UTSOA

TEXAS… AN INTERMINGLING OF POINTS, LINES + PLANES ADVANCED STUDIO SPRING 2016

TA B LE OF C ON TENTS F O R E W O R D 0 2 0 1 .

MAPPING + TOOLS 04

0 2 . S H E L T E R 2 2 0 3 . C O M M U N I T Y 3 4

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FOREWARD NICHOLE WIEDEMANN What is the role of architecture in the experience and reading of the landscape?

How can representation (mapping) be used for interpretation, communication and understanding?

How does the site inform the conception and production of architecture? In turn, how does architecture convey this significance to others?

In 2004, El Camino Real de los Tejas was incorporated into the National Trails System, which includes historic trails like the Trail of Tears and Lewis and Clark. As designated by an act of Congress, El Camino Real de los Tejas commemorates a historically itoute of national significance, including trade and commerce, exploration, migration, settlement and military campaigns. Therefore, it demonstrates the potential for greater historic appreciation and recreational use. Unlike national parks, this historic trail is a simply a network of paths passing through the landscape from Mexico City to Natchitoches, Louisiana.

At times, the trail aligns with existing roads and is marked with signage, some of which is over 100-years old, and other times the trail is obscured by urban expansion or simply forgotten. With the majority of land privately owned in Texas (95.8% as determined by the US Census Bureau) and, therefore, inaccessible; the visitor’s experience is at best a drive (2580 designated miles) punctuated by 2

historical markers and the occasional historic site.

Between San Antonio and Goliad, the “trail” follows close to, and crosses frequently, the San Antonio River. The valley has a rich history of continuous occupation due to the abundance of water and good soil. Linking missions and presidios from the coast to the Hill Country, this route also served as the border between French and Spanish territories. the studio The studio explored the “settling” of the Texas landscape. An incessant marking of the land, resulting in a constellation of points, lines and planes (areas), records the relationship between the environment and its inhabitants. It is a long conversation, manifest in these physical traces and historical narratives, that connects sectionally the below, the on and the above.

The Balcones Escarpment, a fault zone, divides West from East, plateau from plains, cattle from cotton, rock from dirt and so on.

Here water erupts from the surface as a series of springs. San Antonio (and Austin) straddles this line. To the east are subtle divisions that separate the grasses and soils as well as the great oil reserve (Eagle Ford Shale) below from the scattered Czech, German and Polish settlements above.

In this Texas landscape, an evolving network of Spanish paths, founded on prehistoric American Indian trails, enabled the convergence of cultures, initially, Native Americans, Spanish and French. These trails followed the clues given by the land. Over hundreds, if not thousands, of years, the persistent traversing of the land has left a residue of marks (roads, forts, ranchos, acequias, swales, missions, towns, names, trees, churches, dance halls, oil derricks and so on) that retell a rich story intertwining people, place and time.

The studio examined and intervened in the 90-mile stretch of El Camino Real de los Tejas linking San Antonio and Goliad, TX. Rather than focus solely on the New Spain era, the students studied the process of “settling” the land over time.

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01.

MAPPING map: (graphic) representations that facilitate a spatial understanding of things, concepts, conditions, processes, or events in the human world.

-Harley+Woodward Utilizing scholarly research and direct observation, the students examined the area between San Antonio, TX and Goliad, TX through the production of “maps." The thematic explorations revealed the intrinsic relationship between people and place.

TOOLS didactic: A didactic method (Greek: διδάσκειν didáskein, "to teach") is a teaching method that follows a consistent scientific approach or educational style to engage the student's mind. tool: a device that aids in accomplishing a task; a relatively simple device for performing work; something (as an instrument or apparatus) used in performing an operation.

Using the mapping research, an interactive tool was designed.

Through its engagement, the tool –a game, a book, a trip-tik, an app, performance– transforms the information into an experience.

The audience is a necessary participant in the production of understanding.

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SOUTH TEXAS GEOLOGY: HOLOCENE - MEZOSOIC LEANNA BURGIN This

map

investigates

the

geologic layering of Southeast Texas with an emphasis on the physical effects of the changing climate

and

prehistoric

terrain

times

during

from

the

Holocene through the Mezosoic period. The map reveals the subtleties of the land (and water) that helped define the patterns of permanent settlement of the San Antonio River Valley.

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El Camino El Real Camino El Camino ElReal Camino TrailTrail RealReal TrailTrail

SAND

TERRAACE

CLAY OR MUD

GEOLOGY SLIDE BOX LEANNA BURGIN

This didactic tool allows the user to look at each soil or rock layer individually.

