selected projects 2015 - 2018
2015 - 2016
01
T H E S I S - S I N G U L A R E C O LO G I E S mingo wilderness launch
02
pinhook bog walk
03
prairie lens
04
tarryall-cline ranch historic master plan
05
healthy rivers water park
06
red mtn residence
07
aspen alps
08
P RO F E S S I O N A L - T RYO N FA R M memorial bosque
09
EXTRAS sktch
10
gltch
li s ten // b oa t l aun c h
floa t // b oa rd wal k s y s tem b ur n // i ns t al l at i on , ar t g l as s
2016-2018
2015
2016 - 2018
P RO F E S S I O N A L
-
B LU E G R E E N
concep t ua l s i te des i g n p a rk des i g n
r es i dent i a l des i g n / / p l an t i n g des i g n , det ai l i n g s i te des i g n // d et ai l i n g
m em or i a l des i g n / / s ton ework
h a nd drawi ng m odeli ng // g l i t c h i n g
1
In all of my work, I strive for simplicity and purpose through an artful, inspired process. My objective is to challenge the prevailing land ethic and deconstruct placelessness. My favorite tools are keen observation, systems-thinking, spontaneity, and empathy. My landscape vernacular is rooted in vibrant, dynamic ecologies: singular moments in climate, force, and geo-social temporality. Place is an experience-- not a sum of parts. My academic exploration and understanding of historical geography, regionality, cultural shifts, and ecologicaldeterminism are fundamental to my design process.
( point - a nd- shoot @ M ing o Na t iona l Wildlife Re f u g e )
s i n g u l a r
e c o l o g i e s
design intervention and experiential phenomenon in wild places
a b st r a c t Wilderness is an immensely complex concept; despite its implied absence of people, it has captivated artists, historians, writers, recreationalists, and environmentalists for centuries. Especially for urbanites, there is something undeniably felt and powerful in wild places. The human conception of wilderness, however, as a landscape condition antonymous to the human landscape, is the cause of historic and contemporary social and environmental injustice. To critics, idolized wilderness is problematic because of its implied duality: if humans invariably debase nature at its best (wildest), how can we have a positive role in earth’s ecology? For environmental designers, ‘wildness’ is increasingly a valued landscape quality, offering resilience, diversity, functionality, and beauty. As early as the 1890s, Frederick Law Olmsted was implementing plans to build a forest at the Biltmore Estate and an urban “wilderness” at the Boston Fens and Riverway. Addressing or restoring wild conditions, especially in urban contexts, raises questions regarding how wildness is perceived, accessed, and even needed. Experiential aesthetics, a design approach which prioritizes sensory or phenomenological experience of place over its visual appeal, broadens the relevance of wildness to environmental design. Understood as a sensory experience, wildness becomes a necessary landscape character to aspire toward, preserve, and enhance. Wildness is a perceived, complex series of characteristics and moments; it cannot be appreciated completely in terms of ecology, function, or aesthetics. This project aims to better define wildness in terms of its perceptible characteristics and its implications for design.
4
01 ducks’ eye view
MINGO WILDERNESS LAUNCH Mingo Wilderness encompasses a vast bottomland hardwood forest (a swamp) in the Missouri Ozarks. From the seat of a canoe, the swamp is legible as a dialogue of rhythms. Paddle strokes echo over still water while wind, birds and other wildlife answer during breaks and pauses. At Mingo, boat launches operate as thresholds: arriving from a developed area in a car, visitors are engulfed in the whimsical noisiness of the swamp as soon as they step from their vehicles. This design proposal replaces an existing boat launch, endeavoring to establish a gestural prelude to the rhythmic experience of paddling through Mingo Wilderness.
E c h o C h a m b er Por t a g e Wes t Wa l l : 111 f t .
Cyp r ess Sen d -O f f Nor th Wa ll: 4 3 f t. M in go River : ~ 15 0 f t.
section A - A1
5
site plan A1
Key entry area with signage and map Echo Chamber Portage
N
A ac c e
ss r oa d
Cypress Send-Off
//
tur
n-a
rou
0 nd
15’
30’
contour interval = 1’
6
45’
60’
cypress send off
cr
u
nc
hc
r runch pat pat crunc h c
un
ch
from the canopy
There are three ways visitors experience sound. While walking, visitors hear the sound of their feet crunching and patting over gravel. As they enter their boats and shove off, the sound of gravel and cypress cut-offs rushing under their hull and of water swishing behind their paddles defines the first moments of their trip. Finally, voices of humans and of wildlife-- especially birds -- echo through the forest and over the water.
