Zoë Crandall - Master of Landscape Architecture Portfolio

ZOË CRANDALL MLA STUDENT

LANDSCAPE ARCHITECTURE PORTFOLIO +1 (780) 881 5599

student works

zoe.e.crandall@gmail.com

ABOUT

Zoë Crandall is a Graduate Research Assistant at the Center for Civilization and a Master of Landscape Architecture (‘21) candidate at the University of Calgary School of Architecture, Planning, and Landscape. An ecologist, humanist, and artist, Zoë seeks to comprehend the complex ecological interactions in the urban landscape. She is passionate about environmental justice and environmental education and has volunteered as a co-author and GIS analyst with the Elbow River Watershed Partnership.

Zoë has previously worked as a Community Engagement Specialist at the City of Edmonton Waste Services, a Park Interpreter at Alberta Parks and Environment, and a Library Assistant at the Edmonton Public Library.

Zoë is the past recipient of the ADOA and 1st Principles Planning Graduate Scholarship, an NSERC Undergraduate Research Award, and the University of Calgary Graduate Entrance Award. In 2016, Zoë’s work on epigeic arthropod population on urban green roofs was presented at the European Carabidologists’ Meeting in Croatia. Zoë holds a Bachelor of Science with distinction from the University of Alberta.

TEAM WORK

01.

SUDBURY 2050 Central Park Design

02.

SUDBURY 2050 Tactical Inter ventions

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SUDBURY 2050 Central Park Design Design: Ji Sun Song + Zoe Crandall Entourage + Atmosphere: Ji Sun Song B a s e R e n d e r s + Te x t u r e s + V e g e t a t i o n : Z o e C r a n d a l l As a part of a team for the Sudbur y 2050 competition, I designed the central park and focal point for the project that integrates storm infrastructure, connectivity, and iconic Northern Ontarian landscapes.

Junction Creek was buried in the 1970’s and massive megablocks were built over top of it, removing the central connecting corridor that historically linked the small townships surrounding Sudbur y.

By daylighting the creek, the ecological as well as the connective functions of the creek can be restored. Storm water runoff is diverted into the creek, and drowning pathways along the edges bring the user close to the infrastructural element.

01.a Upper Right. Long summer days invite people onto the cantilevered lookout, giving a new perspective on stormwater infrastructure.

Lower Right. Winter brings skating and sledding, popular cold-weather activities in Sudbur y.

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01.b Above.

Drowning paths can accomodate high water events while providing close access to the creek.

Right. Isometric site plan.

Upper Left.

Springtime emphasizes the red of native dogwood bushes.

Lower Left. Low water levels in fall allow for pedestrian access on drowing paths.

Green Roofs Timber Construction Play Area Food Trucks

Recessed Upper Floors

Modular Street Furniture

On-Street Parklets

Active Alleyways Market Extension

Transit Stops

2-Way Traffic

Increased Street Trees

Parklet

Pedestrian Crossing

On-Street Furniture On-Street Parking

Wide Sidewalks

Integrated Bioswales Multi-Use Pathway

Seperated Bikeway

Park Surface Urban Agriculture

Greened Rail Gaps

Rail Buried

Passenger Rail

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SUDBURY 2050 Ta c t i c a l I n t e r v e n t i o n s Design: Liyang Wang, Tripty Kaur, Tawab Hlimi and Zoë Crandall Graphics: Zoë Crandall

02.a Upper Left. Parking lot inter ventions include seasonal programming such as food trucks and movies.

Middle Left. Roads are put on a diet using painted bike lanes, increasing street parking, and street furniture.

Lower Left. Rail yards initally incorporate pathways and urban agriculture, and evolve into a covered rail park.

Below. Timeline of Sudbur y’s urban form.

As a part of a team for the Sudbur y 2050 competition, I designed strategic inter ventions that can evolve over time into permanent infrastructures.

These strategies were imagined in three typologies: roads, parking lots, and the rail yards in the downtown core. Food trucks, yearround programs, and green infrastructure contribute to a city-wide connectivity initiative to bring life to Sudbur y’s core.

These strategies are specific to the context of the place, and the evolution of the urban form was central to the design.

03.

EMPIRE OF GRASS Land and Sky

04.

PRAIRIE RHYTHMS Prairie Oasis

05.

PRAIRIE RHYTHMS Analysis

06.

BOUNDLESS Enclosed to exposed

STUDIO PROJECTS

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EMPIRE OF GRASS Studio Project. Fall 2020.