Geologic layers are presented as a series of individual slides painted on plexiglass

sheets. Each layer is removable so that you can examine each type in isolation as

well as rearrange them in relation to time, sea level, or any number of categories.

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Sandstone Sandstone – Weches – FormaWeches For Gravel – Gravel Uvalde –Gravel.

Uvalde Loose Gravel.

Loose or Mud Clay or Mud Terrace Terrace Sandstone Sandstone – Weches –FormaWeches FormaGravel – Uvalde Gravel –Gravel.

Uvalde Loose Gravel.

Loose ClayClay or Mud Clay or Mud Terrace Terrace SandSandSandSand Queen tion, City Queen Sand.

City SediSand.

S accumulation accumulation of cobbles, of cobbles, tion,tion, Beaumont Beaumont Formation Formation – clay – clay Terrace deposits Terrace deposits – sand, silt, – sand, Alluvial sand, Alluvial silt, sand, clay, andclay, Queen tion, City Queen Sand.

City SediSand.

Sediaccumulation accumulation of cobbles, of cobbles, Beaumont Formation Formation – clay or – or clay or or deposits Terrace deposits – sand, silt, – sand, silt, silt,Beaumont Alluvial sand, Alluvial silt,sand, clay, silt, andsilt, clay, and and Terrace rock composed rock composed for pebbles, pebbles, boulders;boulders; if cementif cement- mentary mentary mud or low mud permeability. or low permeability. clay, andclay, gravel and in gravel variousin various gravel – gray, gravelbrown, – gray, brown, mentary rock mentary composed rock composed for for pebbles, pebbles, boulders; boulders; if cementif cementmud or low mud permeability. or low permeability. clay, and clay, gravel and in gravel various in various gravel – gray, gravel brown, – gray, brown, sized sand particles. sized particles.

Quartz Qua ited, becomes ed, it becomes conglomerate. conglomerate. to dark-grey Light to and bluish bluished, ited, proportions, proportions, gravel with more gravel more grayish-brown, grayish-brown, sandsand sized sand particles. sized particles.

Quartz Quartz becomes it becomes conglomerate. conglomerate.

LightLight to dark-grey Light to dark-grey anddark-grey bluish and and bluish proportions, proportions, withwith gravel with more gravel more grayish-brown, grayish-brown, and and and and glaconitic sand, glaconitic sand, and sand, clay Sand, fineto med-grained fineto med-grained sand,sand, to greenish-grey to greenish-grey silt, predominant predominant in older, in higher older, higher yellowish-gray, yellowish-gray, coarse tocoarse fine to fine glaconitic sand, glaconitic sand, andsand, clay and an cl Sand, fineSand, toSand, med-grained fineto med-grained to greenish-grey to greenish-grey clay clay and and silt, clayclay and and silt, silt, predominant predominant in older, higher in older, higher yellowish-gray, yellowish-gray, coarse tocoarse fine to fine inter-beds. inter-beds. grayish green grayish to green quartz, silty quartz, in part, silty some in part, some inter-beds. intermixed intermixed and interbedded; interbedded;quartz, terrace deposits. terrace deposits.

Locally Locally intermixed and silt, and silt, quartz, chiefly quartz,terrace inter-beds. grayish green grayish to green to silty quartz, in part, silty some in part, some intermixed and interbedded; and and interbedded; deposits. terrace deposits.

Locally Locally sandsand andsand silt,sand chiefly andchiefly silt, quartz, chiefly quartz,

EL CAMINO REAL TRAIL

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SPATIAL AND SOCIAL INTERACTIONS: 1580-1800 STANCEY MOORE The social and spatial interactions between the Native American groups were examined in the area of the El Camino Real de Los Tejas between San Antonio and Goliad, TX. The map identifies some of the major groups – Comanche,

Apache,

Caddo,

Coahuiltecan– in this particular area of Texas and begins to track their movements and events during the Spanish expansion between 1580-1800.

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COLLECTION OF UNTOLD STORIES STANCEY MOORE The El Camino Real de los Tejas is a National Historic Trail spanning across the state that dates back from 17th-century Spanish colonial period. Much of the history of Texas is understood through a European lens. However, the indigenous populations have had a significant impact on the development of the trail and Texas at large. In order to convey this untold history, a series of booklets provide an in-depth look at the Native American groups in the San Antonio River Valley.