7
The foot path along the portage and Cypress Send-Off is sunken, and its walls are formed at an angle to reflect the noise of walking feet upward toward the traveler along the path. The curvature of a canoe, carried overhead during a portage, deflects sound waves back toward the ears of boaters, completing the ‘echo chamber’.
echo chamber portage
cr
u
nc
hc
runch pat pat crunc h c
ru
nc
h
wood and stone
5
Materials Key
1
3
1
stained concrete
4
2
2
river rock
3 sinker cypress
4 decomposed granite
5 n
reclaimed cypress 0
5
10
15
site model: bird’s eye
9
site model: plan
10
02 SOLID MODULE
FL OA TIN G
MO DU LE
E DUL SUNKEN MO
EXISTING
FIBROUS SPAGHNUM PEAT
FLUID, FIBROUS SPAGHNUM PEAT
TRAPPED WATER
PINHOOK BOG WALK Pinhook Bog’s ecological singularity is a consequence of its natural history, which is only physically evident through stratigraphic studies of peat layers. Walking is a sensory experience—blindfolded, people can still ‘read’ surfaces by relative firmness. This project primarily aims to enhance the sensory experience of walking over Pinhook Bog by exaggerating relative deflection and stability underfoot as visitors pass over alternatively deep, flooded, thin, solid, or saturated areas of the peat mat. The proposal introduces three walkway modules: a floating module, a sunken module, and a solid module. The modules are each engineered to support a human moving over a spectrum of conditions underneath.
FLUID, FIBROUS DETRITUS SPAGHNUM PEAT
FIBROUS LIMNIC PEAT
11
GLACIAL TILL (CLAY)
9,000 YEARS AGO
3,000 YEARS AGO
S E D G E S AND H E R BACE O US WE T LAN D S PE CIE S ( PO N D E D GE )
BOR EAL W ETLAND SPECIES
depth (ft.) 0
0
EARLY SPAGHNUM PEAT MAT 5
5
10
10
15
15
TRAPPED WATER depth (ft.)
OPEN WATER
20
20 AQ UAT IC PLAN T S
25
FIBROUS, LIMNIC PEAT 25
30
30
GLACIAL TILL (CLAY)
35
GLACIAL TILL (CLAY)
35
source: Wilcox and Simonin, 1988
source: Wilcox and Simonin, 1988
PROPOSED
F LOATING MODU L E
S UN K E N MO DUL E
S O L I D MO D UL E
depth (ft.) 0
POND
FIBROUS SPHAGNUM PEAT
5
FLUID, FIBROUS SPHAGNUM PEAT 10
TRAPPED WATER
15
FLUID FIBROUS, DETRITUS SPHAGNUM PEAT 20
FIBROUS LIMNIC PEAT 25
GLACIAL TILL 30
35
8” X 8” BLACK LOCUST TIMBERS
floating 2’ -8 ”
PERFORATED ALUMINUM DECK (STOP / START GRADIATION)
WELDED L-BRACKET / NUT AND BOLT ASSEMBLY
8-
15 ’ TO
TR AP PE D
PERFORATED ALUMINUM DECK (MEANDERING GRADIATION)
WA TE R
5’ -0 ” 10. 8 CU FT / / 6 67 L BS B UOY AN CY
POND
1-
CUSTOM ‘SLIDE-IN-PLACE’ BOLT AND SEAT ASSEMBLY / ALUMINUM FRAME
15 ’ TO
TR AP PE D
WA TE R
PERFORATED ALUMINUM DECK (MAXIMUM PERFORATION)
4-
15 ’ TO
FLO AT AN CHO RS
POLYETHELENE DOCK FLOAT (11 LBS / SQ FT BUOYANCY)
3’ -0 ”
VACUUM - FORMED HIGH TECH POLYMER PONTOON (68 LBS / SQ FT BUOYANCY)
TR AP PE D
WA TE R
POLYMER RAIL + WELDED L-BRACKET + NUT AND BOLT ASSEMBLY
terminus 13
solid
sunken
SOLID, FIBROUS PEAT
SATURATED, FLUID, UNSTABLE, OR INTERMITTENTLY FLOODED PEAT
SOLID MODULE + perforation pattern invites pause, discovery + accesses solid, thick areas of the peat mat + dense and un-responsive to loads SUNKEN MODULE + perforation pattern allows new plant growth + accesses areas where the mat is unstable + moderately-minimally responsive to loads FLOATING MODULE + accesses flooded areas + ultra-light and highly responsive to loads TERMINUS + sited over a thick mat in an open area + provides seating and extra space for groups
entry gate
ENTRY GATE + perforated Corten panels and black locust posts + provides better signage + minimizes plant theft
03 PRAIRIE LENS This design study culminated in a built installation constructed with wood, rope, monofilament, and hot-worked studio glass. By juxtaposing elements vastly different in form (prairie : glass) but dependent on the same humancontrolled elemental force (fire), this work presents fire as a paradox within the human/nature dichotomy.
