song adds an auditory realm as well. A number of grasses are planted throughout the park, especially in the swale and bioretention areas. These grasses rustle in the wind, immersing people in the landscape. Wind sculptures by Lyman Whitaker creak in the wind, the steel blades flashing in the sun. The nectar-rich vegetation and plantings attract birds and insects. But the farmer’s market is the largest source of voice, literally in the voices of the people.
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. . . commerce . . .
The farmer’s market in the pole barn lies in an axial relationship with the orchard and garden. The community buys and sells the produce in a microeconomy, run completely by community members. Maintenance, up-keep, and general facilitation would bind the neighborhood together. Educating the community on horticulture and agriculture will be a valuable asset. This market, like the market in ClockWorks on the southside, will not only generate revenue, but it will draw Muncie neighborhoods into the mix. This program will become collaborative.
. . . Art with paint and plant . . .
The plaza features pastelcolored planters, a fire pit in the autumn and winter, and a series of greenwalls for vegetative cover. The plaza between the pole barn functions for sitability.
The fence is replaced with brick walls, with herb boxes attached. Planters extend out from them, filled with flowers and grasses for people’s picking. They create solidarity in the park.
In winter, the p in white. But in the park is alive w verdant plants. T MythMakers ins present in the gar
Eden’s Song also boasts a number of garden plants, incl eggplants. All of these plants grow well in Muncie’s hard winter, Eden’s Song would grow brussel sprouts, potatoe the herb boxes have oregano, dill, tarragon, cilantro, pars the orchards are surrounded by companion plants to aide daffodils.
60
Honeycrisp Apple Malus pumila
Black Cherry Prunus serotina
Damson Plum Prunuis domestica
D’Anjou Pear Pyrus communis
Strawberry Fragaria x ananassa
Highbush Patrio Vaccinium corymb
Marsh Milkweed Asclepias incarnata
Lake Sedge Carex lacustris
Eastern Cottonwood Populus deltoides
Red Maple Acer Rubrum
park is bathed summer, with life and The humongous stallations are rden plots.
It is through the art installations that the community comes together. People could go into the community and collect trash for the MythMakers to recycle into wonderful avian art.
luding beans, corn, cabbage, cucumbers, and diness zone, and grow well into the late fall. In the es, pumpkins, squash, and broccoli. In addition, sley, and a number of other fresh herbs. Lastly, e in pollination. These include comfrey and
ot Blueberry bosum
Redhaven Peach Prunus persica Thornless Blackberry Rubus ulmifolius Purple Coneflower Echinacea purpurea White Oak Quercus bicolor Saucer Magnolia Magnolia x soulangeana
If the community likes the art work, an exhibition could be curated, with various birds cycled in and out of the park. Thus, Eden’s Song would become a locus for artists in Muncie.
62
LA 211 Engineering I Profs. Jim Sipes & Susan Tomizawa
64
Table
of
contents
66
Tennis Court
68
Parking Lot
70
Bio-Retention
74
Conservation Park
66
SWALE
SWALE
TENNIS COURT
SWALE
SLP: 89.43
90
95
Section B-B’
80 TENNIS COURT
80
Vertical Exaggeration = 2:1
85
85
95
90
SLP: 91.13
90
95
Section A-A’
80
90.30
80
91.50
85
Vertical Exaggeration = 2:1
SLP: 90.35
85
90
95
68
0
205
210
ROAD
BERM
Vertical Exaggeration = 3:1
Section A-A’
PARKING LOT
SWALE
SLP: 204.30
0
205
210
70
72
SYMBOL
basin
basin sides side / basin basin basin
side basin
moderate (2 days) 100’ h. x 60’ w.
moderate (8 days) 2-4’ h. x 3’ w. 1-3’ h. x 1’ w. 3-5’ h. x 4’ w.
high (5 days) high (3 days)
moderate (2 days) 4’ h. x 2’ w. moderate (3 days) 3-6’ h. x 2-4’ w. high (3 days)
moderate (15 days) 3’ h. x 1’ w. moderate (2 days) 2-4’ h. x 3’ w.
moist / dry
saturated / inundated moist / saturated moist moist / dry moist / saturated saturated / inundated moist / saturated saturated / inundated
Swamp White Oak / Quercus bicolor
Common Lake Sedge / Carex lacustris Cardinal Flower / Lobella cardinalis Switch Grass / Panicum virgatum Stiff Goldenrod / Solidago riddelli Culver’s Root / Veronicastrum virginicum River Bulrush / Scirpus fluviatilis Virginia wild rye / Elymus virginicum Turtlehead / Chelone glabra
basin / side
side
100’ h. x 60’ w.
high (30 days)
moist / saturated
Eastern Cottonwood / Populus deltoides
2-5’ h. x 4’ w.
SIDE / BASIN
DIMENSIONS
FREQUENCY
WATER LEVEL
COMMON NAME / LATIN NAME
74
INLET OF BIORETENTION AREA CATCH BASIN GRAVEL RUMBLE STRIP FOR CON. VEHICLES PIPE OF CB RUNS UNDERGROUND
CB PIPE OPENS INTO THE BIORETENTION AREA
150’ 100’ 50’ 0’
PIPE OPENS INTO WETLAND AND SWALE
N
PIPE BENEATH PAVED ROAD COLLECTS STORMWATER FROM BIORETENTION
76
MORNING STAR SEDGE IRONWEED
JOE PYE WEED SNEEZEWOOD
PRARIE DROPSEED
PURPLE CONEFLOWER
150’
MEADOW SEDGE
N
TUFTED HAIR GRASS
SWEET FLAG
100’
SWEET BLACK-EYED SUSAN
EMORY SEDGE
0’
50’
NODDING WILD ONION
SIDE OR BASIN side side basin basin basin side side side basin basin side side
78
N
DESCRIPTION tough, adaptable to environments, used in wetland restoration tough, adaptable to environments, used in wetland restoration salt and drought tolerant, useful in preventing erosion, used in swales salt and drought tolerant, used in swales, high inundation period salt and drought tolerant, useful in preventing erosion salt and drought tolerant, used in swales, low inundation period thrive in sunshine, purple and pink flowers, used in swales thrives in sunshine, pink flowers, used in swales blooms in later summer through autumn, yellow flowers, used in swales salt and drought tolerant, orange and yellow flowers, high inundation period salt and drought tolerant, attracts birds, grows into early winter drought tolerant, bright flowers of a variety of colors
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5678=; 56,8;: 56,87; 56,8:: ?*+"@(1A+(B(4%@@(CDE8F+8G ?*+"@(1B4(H*@AIJ(CKA8F+8G
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B+'
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AS A NOTE, S
80
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+*+"@D(F*#(D*%@
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STORMWATER RUNOFF ON THE SITE INCREASES BY 3,450 CUBIC FEET
82
CONSTRUCTION ENTRANCE
SILT FENCING
50’
100’
150’
N
PROTECTION AROUND CATCH BASIN
0’
CHECK DAMS ON SWALES
Tanner Jordan Prewitt Ball State University College of Architecture and Planning Department of Landscape Architecture Honors College
Regina -Latin. Ruler. Queen. Regal. Reserved. The second in power.