Each of the booklets unfold revealing translucent maps that can be overlaid to graphically describe the complex history of the area.

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SAN ANTONIO RIVER RANCHING: 1771-1836 DREW MCMILLIAN The stretch of the San Antonio River

between

the

Spanish

missions at San Antonio and Goliad was occupied by mission ranchos missions

that with

supported

the

free-ranging

livestock and introduced much of what we now know as thre ranching practice today. From 1771-1836, the map explores the changing qualities of ranchland division from the mission period through

Texas

independence

in relation to scale, boundaries, landmarks and occupation.

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SAN ANTONIO RIVER VALLEY BRAND BOOK DREW MCMILLIAN The ranchers of the San Antonio River Valley hold a significant tradition of complex and personal brands, used for the identification of cattle on the open range, originating from the influence of early mission ranchos. The tool presents a collection of 38 brands from 1742-1865 in an accordion fold, leather-bound book.

Each brand is paired with a text discussing the significance of the rancher and the brand. The book attempts to tell the story of the development of ranching practices in the area in the transition from mission ranchos to private property, Spanish to Anglo influences, and the open-range to the advent of fencing.

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THE ORIGINS OF MODERN TEXAS: 1685-1690 LUCA SENISE The map examines the key expeditions in the making of Texas.

The

three

historical

figures are: La Salle (a French explorer that leads his men to misfortune), De Leon (a Spanish commander who leads two backto-back expeditions into the disputed

territory)

and

Jean

GĂŠry (a mysterious Frenchman discovered by De Leon living among indigenous groups). The analysis graphically demonstrates their

relationships

temporally

and spatially in the landscape.

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STORY HELMETS LUCA SEINSE The tool allows three individuals to experience the misadventures of three historical figures essential to the formation of modern Texas: Sieur de La Salle, Alonso De Leon, and Jean Géry. The game begins in 1685 when La Salle mistakenly arrives on the shores of Texas. Inside each helmet are a series of “obstruction cards” which instruct the player where to move and what to say as well as providing descriptions of places and mental states. As each card is used, it is discarded onto the ground where the player is standing, leaving traces that transform the playing field into a 1:1 map. The game ends in 1690 when De Leon erects the first Spanish mission in Texas, thereby marking the beginning of Texas as the cultural collage we live in today.

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02.

SHELTER Design a prototypical shelter to accommodate 4 people.

When not in use, it should be closed, or conversely, it should not matter it is open.

Further parameters are determined by you.

A proto–typical shelter was designed for the proposed 90–mile stretch of El Camino Real re-tracement trail between San Antonio and Goliad, TX. The future recreation trail connects visitors by foot, bike and kayak to historic sites (missions, presidio, crossings, rancho) as well as outdoor amenities.

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OBSERVATION TOWERS LEANNA BURGIN While the hiker is immersed in the journey along the old El Camino Real trail, the shelter is an opportunity to remove the visitor from the ground. Above the trees, the visitor can observe the path that he or she had travelled but also what lay ahead.

The separation from the ground allows the possibility of reflection. Of equal height, the towers are a network of navigational points overlaid on El Camino Real des los Tejas, which register the undulating landscape both horizontally and vertically.

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SAN ANTONIO RIVER PODS ARIEL PADILLA The San Antonio River is the primary source of water in this area of Texas and, consequently, provides the site for the proto-typical shelter. Historically, camps (parajes) and their associated water crossings have provided some of the most enduring sites of occupation in this landscape. This shelter not only provides overnight housing but also aids in the crossing of the river. The forms were digitally modeled, 3d printed and tested for buoyancy and stability in water. After arriving at a suitable form, the geometry was retrofitted with a wireframe structure parametrically that simulated the weave of skin-on-frame canoes.

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CONTEMPORARY TEEPEE STANCEY MOORE The Spanish gaze of history doesn’t capture the temporality of Native American life. The indigenous peoples of Texas were largely nomadic and did not define their culture through a lasting material permanence. For the proto-typical shelter, ideas of temporality provided the impetus to examine the Teepee as a material assembly. This shelter proposal follows the same traditional methodology, including preparation of the ground, building a frame, covering the structure and lighting the central hearth, while reinterpreting the form as a response to today’s nomad (hiker).

