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elizabeth claire bailey 2016 LANDSCAPE ARCHITECTURE & GRAPHIC DESIGN

elizabeth claire bailey 2016

LANDSCAPE ARCHITECTURE

& GRAPHIC DESIGN

PROFESSIONAL EXPERIENCE

PV SYSTEMS DESIGNER [ SOLAR ENERGY INTERNATIONAL PROFESSIONAL SERVICES ]

Solar array layout, site shading analysis, construction documents, CAD Management

2014-PRESENT

DESIGN CONSULTANT [ ROOTS|FIRST ] 2015 | ASHEVILLE NC

Graphic and landscape design for an emerging firm based in Asheville and Winston-Salem NC

GRAPHIC DESIGNER [ WILD VIRGINIA ] 2014-2015 | CHARLOTTESVILLE VA

Redesign of print.- new brochure as well as programs for the Wild & Scenic Film Festival.

LANDSCAPE DESIGNER 2012-2015 | CHARLOTTESVILLE VA

[ MARY WOLF LANDSCAPE ARCHITECT ] & [ SOPHIE JOHNSTON LANDSCAPE ARCHITECT ]

Provide site design, research, planting plans, and details for high-end residential clients in Charlottesville and

surrounding areas. Create presentation documents, 3d models, renderings,planting plans, and construction

documents. Conduct client meetings; aid in construction administration and material sourcing.

LANDSCAPE RESEARCH ASSISTANT [ ECOMOD SOUTH ] UVA SCHOOL OF ARCHITECTURE | 2012-2013

Site planning, research, planting design, and installation for the ecomod south projects in south boston and

abington, va (faculty advisors: JohnQquale & Nancy Takahashi ecomod.virginia.edu

ELIZABETH CLAIRE BAILEY

2 elmwood place asheville nc 28804

919.624.1699 | bethbailey4@gmail.com

EDUCATION

UNIVERSITY OF VIRGINIA CHARLOTTESVILLE VA

Master of Landscape Architecture 2011

UNIVERSITY OF NORTH CAROLINA AT CHAPEL HILL

Bachelor of Fine Arts Degree in Studio Art

Additional focus in Biology & Environmental Sciences

december 2004 | gpa 3.7 | Dean’s list

NORTH CAROLINA STATE UNIVERSITY

Lifelong education student in landscape design & horticulture | spring 2006

ACADEMIC HONORS

UNIVERSITY OF VIRGINIA SCHOOL OF ARCHITECTURE REUBEN RAINEY GRADUATE SCHOLARSHIP

UNIVERSITY OF VIRGINIA SCHOOL OF ARCHITECTURE KENNETH R HIGGINS GRADUATE FELLOWSHIP

NOMINATION TO THE UNIVERSITY OF VIRGINIA RAVEN SOCIETY:

‘The oldest and most prestigious honorary society at the University of Virginia’

PROJECT MANAGER OF COMMUNICATIONS AND OUTREACH [ OFFICE OF THE DEAN, UVA SCHOOL OF

ARCHITECTURE ] 2012-2013 | DEAN KIM TANZER

Graphic design of publications, press, and posters in both digital and print media. Center for Design & Health

graphic designer and outreach coordinator.

INTERN DESIGNER [ NELSON BYRD WOLTZ ] MAY 2008-AUG 2009 | CHARLOTTESVILLE VA

Prepared analytical and schematic diagrams and documents. Planned and designed projects from schematic

phases though to construction documents with principal, senior, and staff designers. Projects ranged in scale

from residential to university campuses. Highly active in the firm’s conservation agriculture studio, developing

strategies for sustainable design and construction. Contributed significantly to an overhaul of the firm’s website.

EXTERN [ GUSTAFSON GUTHRIE NICHOL ] JANUARY 2011 | SEATTLE WA

Helped on a range of projects- mostly cad and intial site study analysis for a university of washington project.

EXTERN [ NELSON BYRD WOLTZ ] JANUARY 2008 | CHARLOTESVILLE VA

Helped on a variety of projects from residential planting plans to a rendering for citygarden: a three-acre, two block

sculpture garden in St Louis, MO

GROUNDS KEEPER [ PRIVATE ESTATE ] JANUARY 2006-JUNE 2007 | DURHAM NC

Aided in developing an overall site plan for the property. Maintained grounds and installed plants on the 30 acre

site. Built a ceremonial tea house with felled cedar harvested from the property. Worked on a pamphlet to educate

visitors to the property and to document the extensive variety of plants. Participated in a native plant rescue

program.