15
1.
Two or three “gathers” are taken from the furnace.
2.
The gather is formed spherically with a block.
3.
The spherical shape is flattened and indented several times with shears.
4.
Using diamond shears, the indented shape is elongated and twisted.
5.
The glass is reheated twice to “polish” or smooth the shape.
6.
A partner gathers a small amount of glass to extrude and wrap around the shape to form loops for hanging. The final piece is left overnight in the annealing oven.
1
2
3
4
5
6
hot shop process 16
Visitors experienced the installation through different scales. From a distance, the tripod frames captured visual interest. From ‘inside’ the frames, visitors experienced the glass as lenses, holding and rotating the pieces to watch the prairie distort and transform.
17
18
professional
-
b l u e g r e e n
conceptual and detailed design in the high rockies
my f i r st st udi o ex pe r i e n c e : Bluegreen is a very small landscape architecture studio in Aspen, Colorado, which takes on a spectrum of work including large residential projects, commercial streetscapes and gardens, public parks, and anything else creatively intriguing. I love the way Bluegreen practices: it’s a very selfdirected, fast-paced work environment. Every day was different and challenging. At Bluegreen, I learned how to work efficiently and flexibly, prepared for anything. The principals, Sam and Sheri pushed me to take on leadership roles, while tackling diverse production tasks. I especially pushed my graphic abilities at Bluegreen, where I was often the team lead on graphic style and content.
20
04 LOCATION South Park, Colorado CLIENT Park County SCALE historic ranch ROLE design lead, graphics
TA R R YA L L - C L I N E R A N C H HISTORIC MASTER PLAN Tarryall-Cline Ranch is a story stalled in time. Comprised of vacant structures grounded in windswept high alpine plain, the land reads like a timeline—echoing the excitement of mining booms, the slowed pace of ranch life, and the ever-present, rugged beauty of the Rockies. Livelihood and environment collide—the consequence is a fading recollection of moments, eras, or stories. Deserted and disintegrating, the ranch home, the barn, and the bunkhouse require repair and renewed functionality. Visions for the next era at Tarryall-Cline are as varied as the ranch’s history—as a landscape scarred, worked to its productive potential and finally left to ecological reclamation, the ranch filled numerous roles in its lifetime. Tarryall-Cline Ranch represents landscape valuation, hard work, and productive ground—a heritage disappearing from Colorado’s rural landscapes. 21
22
23
The masterplan for Tarryall-Cline Ranch seeks to uncover the past and stage the future through gradations of stabilization and new growth. Subtle intervention reinterprets the land and restores its most meaningful functions. New swaths of protein rich grasses recall a history of high plains ranching. Willows emerge from scratched soil; coupled with minimal grade changes, these willow screens spatially-delineate new development and frame restored structures. The masterplan excavates history from the landscape, revealing connections and relationships between culture and ecology. Tarryall-Cline is a poem of place, requiring contemplation and the act of dwelling to interpret its meanings; its story is read through structural frames—a hierarchy of verticality. Conceptions of old and new serve as orientation along lines of landscape, verticality, and time.
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25
26
05
urbanization and meander shifts
H E A LT H Y R I V E R S WAT E R PA R K An area of land along the Roaring Fork River near Basalt, Colorado was identified by Pitkin County Attorneys as an opportunity for a public park amenity. After engaging Bluegreen, a rigorous analysis was conducted and concepts were drafted and iterated quickly, with frequent stakeholder meetings. These meetings culminated firstly in diagrams capturing programmatic opportunities and conflicts. We produced two early concepts and the final preferred plan. This project is moving quickly into design development and phased construction.