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S H E LT E R 0 2 29.245 / -98.321

ROOF PLAN

E/W SECTION

ROOF PLAN

1/8”=1’0”

ROOF PLAN

1/8”=1’0”

1/8”=1’0”

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E/W SECTION

1/8”=1’0”

E/W SECTION

1/8”=1’0”

1/8”=1’0” E A S T E L E VAT I O N

1/8”=1’0”

S H E LT E R 01

S H E LT E R 0 2

S H E LT E R 0 3

S H E LT E R 0 4

S H E LT E R 0 5

S H E LT E R 0 6

S H E LT E R 07

S H E LT E R 0 8

BENTWOOD JACALS DREW MCMILLIAN 80 MI

The early ranching outposts of the San Antonio River Valley are noted for a common vernacular building type known as a jacal, using a primitive form of wattle-anddaub in which logs are driven vertically into the ground, then woven with smaller branches to form walls. The shelter proposal re-interprets this tradition in a series of contemporary outposts in the form of woven, bentwood pavilions. In an effort to create a coherent, yet varied series of interventions, the form of each shelter was parametrically derived from site vectors including the position of the current and historic trail, and infilled in response to solar exposure.

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A

B

10’ 6’’

15’

11’

15’

1

2

7’

8’

13’

EL CAMINO REAL

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/

REST STOP

/ SCALE 3/8’’ = 1’

UNKNOWN SHELTERS LUCA SENISE The shelter is a foreign yet familiar object in the landscape. Its essence exists in the moment of its encounter, when a wandering traveler meets an unknown artifact. The object is only perceptible at its seams, where the image of the surrounding landscape meets a mirror edge and the semblance of sameness is destroyed. Like the early Spanish explorers, today's travelers are met with an anonymous object (shelter) with no discernible origin. They do not share a common language; all they share is their surroundings.

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03.

COMMUNITY 1. Develop a THESIS.

… a position or proposition that a person advances

and offers to maintain by argument (design).

2. Select a specific SITE and a general PROGRAM.

…the vehicle by which to test your proposition.

3. Consider your method.

… a systematic way of doing something.

Considering the role of architecture in the production of meaning, the students proposed “community” buildings in Floresville – the first model trail community for the El Camino de los Tejas– situated 35 miles to the southeast of San Antonio.

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EARTH & SKY / FLORESVILLE CEMETERY ARCHIVE LEANNA BURGIN Following my interest in the deep time (time understood through geologic phenomena), the final project provided an opportunity to explore time through the relationship between earth and sky.

How is architecture a threshold between two existences? Earth and Sky? Past and present?

In Floresville, and other small communities in Texas, the history of the place is often held in the history of the people. As such, cemeteries are repositories of history. The proposed building is an entry to the cemetery and contains two rooms: an archive for genealogy and a gathering space for contemplation. Approached with two distinct and separate paths, the archive rests below the horizon while the gathering space floats above.

The proposed building is a joint between earth and sky, mundane and sacred, and the experience as you travel from one side to the other. Each path is created by distinctive spaces that confine or release the visitor, reveal or hide the path ahead and behind them, or bring weight or lightness to a space through the thicknesses of the walls and the size and/or placement of openings.

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w can we understand time through the relationship

—Short / Infinite Time — Measuring the Passing of Time

w can you bring one realm into the other with program?

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“Mortals dwell in that they receive the sky as sky.�

-Martin Heidegger, 1971

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SOCIAL CONDENSERS / TRAIL ATHENAEUM ARIEL PADILLA During the course of the studio, we were introduced to organizations that represented the historical identity of the area. The groups, including the National Park Service, El Camino Real de los Tejas Trail Association and Floresville Historical Society, lacked a public presence in the community. Thus, a space for cooperation was identified as a means to create dialogue across the constituents.

How can architecture foster social cooperation?

To gain a stronger understanding of how people cooperate, research in social behavior was conducted. Four social mechanisms of human cooperation - direct reciprocity, indirect reciprocity, multi-level selection and kin selection – were identified and then understood as their spatial counterparts. Respectively, the spaces include the corridor, the articulated surface, the void and the hearth.

Utilizing a site adjacent to a historic rail depot and Camino Real de Los Tejas Historic Trail (walking path), the four mechanisms were assembled in the design of an Athenaeum. Parametrically derived, the roof structure shelters the spaces for performance, archive and display while symbolically embracing the community.

The architecture sets the stage for the promotion of interaction and cooperation between the community and the representative organizations.

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Direct reciprocity

Indirect reciprocity

SOCIAL MECHANISMS OF HUMAN COOPERATION Multilevel Selection

Kin selection

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MATERIAL RESONANCE / COMMUNITY MAKERSPACE STANCEY MOORE With an interest in the representation of cultural identity, I focused on the concept of “resonance” in the final project. Using specific materials and techniques that emerge from peoples and places, the design begins to encode meaning in architecture and, hopefully, transmit the experience of cultures across time.