SOFTWARE & SKILLS

SKETCHUP | WORKING KNOWLEDGE OF MICROSTATION + ARCMAP GIS + MASTERCAM | CNC FABRICATION | HAND

TEACHING & RESEARCH

TEACHING ASSISTANT [ UVA SARC ] SUMMER 2011

SUMMER DESIGN INSTITUTE, PROFESSORS BETH MEYER + MAURICE COX, HEAD TA JANA VANDERGOOT

Teaching, curriculum planning, and coordination for incoming graduate students in architecture and landscape

architecture. Work included planning curriculum and projects, devising and holding skill workshops, desk

critiques, creating class resources, and staging exhibit of student work.

HEAD TEACHING ASSISTANT [ UVA SARC ] SPRING 2011

PLANTED FORM + FUNCTION, PROFESSOR JULIE BARGMANN

Prepared handouts and led tutorials for school and course wiki page for planted form + function, held desk

critiques, and helped to develop grading rubric and evaluation for the course.

TEACHING ASSISTANT [ UVA SARC ] FALL 2010

HISTORY OF LANDSCAPE DESIGN, PROFESSOR ETHAN CARR

Lead discussion sections, diagramming, and sketch workshops.

RESEARCH ASSISTANT [ UVA SARC ] FALL 2007

PROFESSOR KRISTINA HILL

Assisted in editing the manuscript for her forthcoming book “Landscape Urbanism in the Pacific Northwest: New

Design for Cities”

ET CETERA: PUBLICATION, EXHIBITION, & AWARDS

VIRGINIA ASLA PROFESSIONAL DESIGN MERIT AWARD 2016

The 1/8 acre ‘Working Garden’ project was completed in 2014 at Mary Wolf Landscape Architect (now

WOLF|JOSEY) w/ myself as the Project Designer and Mary Wolf as Lead, w/ much collaboration from General

Contractor, Darren Young, of Willow Tree Construction. [september 2016]

UVA SCHOOL OF ARCHITECTURE YOUNG ALUMNI COUNCIL COMMUNICATIONS CHAIR [ AYAC ]

[2014-PRESENT]

ARCHITECTURE MAGAZINE 2013 R+D AWARD FOR ECOMOD SOUTH

Considered the most important research and development award in architecture, ecomod south was one of eight

recipients of this year’s award [august 2013]

http://www.architectmagazine.com/awards/r-d-awards/2013-r-d-awards-winner-ecomod_o

DOUBLE DOODY: REMEDIATING THE GOWANUS CANAL

Design entry in the GbD Water_Works competition in collaboration with Melissa Elliott and Daphne Lasky. Entry

featured in the Gowanus by Design exhibit at the Old American Can Factory Gallery 232 third street brooklyn, ny

[may 22, 2013]

TEMPLEHOF INTERNATIONAL DESIGN COMPETITION

w/ professor Jorg Sieweke, Tom Hogge, Jennifer Jones, and David Malda [spring 2010]

2013 DMY INTERNATIONAL DESIGN FESTIVAL BERLIN

‘thf park “mowing for freedom”’ [ summer 2013 ]

paradoxcity.net/2013/06/06/templehofer-freiheit-mow-party/

ADMINISTRATIVE EDITOR, LUNCH: VOL. 7 AND PAPER MATTERS

Worked with architecture department chair, Iñaki Alday, students Jack Cochran, Joey Hays, and Charles Sparkman

to develop a publication course for the spring of 2013 that would focus, not only on the production of the journal,

but serve as a means for students to investigate issues pertaining to graphic representation; to critically analyze

work within SARC; to help design students develop skills in writing and scholarship; and to investigate directions

in the fields of architecture, landscape, preservation, and planning. Additionally, my involvement focused on

procuring a sustainable source of funding for future editions of the student-run journal.

SENIOR EDITOR, LUNCH: SYSTEMS VOL. 6

Organized group of fifteen copy-editors, developed content and design for journals, selected submissions, and

wrote grants and fundraised for nearly $20,000 to support journal. Vol. 6 Became first journal in series to achieve

financial stability, be printed in full-color, and completely sell out of copies.

uvalunch.com

CONTRIBUTING AUTHOR & COPY EDITOR, LUNCH: FLUX VOL. 5

‘After the Storm: Social Space as Flexible Infrastructure’

edited work: ‘Wild Food, Water Wells, Location Markers: Studies of the Body, Environment, and Art in a Landscape

of Food’ by Jana Vandergoot

REBOUND | GROUP DESIGN AND FABRICATION PROJECT

w/ Hugo Fenaux, Brittany Olivari, Callie Broaduus & Adam Poliner

Winner of ACCIAC fellows in creativity and innovation award; chosen to be exhibited in the 2013 AIA emerging

professionals annual exhibit; awarded honorable mention at the 2012 appalachian state university 7th annual chair

design competition; finalist in the 2012 UVa presidential research poster competition; published in lunch 7

EUROPEAN MASTER IN LANDSCAPE ARCHITECTURE [EMILA] WORKSHOP | FALL 2011

One of six students chosen to participate in a 10 day international workshop focused on landscape identity

as a basis for a proactive approach to ‘conservation through development’ with an emphasis on rural cultural

landscapes in the netherlands. Led by professor Jorg Sieweke. UVa was the only US university to be invited.