The Great Plains have sur vived centuries of development, but can only function as a connected whole. I landed in the Hand Hills in southeastern Alberta and was deeply moved by my surroundings. This ecosystem I fell in love withis dependent on disturbance factors to maintain vegetation composition and dynamics.

Since colonization, these integral processes have been disrupted, and the ecosystem is in peril. I aspired to reignite these cyclical forces through design inter ventions, as well as making these processes accessible and visible for ever yone.

The processes that maintain and shape this ecosystem are represented in four ways: fire, bison, sky, and land.

03.a Upper Right.

Late fall afternoon in the Hand Hills.

The sprawling vista is an endless sea of grass and the sky is wild.

Lower Right. Interior of a proposed interpretive centre for the park showing culture, ecology, and histor y.

mostly grasses

shrubs and woody plants

community regrowth

bison grazing

grassfire

community regrowth

03.b Above. Section of prairie grass ecosystem succession.

The deep roots of native grasses ensure sur vival under disturbance from bison and fire.

Upper Right. Bison are reintroduced to the landscape, fufilling a historical and ecological niche.

Lower Right.

A rammed earth trench cut into the hills brings the user into the earth to experience the soil and roots that support the grasses above.

wildflowers, grasses, and forbs

wildflowers, grasses, and forbs

bison wallow

grasses dominate

04.a Above. The large prairie “glyph� park provides a restful gathering space in the centre of the route and the centre of Calgar y. Visitors can move through a field of ever-changing wildflower blooms on wide, dedicated bike and pedestrian paths.

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PRAIRIE RHYTHMS Studio Project. Winter 2020.

The MLEAD in Calgar y is a disused CP rail spur that has the potential as a connective corridor for people and wildlife.

I aspired to transform the MLEAD into diverse and ecologically productive prairie meadows through the use of prescribed burns.

The site is divided into parcels assigned a burn schedule to create diverse vegetation patterns, and will be seeded with a native wildflower mix, adding visual interest and a myriad of animal habitats.

Gravel firebreaks will be installed throughout the site.

These gravel strips simplify burn procedures and protect nearby buildings and roads.

Visitors are invited to explore these small paths, bringing them to strategic viewing points and gathering spaces that encourage nature and city bathing, photography, yoga, and conversation. up the wild, unstructured vegetation.

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Schedule A. Frequent Burnings (2 years)

Full Wildflower Bloom.

(No Shrubs)

Initial Wildflower Bloom.

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Schedule B. Infrequent Burning (5 years)

Initial Wildflower Bloom.

Full Wildflower Bloom.

Small Shrubs.

Shrubs & Small Trees Dominate.

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Schedule C. Rare Burning (Ten Years)

Fire-Resistant Trees.

Remain After Burn.

Few Wildflowers.

Shrubs Populate.

No Wildflowers.

Trees and Shrubs Dominate.

Large Trees Dominate.

Thick Understory.

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04.b Aspen Stand

Left. Successional process of prairie when exposed to different fire regimes.

Above.

Prairie parcels segmented by firebreaks each contain a different ecosystem. Blooms in the most regularly burned parcels will differ from their neighbouring sections.

Right. These regular, linear firebreak gabion walls add rhythm to the experience of moving along the site by breaking up the wild, unstructured vegetation.

Bike Path Pedestrian Path

Rhythmic Gabion Walls

PRAIRIE RHYTHMS Studio Project Analysis. Winter 2020.

The ecosystem was managed by regular grassfires and herds of grazing bison that thinned woody plants and allowed flowers to thrive.

As the Calgar y area was colonized and the rail line built, a tension between this unstructured landscape and anthropogenic forces.

Bison were extirpated, fires extinguished, and the prairie ecosystem drastically altered.

For my analysis I attempted to find the “essence� of the place in which this park would be built. I used watercolours and ink to capture the softer, sensor y experience I felt in the park. Ink sections gave me insight into topography and vegetation and their relationship. Finally, a series of stippled drawings helped delineate the physical space and spatial relationships within the site.

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05.a Interpretation of precolonial site. Ink.

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05.b Above. Four perspectives showing the spatial experience as you move along the abandoned train tracks. Ink. Left.

Sections showing topography and vegetation communities along the rail line. Ink + digital.

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BOUNDLESS Site Planning Studio Project. Fall 2019.

In this assignment we were asked to locate three building elements with specific footprints, and design a series of public spaces. We were given a cafe, bathroom, and viewing tower, and were instructed to not focus on building design, but the spatial relationships the buildings create.

The site was on the crest of a bluff, with spectacular views of the city and mountains. I focused on the experience of entering

into an exposed space from a sense of enclosure. The pathways guide the visitor through a bosque of green ash. This enclosure slowly opens into a wide space, giving the experience of having the world fall away beneath your feet.