LOCATION Roaring Fork River, Colorado CLIENT Pitkin County SCALE public river park ROLE design, graphics, outreach 27
existing site
seasonal inundation
28
user groups analysis
With community feedback, Bluegreen developed user group studies for 12 types of users. These diagrams ultimately informed the site design, which evolved through several iterations stemming from two original concepts. 29
30
preferred plan
31
The preferred plan provides a dynamic park experience with a keen focus on ecological interpretation and community impact. Boardwalks, a bridge, and decks provide viewing opportunities along the river, through a mature cottonwood gallery, and around existing freestyle play wave features. River left, quiet trails amble through ponderosa pine and access a small nature play area. At Fisherman’s Park, a beer garden offers a flexible space for community gatherings.
32
site section
A primary objective of the park design was to incorporate better seating and viewing opportunities, as well as safer access along and across Two Rivers Road. The preferred solution is to drop grade river side of the busy road, using plantings to provide stormwater treatment and an audiovisual buffer for pedestrians. Decks maximize usable space, offering vantage and an open, park-like character.
33
viewing decks 34
06 front perspective
RED MTN RESIDENCE This fast paced spec home project on Red Mountain sparked my intrigue for planting design in the Rockies. I authored the images above and at right during an early permitting phase and prior to any planting design. Throughout the project’s development, I referenced these images and ecological field guides for inspiration. This project also culminated in detail drawings for a pool and spa, fire feature, and paving details, some of which are included here (assisted by Tyler Mark).
LOCATION Aspen, Colorado CLIENT private SCALE residence ROLE design lead, graphics, planting design, details 35
courtwell perspective
36
planting schedule 37
planting plan 38
planting enlargement - front 39
planting enlargement - back 40
fire terrace enlargement 41
fire terrace details 42
07
plan enlargement
ASPEN ALPS I designed and initialized detailing for this staircase between an existing and a proposed residential building. Primary design objectives were to preserve two existing trees and consequently, an adjacent run of retaining wall. Sensitivity to owners’ concerns was paramount, necessitating the reuse of stone materials. Stormwater makes its way down this challenging grade through a series of planted areas, primarily at the surface and over wall scuppers.
LOCATION Aspen, Colorado SCALE staircase // condominium complex ROLE design, detailing
43
massing studies 44
2" DIAM. PRESSURE TREATED WOOD HAND RAIL, FLATTENED AT BASE AND ATTACHED TO METAL RAILING
CL
1/4" X 1-1/2" METAL RAILING PAINTED TO MATCH ARCHITECTURE
1-1/2" SQUARE STEEL POST PAINTED TO MATCH ARCHITECTURE
2'-103 8" 4", TYP
3'-0"
1/4" DIAMETER WIRE ROPING
2 L801
GALVANIZED PLATE AND POST ASSEMBLY MOUNTED TO CONCRETE AND POWDER COATED TO MATCH ARCHITECTURE
S
S
4", TYP.
ION AT STAIRS
1 L801
1/2" = 1'-0"
railing study
45
S
S
PLANTING RE L400 RETAINING WALL BEYOND METAL SPILL ASSEMBLY ATTACHED TO CONCRETE RETAINING WALL
3'-0"
2'-6"
CONCRETE RETAINING WALL; RE STRUCTURAL
2 L801
SECTION AT STAIRS SCALE: 1/2" = 1'-0"
wall // scuppers study
46
professional
-
t r y o n
f a r m
design build on the north shore (indiana)
a lu ck y s u m me r i n te r n s h i p: Tryon Farm is an alternative residential community in Michigan City, Indiana. Conceived as a rural community with a restorative mission, the farm demonstrates a strong culture of modern design and ecological stewardship. Tall grass prairie, wet sedge meadows, black oak and mixed hardwood dune communities, and wastewater treatment wetlands comprise a vibrant ecological patchwork across the 120 acre property. At Tryon Farm, I was fortunate to have a an excellent mentor in Scott Kuchta, and opportunities to practice a wide array of design tasks. Primarily, my focus was on creating ‘trail nodes’ along existing trail systems throughout the farm, and generally improving the function and aesthetic of the trails. Scott hopes that these trail nodes will encourage residents and visitors to pause and relish the beauty of this unique landscape.