MORVEN RESEARCH INSTITUTE

Works selected to be presented at 2011 dean’s forum ‘a garden, a table, a classroom’ and ‘barns & bath house’

[fall 2011]

WOLTZ SYMPOSIUM ON ADAPTIVE INFRASTRUCTURE

Helped to curate an exhibition for the school of architecture w/ professor jorg sieweke [fall 2009]

SCRABBLE SCHOOL

Helped with the installation of a multimedia wall for the acsa award winning project “reconstructing the memory of

the scrabble school” w/ david malda [fall 2009]

VICENZA PROGRAM | SUMMER 2011

Learned and honed skills in drawing and observation while traveling in the veneto region of italy.

DEW STUDIO | FALL 2009

Travelled to new orleans, louisiana to study the future role of landscape architecture on flood-control and

infrastructure policy and design.

DEW STUDIO | SPRING 2008

Travelled to barcelona, spain to study form, experience, and identity of public space from the exemplary urban

models and strategies of the barcelona urban landscape.

WORKING GARDEN

CHARLOTTESVILLE, VA

Am

2016 VA (3) ASLA Professional Merit Award

Mary Williams Wolf Landscape Architect

Li Ach

Darren Young, (12) (8) Willow Tree Contruction

Sol 'F'

(17) Per

An agricultural (4) landscape was the genesis (3)

Ver

for the design (10) of this small city lot. A palette

of vegetables, berries, and fruit trees Sol along 'F'

Ver

As

(6)

Mon (12)

with

(17) Per

Ech

native shrubs, meadow grasses and

(16)

(3)

(8)

forbs define a series of outdoor working and

Ech

Ach

(9) Per

(18)

(4)

gathering places. Cor-ten steel planting beds,

Sol 'F'

Ver

(4) Am

rain collection

(6)

Mon (12)

Li Mon

Ech barrels, and contemporary (16) wood (12)

(3)

(16)

(8)

Am

Sol Per'F'

As (6)

fencing are custom details unique to the project.

(5) Am Ver (4) (8) (16)

Ech

Mon

Ach

(9)

(5)

Per

(15)

(18)

A chicken house and storage shed anchor (4) the

Ach

Sol 'F'

(12)

Li

(8)

Mon

far end (16) of the working garden. With Sol its 'F' highly Ech

(12)

(9)

Sol 'F' As (6)

Am

visible corner Am location (8) in close (16) proximity Am to

Li

(7)

(3) (5)

downtown Charlottesville, the project has

become a much beloved botanical garden for

the neighborhood, in a neighborhood where

traditional plantings of privet hedges and

0 2 4 8

azaleas abound, the project is a successful

working landscape that celebrates its regional

and local context.

Dickenson Residence

0 2 4 8

Sol 'F'

(4)

As

Am

(3)

Li

(12)

Ach

(8)

Ver

(10)

Sol 'F'

(5)

Sol Ech 'F'

Ech

(9)

(12)

Am Per

(3) (5)

(4)

Ver

(13)

Li

(11) (11)

POLLINATOR / PERENNIAL SLOPE PLANTING

Am

(5)

Ver

(5)

Sol 'F'

(4)

Am

(3)

Li

(12)

Ach

(8)

Ver

(10)

As

(17) Per

Sol 'F' (3)

(4)

Sol 'F'

Am

Ver

(5)

Ech

(3)

(10)

Ech

(12)

Per

(12)

(4)

Mon

Per Mon Ach

Sol 'F'

Sol 'F' (15)

(4) Ver(7)

(12)

Sol 'F'

Sol (4) 'F' Am

Mon

(5)

(6)

(12)

Ach Ech

Am (9)

Sol 'F'

(3)

(16)

Ech

(12) Ver (8) (8)

Sol 'F'

Ech

Ver

Am (3) Per

(12)

(10)

(6)

(12)

(13)

(5)

Ech

Ver (4)

Mon

Per

Am

Ach

(9) Am

(5)

Per

(15)

(4)

Mon Li

(7)

Ach (18)

Li

As

(3) (4)

(7) (11) Ach

(12)

(11)

(17)

(4)

Sol 'F'

(12)

Li

(8) Ver

MonAm

(9)

(16)

Sol 'F'

Ech

Sol 'F' (12)

(13)

(3)

(9)

(6)

Sol 'F' As (6)

Am

(8) (16)

Am

Li

(7)

Li

Am (3) Per

(5)

(11)

As

(11)

(3)

(X)

(17)

(4)