By creating a series of switchback paths through prairie grasses I highlighted the different views using trees as frames. Combined, these design elements work to create a total experience for ever y visitor.

06.a Above. Aerial perspective.

Upper Right. Site section.

Ink. Center Right. Site Isometric.

Ink. Lower Right. Site Section.

Digital.

VARIOUS WORKS

07.

ILLUSTRATIONS The Wind in the Willows

08.

MYCELIUM MARSH Grading Project

09.

ILLUSTRATION City of Baucis

10.

VARIOUS ILLUSTRATIONS

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M O D E R N I L LU ST R AT I O N FOR “THE WIND IN THE WILLOWS” W a t e r co l o u r. Fa l l 2 0 1 7 .

07.a Left (Top-Bottom).

Adventures of Mr. Toad.

Below (Left-Right).

Adventures of Rat and Mole.

The late nineteenth centur y, when the text was written, was in the midst of the industrial revolution. In reaction to the sudden industrialization of the countr yside, a desire to preser ve and idealize pastoral landscapes was developed in media of the time. The idealization of the landscapes in “The Wind and the Willows” complements the idealization of childhood also occuring at the time.

Modern children are less sheltered to the idea of environmental degredation through exposure to media and living in landscapes experiencing the effects of decades of environmental damage. By updating the illustrations in the classic book I wanted to relect modern conditions and the disparity between the envionmental condition in the past and present.

Assignment #7 12-11-2020

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11.0 m 10.5 m

10.0 m 9.5 m 9.7 m

10.0 m 10.5 m

11

11.0 m 11.5 m 12.0 m 12.5 m 13.0 m

.0

13.4 m

m 10

m 9.5 9.0 m 8.5 m 8.0 m 7.5 m 8.0 m 8.5 m 9.0 m 9.5 m 10 m

m 9.5

.5

8.5 m 9.0 m TOW 9.2 m

8.0 m 8.5 m 9.0 m

8.0 m 8.5 m 9.0 m

8.7 m

9.5 m 10 m 10.5 m 11.0 m

10 m

9.5 m 11.4 m

8.0 m 8.5 m 9.0 m

9.2 m

m

m

9.0 m

TOW 13.8 m

10.2 m

9.0

10

9.5 m

TOW 10.4 m

m

TOW 11.8 m 9.0

9.2 m

9.2 m

8.5

m

m

TOW 8.9 m

8.0 m 5m

8.

8.0

7.5 m

m

7.5 m 6.8 m

7.0 m 6.8 m

7.0 m

CB RIM 7.05 m TYP

0

3

6

9

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MYCELIUM MARSH Grading Project S i t e Te c h n o l o g y. Fa l l 2 0 2 0 .

08.a 17m

6m Swale

Above. Site plan for the sculpture garden with parking lot and contours.

Right. Perspective renders of a digital model of the site. I experiemented with making the renderings look like a realistic scale model.

20m

15m

4m LID

13m

20m

30

30

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CITY OF BAUCIS W a t e r co l o u r. Fa l l 2 0 1 9 .

After a seven days’ march through woodland, the traveler directed toward Baucis cannot see the city and yet he has arrived.

The slender stilts that rise from the ground at a great distance from one another and are lost above the clouds support the city. You climb them with ladders. On the ground the inhabitants rarely show themselves: having already ever ything they need up there, they prefer not to come down.

Nothing of the city touches the earth except those long flamingo legs on which it rests and, when the days are sunny, a pierced, angular shadow that falls on the foliage.

There are three hypotheses about the inhabitants of Baucis: that they hate the earth; that they respect it so much they avoid all contact; that they love it as it was before they existed and with spyglasses and telescopes aimed downward they never tire of examining it, leaf by leaf, stone by stone, ant by ant, contemplating with fascination their own absence.

(Invisible Cities: Houghton Mifflin Harcourt Publishing Co, page 68)

09.a fig.1. Baucis in Summer. fig 2. Residential + Industrial Wastes. fig 3. Food + Hanging Gardens.

Lumber

fig. 4. Border Control.

I L LU ST R AT I O N Various Linocut and ink.

10.a Above. Woodpecker. Ink + digital. Summer 2020.

Upper Right. Dancing frogs.

Linocut. Fall 2020.

Center Right.

Jellyfish.

Linocut. Fall 2020.

Lower Right.

Mushroom scene. Linocut. Winter 2020.

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ZOË CRANDALL

LANDSCAPE ARCHITECTURE PORTFOLIO