How can architecture transmit culture?

As a community program, the makerspace was selected because of the social aspect of “making” and the development of a culture that comes about as a result. Additionally, the program allows for the dissemination of knowledge through making (ex. saddlery) that emerges from the rich history of Floresville, TX. Using a method of collage, in different forms and scales, I began to catalogue the cultures and their material characteristics of the area including Canary Islanders, ranchers, Native Americans, Spanish, among others. Like a Braque painting, the building design allows for the assembled elements to simultaneously engage in a dialogue with the past while existing as a contemporary public building.

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ALTERED FIELDS OF PLAY / RODEO ARENA DREW MCMILLIAN In relation to earlier research on the practices and traditions of Spanish ranching in the area, the program of rodeo was identified.

Derived from the annual rodeo, or roundup of cattle for branding, from the Spanish verb rodear (to encircle), the sport has deep connections to the history of the community yet these have been largely masked in spectacle and cultural transformation. The project attempts to reveal conditions inherent in the sport of rodeo that connect it to this place and its traditional practices of land use.

How can architecture alter meaning and narrative in relation to fields of play and the events that take place within them?

The project operates through a strategy of selectively altering and recombining components and experiences of the typical rodeo typology in a process of ‘making strange’. These transformations operate from the scale of site through the scale of detail as a method of shifting the interpretation of the events of the rodeo. At the largest scale, the typical ‘stadium’ arrangement is shifted to closer to ‘theater’ with seating on one side and the San Antonio River valley as a backdrop. At the smallest scale, the individual seat was explored as an exercise in intentioned detailing, referencing local traditions of saddle making and horse tack, and built at full-scale to test its tactile and experiential qualities.

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BOX?

ENCLOSURE +12’0”-+38’0”

SERVICE +12’0”_+20’0”

SEATING +12’0”_+24’0”

SPECTATORS +12’0”_+38’0”

FIELD +0’0”

STOCK & COMPETITORS -3’0”_+0’0”

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Kildeer Mou

Kildeer Mountain Rodeo, Kildeer, ND, 1943.

Field as Bound. explicit, precise, unrelated

0 2. F IE L D

enclosed, isolated, detached Stadium as Container. enclosed, isolated, detached

>>

01 . STADI U M Stadium as Container.

01 . STADI UM

Lienzo Charro de Guadalupe, Zacatecas, Mexico

0

Lienzo Char

Lienzo Charro de Guadalupe, Zacatecas, Mexico

>>>> Field as Encirclement. relative

Stadium as Container.

implicit, general, Field as Encirclement. implicit, general, relative

enclosed, isolated, Kildeer Mountain Rodeo,detached Kildeer, ND, 1943.

Stadium asand Container.

Serpentine ramp sorting pens, Temple Grandin. enclosed, isolated, detached

Serpentine ramp and sorting pens, Temple Grandin.

Ed dir

Serpentine ra

Field as Bound. explicit, precise, unrelated

>>

>>>>

>>

Stadium as Stage. continuous, Stadium as Stage.contextual, referential continuous, contextual, referential

Lienzo Charro de Guadalupe, Zacatecas, Mexico

Cattle roundup, Great Falls, MT, 1890.

Dominique de Menil & Rene Magritte at Simonton, TX Rodeo, 1965

Stadium as Stage. continuous, contextual, referential Stadium as Stage. continuous, contextual, referential Cattle roundup, Great Falls, MT, 1890.

ential

Ed dis

03 . A D JAC ENC I ES 03. AD JAC ENCI ES

Saddle tree construction diagrams

Dominique de Menil & Rene Magritte at Simonton, TX Rodeo, 1965

Serpentine ramp and sorting pens, Temple Grandin.

maker’s mark, Frank Vela Saddlery, Floresville, TX

Field as Encirclement. implicit, general, relative

Personal Values, Rene Magritte, 1952

Saddle tree construction diagrams

03 . A D JAC ENC I ES 03 . A D JAC ENC I ES

Kildeer Mountain Rodeo, Kildeer, ND, 1943.

Kildeer Mountain Rodeo, Kildeer, ND, 1943.

02.

Four Seperated Sides.