(50) ACHILLEA MILLEFOLIUM 'PAPRIKA' (Ach)

(32) AMSONIA HUBRICHTII (Am)

POLLINATOR SLOPE PLANTING

(50)

(32)

ACHILLEA MILLEFOLIUM 'PAPRIKA' (Ach)

(X)

Dickenson Residence

AMSONIA HUBRICHTII (Am)

POLLINATOR / PERENNIAL

(50) ASTER

SLOPE

NOVEA-

PLANTING

ANGLIAE (As)

(50) ECHINACEA 'SUNDOWN' (Ech)

(50)

LIATRIS MICROCEPHALA (Li)

(50) MONARDA 'RASPBERRY WINE' (Mon)

0 2 (19) 4 PEROVSKIA 8 'FILIGRAN' (Per)

(50)

SOLIDAGO RUGOSA 'FIREWORKS' (Sol)

VERBENA STRICTA (Ver)

(50)

(19)

(50)

ASTER NOVEA- ANGLIAE (As)

ECHINACEA 'SUNDOWN' (Ech)

LIATRIS MICROCEPHALA (Li)

MONARDA 'RASPBERRY WINE' (Mon)

PEROVSKIA 'FILIGRAN' (Per)

SOLIDAGO RUGOSA 'FIREWORKS' (Sol)

VERBENA STRICTA (Ver)

Dickenson Residence

POLLINATOR / PERENNIAL SLOPE PLANTING

Ver

(10)

Mon

(7)

Sol 'F'

(6)

Am

(3)

Li Ach

(12) (8)

Sol 'F'

(4)

Ver

(10)

As

(17) Per

(3)

Sol 'F'

(6)

Mon

Ech

(16)

(8)

E

Ach

(

(18)

Li

(16)

Mon

(12)

Am Ech

(3) (12)

Sol 'F'

(8)

Ach

(12)

Sol 'F'

Am (9)

(3)

Per

As

(17)

(4)

A

(1

0 2 4 8

(50) ACHILLEA MILLEFOLIUM 'PAPRIKA' (Ach)

(X)

(32) AMSONIA HUBRICHTII (Am)

(50) ASTER NOVEA- ANGLIAE (As)

(50) ECHINACEA 'SUNDOWN' (Ech)

(50) LIATRIS MICROCEPHALA (Li)

(50) MONARDA 'RASPBERRY WINE' (Mon)

(19) PEROVSKIA 'FILIGRAN' (Per)

(50) SOLIDAGO RUGOSA 'FIREWORKS' (Sol)

(50) VERBENA STRICTA (Ver)

CLEMATIS PANICULATA;

SWEET AUTUMN CLEMATIS

(8) CLETHRA ALNIFOLIA;

SUMMERSWEET

3' O.C.

(2) PRUNUS 'STANLEY' OR

'PLUMCOT'; PLUM

(3)RIBES UVA-HIRTELLUM x

GROSSULARIA ' GLENDALE';

GOOSEBERRY

4'-5' O.C.

ACHILLEA MILLEFOLIUM 'PAPRIKA' (Ach)

AMSONIA HUBRICHTII (Am)

ASTER NOVEA- ANGLIAE (As)

ECHINACEA 'SUNDOWN' (Ech)

LIATRIS MICROCEPHALA (Li)

MONARDA 'RASPBERRY WINE' (Mon)

PEROVSKIA 'FILIGRAN' (Per)

SOLIDAGO RUGOSA 'FIREWORKS' (Sol)

EXISTING VITEX ON

NEIGHBOR'S PROPERTY

(14) FOTHERGILLA

GARDENII 'MOUNT AIRY';

DWARF FOTHERGILLA

3' O.C.

VERBENA STRICTA (Ver)

MARY WILLIAMS WOLF LLC

1911 East Market Street

Charlottesville

Virginia, 22902

T 434.825.6678

mwilliamswolfLA@gmail.com

COMPOST

VEGETABLE

RHUBARB

VEGETABLE

LAWN

AC

(2) RUBUS IDEAUS

'HERTAGE'; RED RASPBERRY

(2) RUBUS OCCIDENTALIS

'JEWEL'; BLACK RASPBERRY

(5)VACCINIUM ASHEI

'TIFBLUE' 'POWDERBLUE',

CLIMAX' , 'PREMIER' &

'CENTURION'; BLUEBERRIES;

4'-5' O.C.

LAWN

(9) MYRICA CERIFERA

'DON'S DWARF';

DWARF WAX MYRTLE

alt. INKBERRY HOLLY

'NIGRA' or VIBURNUM

NUDUM 'WINTERTHUR';

FILL IN WITH

4' O.C.