48
08 LOCATION Michigan City, Indiana
site + context 1 bailey pond island 2 bailey pond 3 memorial bosque site
DATE August 2015
4 existing path
CLIENT Tryon Farm
6 existing prairie
5 existing interpretive trail 7 existing pond settlement
SCALE small scale intervention
MEMORIAL BOSQUE I was asked to design and construct a trail node with an existing concrete bench, memorializing the passing of a much-loved resident. I implemented the project with minimal funding and limited supervision-- it was largely self-driven work. The project was important to me as an introduction to material selection, costing, and my first opportunity to work with stone.
on-site design visualization
1
7
2
3
4
6
5 0
25
50
100 feet
N
PRAIRIE
BA I LEY POND
BE NCH
(2) Pinus strobus
STRIP PAVE RS
BO S QUE
(9) Betula papyrifera
PRAIRIE
N
(1) Pinus strobus
paperbark birch
eastern white pine
0
5’
aggregate base/fill 51
10’
20’
bluestone pavers
I chose to lay pavers within an irregular area, leaving void spaces where prairie plants could reemerge. The stone pieces were cutaways from a processing facility-- each was the same elongated shape with subtly-varying dimensions. I arranged the pavers parallel to one another, with consistent space between rows. I used the inconsistent dimensions of the pieces to achieve an irregular, cobble-like surface: my intent was to provide a tactile experience, slowing pace physically and emotionally. 52
e X t r a s
sktch, gltch
53
wa n de r e r : I dance across the streams Oh I start to dream. I listen for the owls They teach me how to sing. Rain falls through the leaves And guides my wandering feet. Facing towards the flames Body and my soul gleam. But oh I know how Mind is running free Oh I know how To dream.
54
09 studies for a passage, fall 2015
SKTCH
55
maroon bells in a snowstorm, watercolor pencil, winter 2018
near independence pass, felt tip pen and precipitation, spring 2018
56
10 Computers as a design tool are ubiquitous, but in most practices they are used more frequently as a method of representation than as process. These .obj file code manipulations (glitches) utilized Rhino and notepad to discover latent geometry in a primitive (box) and an airplane (SR-71 Blackbird). The results challenge paradigm, exploring new aesthetic models and conditions.
G LT C H
57
Tools: Rhino with V-Ray Plug-in, Notepad, Adobe CS
make 600 y vertices negative target z>30
make 1000 y vertices negative target z>30
change replace 2 numbers full file
delete f values
replace 23 w/ 3
merge f and v
delete f and v values
delete v values
copy v values merge f and v
delete f and v values
delete v values
r u i n a t i o n : s r - 71 b l a c k b i r d b idelete l ly10,000 s tmiddle r at ton z values
delete high and low 5,000 x
make z values = z*(y/2)
replace 2 numbers full file
r u i n a t i o n : s r - 71 b l a c k b i r d
delete f values
original
b i l ly st r at to n
y sorted smallest to largest make 600 y vertices negative target z>30
x sorted smallest to largest delete 10,000 middle z values
delete high and low 10,000 x make 1000 y vertices negative target z>30
delete high and low 5,000 x
y sorted smallest to largest
delete high and low 10,000 x
randomly delete vertices
randomly delete more vertices
change replace 2 numbers full file
delete f values
replace 23 w/ 3
merge vertices
change f values
delete f values
make z values = z*(y/2)
replace 2 numbers full file
delete f values
replace 2 numbers within z
replace 1 number within z
replace 2 numbers within y
merge vertices
change f values
delete f values
delete zâ&#x20AC;&#x2122;s < -60 replace 1 number within z
replace 2 numbers within y
copy v values
delete more vertices
x sorted smallest to largest
delete 1,000 vertices between every 10,000
average top 1,000
randomly delete vertices
randomly delete more vertices
replace 9 w/ 2
replace 8 w/ 5
delete 1,000 vertices between vertice rearrange every 10,000
replace 9 w/ 2 y sorted large to small
vertice rearrange x vertices negative invert
average top 1,000 delete vertices
replace 8 w/ 5 replace 2 w/ 3 in z vertices
delete vertices
selectively delete and rearrange replace 2 numbers within z
replace . w/ .99999 delete more vertices
selectively delete and rearrange
replace . w/ .99999 add vertices from parent
delete f values
merge vertices
delete f values
replace several 2-digit values
merge vertices
delete vertices
delete vertices and f values
merge vertices
delete f values
replace several 2-digit values
delete vertices
delete f values
replace f values
merge vertices
delete vertices
delete vertices and f values
rearrange
add v and f values from parent
replace numbers
delete zâ&#x20AC;&#x2122;s < -60
rearrange replace numbers
58
merge f and v values
delete f values
add v and f values from parent
replace numbers
the end.
This book contains professional and academic projects. Thanks for viewing.