Four detached, Seperateddistant, Sides. clear detached, distant, clear

>>>> Cattle roundup, Great Falls, MT, 1890. maker’s mark, Frank Vela Saddlery, Floresville, TX

Four Seperated Sides. detached, distant, clear Four Seperated Sides. detached, distant, clear

Dominique de Menil & Rene Magritte at Simonton, TX Rodeo, 1965

3/32”=1’0”

section a. 1/8”=1’0”

>>>>

>>

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SECTION B.

Kildeer Mountain Rodeo, Kildeer, ND, 1943.

Kildeer Mountain Rodeo, Kildeer, ND, 1943.

Kildeer Mountain Rodeo, Kildeer, ND, 1943.

Personal Values, Rene Magritte, 1952 Lienzo Charro de Guadalupe, Zacatecas, Mexico Lienzo Charro de Guadalupe, Zacatecas, Mexico

Field expli

04. EDG E

Rodeo arena, Angola, Louisiana

Edge as Fence. direct, bounded, explicit

>> 4 oz. leather sling, saddle stitched

Rodeo arena, Angola, Louisiana

continuously bent 1/2” steel round rod

Edge as Fence. direct, bounded, explicit

6” x 4” x 1/4” steel plate, welded to rod, bolted connection to concrete face

>>

SEAT TO STEP SIDE ELEVATION.

Above the fence, rodeo in Glasgow, NV

1-1/2” =1’0”

Edge as Depression. distanced, refelcetive, implicit 1.5”x 2.5” brass tube handrail

paired 1.5” x 3/16” steel plates, 2” apart, spaced 6’0” o.c.

Above the fence, rodeo in Glasgow, NV

tensioned braided 3/16” steel wire, 4” o.c.

steel spacers, 3/4” x 2” x3”

Section drawing, Flavian Ampitheater (Co

1/4” x 6” x 8” steel plate welded to vertical, bolted connection to concrete face

Edge as Depression. distanced, refelcetive, implicit

HANDRAIL SECTION.

1-1/2” =1’0”

02. FI EL D continuously bent 1-1/2” steel pipe

Section drawing, Flavian Ampitheater (Co

1/2” steel round rod 4 oz. leather handrail covering, cross-stitch seam under rod

1/4” x 6” x 8” steel plate, bolted connection to concrete.

02. FI EL D

Kildeer Mountain Rodeo, Kildeer, ND, 194 FIELD EDGE GUARDRAIL SECTION.

1-1/2” =1’0”

Field as Bound. explicit, precise, unrelated

>>

Kildeer Mountain Rodeo, Kildeer, ND, 194

Lienzo Charro de Guadalupe, Zacatecas, M

Field as Bound. explicit, precise, unrelated

>>

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INSTRUMENTAL ARCHITECTURES / KWCB RADIO LUCA SEINSE The Camino experience today is from inside the automobile. The disparate voices and lost conversations that the Camino once hosted can find their closest contemporary equivalent in the radio airwaves.

These oral histories are the bridge between the present and past lives of the Camino and, therefore, a local radio station seemed appropriate.

Sound can be the element to enhance the relationship between the building and its community and the relationship between the community and the Camino.

As an architectural typology, a radio station is very prescriptive, yet very un-architectural. We find a series of rooms with particular adjacencies all squeezed into a container whose shape is often generic. Thus, the interior chambers are geometrically emancipated from the exterior of the overall building.

The building includes two spaces shaped specifically for the amplification and transmission of sound while the rest of the spaces are conventional radio station programs. First, the listening chamber is a space where one can simply listen to the sounds of the highway completing the dialogue from radio station to automobile and back.

The second of these acoustic spaces is a band shell - a parabolic indentation oriented toward the shaded side yard. Here the building 52

establishes itself as one that belongs to the public.

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SOUND VECTOR STUDIES

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147.02 147.02

273.22

273.22

258.69 258.69

270.60

270.60

320.99 374.12

320.99

374.12

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ACKNOWL E D G E M EN T S + T H A N K S Nichole Wiedemann and the students would like to thank all of those who have contributed to the studio.

With special thanks to: Steven Gonzales, Executive Director of El Camino Real de los Tejas Trail Association; Dr. Mariah Wade, Associate Professor, The University of Texas at Austin; Dr. William Doolittle, Professor, The University of Texas at Austin; and, most importantly, the Floresville Community.

STU DE N TS Cameron Benson LeAnna Burgin Annie Charleston Heidi Etzel Joanne Koola Drew McMillian Antonio Medina Stancey Moore Ariel Padilla Luca Senise Sarah Stancik Kara Turner Miren Urena