ROSEMARY,

CHIVES,

CULINARY

SAGE,

TRANSPLANTED

PEONY, IRIS,

GERANIUM

SEE ENLARGED

POLLINATOR PLANTING

PLAN

NO. Date Issues/Revisions

08/27/2013

09/06/2013

09/13/2013

09/16/2013

CARDOON

ROSEMARY

STAMP

ASPARAGUS

AUTUMN FERN

(18) AMSONIA HUBRECHTII;

THREADLEAF BLUE STAR

18" O.C.

NEPETA 'WALKER'S LOW'

AND SALVIA PURPUREA

12" O.C.

NOT FOR

CONSTRUCTION

PROJECT NAME

AUTUMN FERN

90 SQ FT

Dickenson

Residence

CAREX

162 SQ FT

(2) AMELANCHIER LAEVIS

'AUTUMN BRILLIANCE';

SERVICEBERRY

MULTI-STEMMED

PROJECT NO.:

DRAWN BY:

CHECKED BY:

(1) VITIS LABRUSCA '

CONCORD GRAPE

FICUS CARICA 'BROWN

TURKEY' FIG

MALUS X DOMESTICA;

APPLE TREES

'WINESAP', 'GRIMES

GOLDEN' or 'RAMBO'

alt. PLUM

SITE PLAN

(3) ILEX VERTICILLATA

'RED SPRITE'

WINTERBERRY HOLLY

3' O.C.

(10) ITEA VIRGINICA

'LITTLE HENRY';

VIRGINIA SWEETSPIRE;

30" O.C.

(5) ILEX VERTICILLATEA

'RED SPRITE'

WINTERBERRY HOLLY;

3' O.C.

(4) VBURNUM

PRUNIFOLIUM;

BLACKHAW VIBURNUM

12' O.C.

UPRIGHT TREE FORM

2'-3' MOWN LAWN

BORDER TO STREET OR

SIDEWALK

0 2 4 8

DRAWING TITLE

Planting Plan

DATE:

SCALE:

DRAWING NUMBER

1

4 "=1'- 0"

L3.00

RESIDENTIAL DESIGN

ALBAMARLE CO, VA

Sophie Johnston Landscape Architect

Stonework & Carpentry, Lithic Construction

Pool and entertaining terrace next to an existing

guest house on the property of an historical

mill in Albamarle Co. A complicated project

with many different topographic and structural

limitations that required creative earthwork

solutions and lots of walls. I was responsible

for bringing the design through to CDs,

coordinating with the structural engineer to

design and draw the many free-standing and

retaining walls that were needed to accomodate

the large swimming pool, commercial-sized

diving board and plinth, as well as a shade

structure.

BRICK WALL W/ SHADE STRUCTURE

STONE WALL W/ SHADE STRUCTURE POST 1 & 2

STONE VENEER RETAINING WALL

DIVING PLINTH SECTION, CROSS-SECTION, & ELEVATION

BRICK VENEER RETAINING WALL

DOUBLE-SIDED BRICK VENEER WALL

BRICK WALL OF STORAGE CUPBOARD & SHED

BRICK WALL W/ SCULPTURE NICHE

BRICK WALL AGAINST MECHANICAL SPACE

UNIVERSITY OF VIRGINIA - CHARLOTTESVILLE, VIRGINIA

SOUTH BOSTON, VA & ABINGTON, VA

UVa School of Architecture; Professors John Quale

& Nancy Takahashi

Michael Britt, Erik De Los Reyes, & Elizabeth Rivard

Since 2004, in an effort to find sustainable

and affordable solutions for affordable housing

organizations, interdisciplinary teams of UVA

students have been working with the ecoMOD

project to design, build and evaluate low-cost

energy efficient housing prototypes. The ecoMOD

project is a design-build-evaluate program led by

Professor John Quale at the School of Architecture

at UVA. The program focuses primarily on producing

affordable, sustainable and energy-efficiency homes

using prefabricated, modular home construction

techniques.

Since August of 2011, a small research and

development team funded by the Virginia Tobacco

Indemnification and Revitalization Commission has

been investigating designs for commercial units

based on the ecoMOD4 prototype (completed and

occupied in 2010). In collaboration with Cardinal

Homes Inc., SIPS of America, Southern Virginia

Higher Education Center and a Passive House

consultant, the team is researching alternative

building techniques, materials, systems and off-site

construction strategies in order to construct four

affordable, energy-efficient homes for low-income

families.

In September of 2012, the four units will be

delivered to the affordable housing partners: People

Incorporated, and Southside Outreach based in

Southwest and Southside Virginia, respectively.

Acting as the project manager

of the Tobacco Commission

Research Grant, the UVA team

has converted the ecoMOD4

prototype design into a

commercially viable set of

modular home units.The goal is

to assist in delivering the first

affordable, sustainable, prefab

and eventually passive houses

to the residential markets of

Virginia. The team has worked

in tandum with Cardinal Homes,

Southside Outreach, and People

Inc. in order to facilitate a

comprehensive design package

for the grant project.

GREEN BUILDING CERTIFIED

AIR QUALITY - COMMUNITY

INDOOR AIR QUALITY - CONSTRUCTION

INDOOR AIR QUALITY - OCCUPANTS

SUSTAINABLE MANUFACTURING

REDUCED WATER USE

LOW STORM WATER IMPACTS

RECYCLED PRODUCTS

ENVIRONMENTAL

REUSED PRODUCTS

ESTABLISHED AND TESTED

LOCALLY SOURCED PRODUCTS

ENERGY

LOW EMBODIED ENERGY

LABOR FORCE COMPATIBLE

TECHNICAL

RETURN ON INVESTMENT

BUILDING LIFESPAN

UTILITY COST

LOCAL PR EVE LANCE

FINANCIAL

LOW MAINTENANCE COST

AESTHETIC

LOW INITIAL COST

ARCHITECTURAL APPEAL

NATURAL DAYLIGHIING

MODULAR COMMERCIALIZATION

LOCAL DEVELOPMENT

SOCIAL

Beth Bailey, M. LARC 2012 U. of Virginia

Erik De Los Reyes, B. A. 2011 U. of Virginia

Elizabeth Rivard, B. A. 2011 U. of Virginia

Michael Britt, B. Arch. 2006 U. of Kansas

RESEARCH AND DEVELOPMENT

BUILDING MAINTENANCE

ETHICALLY PRODUCED

UNIVERSAL DESIGN

EDUCATION - COMMUNITY

EDUCATION - OCCUPANTS

EDUCATION - BUILDERS

OCCUPANT HEALTH - PHYSICAL

In an effort to more effectively

understand our priorities

throughout the design process,

the team has created an analytic

model to assist in decision

making and discussions with

community partners. The model

attempts to quantify a wide range

of parameters on a number

of different scales, ranging

from general project goals to

manufacturing processes of

individual building products. It is

our hope that this model can be

used in the future to assist in the

continued project development

for the possible next phases

of research funding and use in

future ecoMOD projects.

.

OCCUPANT HEALTH - PSYCHOLOGICAL

ANALYTIC MODEL DEVELOPMENT

MINIMUM

MEAN

MAXIMUM

0 10 25 50 100

TREES (canopy and understory)

Red Maple, Acer rubrum ‘Sun Valley’

Sweetbay Magnolia, Magnolia virginiana

Serviceberry, Amelanchier Canadensis

SHRUBS

Blueberry, Vaccinium ashei ‘Tifblue’

Dwarf Blueberry, Vaccinium x ‘Tophat’

Virginia Sweetspire, Itea virginicus ‘Henry’s Garnet’

PERENNIALS & GRASSES

Wand Flower, Guara lindeimeri ‘Whirling Butterflies’

Little Bluestem, Schizachyrium ‘Standing Ovation’

Hummingbird Mint, Agastache ‘Tutti-Frutti’

Black-eyed Susan, Rudbeckia fulgida ‘Goldstrum’

Toffee Sedge, Carex flagelilfera

site plan - south boston

TS

STORMWATER CALCULATIONS

SOIL INFORMATION

TEMPORARY SEEDING

ecoMOD South

South Boston, VA; Abingdon, VA

University of Virgnia

School of Architecture

School of Engineering & Applied Science

quale@virginia.edu

Charlottesville, VA 22904

ecoMOD Project Director

John Quale, Associate Professor

quale@virginia.edu

[p] 434.924.6450

ecoMOD Engineering Director

Paxton Marshall, Professor

marshall@virginia.edu

[p] 434.243.4986

Client

Southside Outreach

547 Main Street

South Boston, VA 24592

People Inc.

1173 West Main Street

Abingdon, VA 24210

KEY NOTES

SF

SS

CE

TS

PS

CE

WW

PS

TS

LEGEND

SF

WW

REVISIONS:

1 PROGRESS SET - 08.27.12

SHEET NUMBER

L-140

NOT ISSUED FOR

CONSTRUCTION

NTS

PV SYSTEM DESIGN

Solar Energy International Professional

Services & Engineering

Layout, wiring diagrams, details, and

shading analysis for 1.18MW to 27MW

ground-mount fixed-axis PV Solar

Farms, as well as, commercial rooftop

PV Systems. These are systems are

grid-direct systems tied to the existing

utility grid, intended to be operated in

parallel with the utility service provider.

2

STRUT TO RACKING SECTION GROUNDING DETAIL

NTS

CLIENTS:

Walgreens | Waxahatchie, TX

AT&T | Irving, TX

Capital Dynamics | 13 NC Solar Farms

O2 EMC | 3 NC Solar Farms

Meridian Solar | Austin, TX

Pacific Ridge Electric | CA

1

INVERTER & SUBPANEL MOUNTING DETAIL

NTS

3

RACKING SECTION TO RACKING SECTION GROUNDING DETAIL

NTS

4

CARPORT PV EQUIPMENT MOUNTING

NTS

5

INVERTER MOUNTING DETAIL

NTS

6

MULTIPLE CONDUIT IN TRENCH DETAIL

0 25 50

1

ARRAY GROUNDNG & SOURCE CIRCUIT PLAN

1" = 25'-0"

2

SOURCE CIRCUIT WIRING DETAIL

1/2" = 1'-0"

OAKENCROFT FARM

ALBAMARLE COUNTY, VA

Nelson Byrd Woltz Landscape Architects as an

intern landscape designer

The masterplan for this rolling 262-acre

farm in central Virginia balances livestock

production, vineyards, and production gardens

with new goals of improving water quality

and biodiversity. The new plan incorporates

rotational cattle grazing, ecologically balanced

crop production, native forest and meadow

plantings, stream restoration, and pond design

to ensure that land cultivation will enrich and

preserve the regional landscape.

The masterplan for this rolling 262-acre farm

in central Virginia represents the culmination

of a unique collaboration between a team of

scientists from SUNY College of Environmental

Science and Forestry and NBW’s Conservation

Agriculture Studio. This is the first NBW project

to undertake a “bio-blitz” exercise. The bio-blitz

documented the current site’sw biodiversity in

prder to provide a reliable baseline from which

to assess the future success of the design.

Our ultimate goal with this masterplan was

to establish a sustainable balance between

agricultural production and ecological

conservation. Specifically, this new approach

to farming in Virginia strives to integrate organic

livestock production, viticulture and vegetable

production with an intensive riparian, forest and

open-land restoration/conservation effort. The

plan incorporates rotational livestock grazing,

extensive warm season meadows/ ‘open-land’

habitats, organic vegetable production, an

existing vineyard, riparian corridor and habitat

restoration, 15 acres of proposed wetland,

invasive species removal/ forest restoration,

and a family homestead into a complex, yet

selfcontained, sustainable working farm system

The Conservation Agriculture Studio, a

project of NBW, is a strategic association

of designers, scientists, and landowners

that works collaboratively to reinvision the

productive and symbolic potential of cultivated

landscapes. Through its work, the studio

seeks to uncover and express the unique

character and ecology of each site, while

augmenting existing and/or future agricultural

opportunities. Projects that emerge from the

ConAg process are artful and efficacious. They

protect and preserve the ecological, cultural,

and aesthetic value of cultivated landscapes,

while maximizing public benefit through

productive conservation. By synthesizing

best management practices of sustainable

agriculture and conservation ecology with

the highest standards of design excellence,

the Conservation Agriculture Studio offers

a model of landscape stewardship that can

address complex needs in uncertain terrain.

Currently the studio is responsible for more

than 65,000 acres of cultivated land in the

United States and New Zealand.

su

WNC ESTATE

CONCEPTUAL

PLANTING PALETTES

in collaboration with

Kate Ancaya of Living Roofs Inc.

STRUCTURE

WEST GARDEN

Create an illusion of effortlessness in the garden

with a balance of structure + softness as well

as formality + naturalized forms that are always

present yet change throughout the year. Plant

material to contribute a visual interest through

foliage, stems, blooms, and fruit.

Planting palettes with seasonal interest

diagrams for a Western North Carolina

Estate. The garden was conceived for yearround

interest, focusing intially on structural

plantings with showy winter color.

Cornus sanguinea ‘Midwinter Fire’

Crategus ‘Winter King’

M A M J J A S O N D J F

Hydrangea ‘Annabelle’

Ilex glabra

Ilex verticillata ‘Red Sprite’

Leucothoe fontanesiana

WINTER

w

sp

f

w

sp

Cornus sanguinea ‘Midwinter Fire’

s

Red Twig Dogwood

f

Multi-stem deciduous shrub; greenish

white spring flowers, orange/red

foliage in autumn; bright red stems

in winter

SPRING

w

sp

Crategus ‘Winter King’

Winter King Hawthorne

f

Vase shaped deciduous tree with silvery

stems; white flower clusters in spring;

apple like fruit appear in summer/autumn

and persist through winter

sp

Hydrangea ‘Annabelle’

s

Annabelle Hydrangea

f

Deciduous shrub with large white

moplike flowers in spring, flowers

persist all summer and turn a light

green before golden in the autumn

w

sp

f

Ilex verticillata ‘Red Sprite’

Dwarf Winterberry

Deciduous shrub with green foliage

that turns yellow in autumn; bright red

berries appear in fall + last all winter

SUMMER

w

sp

s

Ilex glabra

f Inkberry

Evergreen shrub with glossy green

leaves and small white flowers in spring;

more natural looking than a boxwood

w

sp

s

f

Leucothoe fontanesiana

Doghobble

Evergreen shrub with a cascading habit;

nice loose plant for edge of garden;

white bell like flowers in spring

FALL

su

STRUCTURE

WEST WALK

Create pockets of plants along water feature to

better integrate it into the landscape and connect

the West Garden with the Game Room Patio; Use

similar plants along walk that are found in West

Garden + Game Room Patio; Plant material to be

smaller in scale

M A M J J A S O N D J F

Arctostaphylos uva-ursi

Cornus sanguinea ‘Midwinter Fire’

Dryopteris marginalis

Ilex glabra

Helleborus orientalis

WINTER

w

sp

Arctostaphylos uva-ursi

Red Twig Bearberry

f

w

sp

f

Evergreen groundcover with green

foliage; foliage turns reddish in winter;

white flowers in summer; red fruits

appear in fall and persist through winter

Cornus sanguinea ‘Midwinter Fire’

Red Twig Dogwood

Multi-stem deciduous shrub; greenish

white spring flowers, orange/red

foliage in autumn; bright red stems

w

sp

f

w

Ilex glabra

Inkberry

Evergreen shrub with glossy green

leaves and small white flowers in spring;

more natural looking than a boxwood

sp

Helleborus orientalis

Lenton Rose

f

Evergreen perennial with attractive

leathery green foliage; drooping

white - pink/purple flowers in winter

/ early spring

SPRING

w

sp

Dryopteris marginalis

f Wood Fern

Evergreen fern with finely cut, dark

green fronds

SUMMER

FALL

RESIDENTIAL DESIGN

RICHMOND, VA

Mary Williams Wolf Landscape Architect

A residential project in an upscale neighborhood

in Richmond VA. Shown are quick Sketch-up

and photoshop renderings to show different

options of specimen trees along the main axis

of the newly designed West Lawn. Color-coded

planting plans were overlaid atop a 90% DD

plan (that includes grading and new paving) in

order to help the client visualize the complexity

of her planting plan within the context of her

property.

(1) Cornus florida

'Cherokee Princess'

as shown

(4) Osmanthus x fo

Teaolive; 6' O.C.

Arborvitae 4' O.C

(2) Osmanthus x fo

Teaolive; 6' O.C.

(14) Thuja occiden

Arborvitae; 4' O.C

(2) Buxus x 'Green

Green Mound Box

(4) Thuja occident

Arborvitae; 4' O.C

(7) Hydrangea arb

'Annabelle'

4' O.C.

(4) Ilex 'Nellie R. S

Holly; 6-8' O.C.

(5) Viburnum dentatum/

Arrowwood viburnum; 4' O.C.

(5) Rhododendron vaseyi/

Pinkshell Azalea; 4' O.C.

(2) Ilex 'Nellie R. Stevens'/

Holly; 6-8' O.C.

(8) Rhododendron 'Roseum Elegans';

4' O.C.

(2) Rhododendron 'Roseum Elegans';

4' O.C.

(5) Rhododendron vaseyi/

Pinkshell Azalea; 4' O.C.

(1) Kalmia latifolia

Mt. Laurel; 4' O.C.

(5) Hydrangea arborescens

'Annabelle'

4' O.C.

(4) Osmanthus x fortunei/

Teaolive; 6' O.C.

248

.

rtunei/

talis/

.

Mound'/

wood; 4' O.C.

(1) Cornus florida

'Cherokee Princess'

as shown

(4) Fothergilla major

'Mount Airy'

4' O.C.

(4) Cornus florida

'Cherokee Princess'

locations to be staked in the field

MARY WILLIAMS WOLF LLC

1911 East Market Street

Charlottesville

Virginia, 22902

T 434.825.6678

mwilliamswolfLA@gmail.com

alis/

.

orescens

existing small

arborvitae

peony

ex. spiraea

(2) Viburnum x pragense/

Prague viburnum; 6' O.C.

tevens'/

ex. large

box

(prune)

244

245

dogwood

peony

dogwood

246

245

247

peony

ex. box

transplant ex. fig

ex. azalea

dogwood ex. boxwood

dogwood

249

250

(7) Fothergilla major 'Mount Airy'

4' O.C.

(5) Spirea japonica 'Anthony Waterer'

3' O.C.

ex. boxwood

ex.

boxwood

35 SF

25 SF

ex. holly

dogwood

ex.

boxwood

to remain

80 SF

200 SF

red maple

10 SF

241

242

243

244

dogwood

60 SF

50 SF

ex. dogwood

peony

dogwood

ex. azalea

peony

245

246

ex. boxwood

peony

ex. viburnum

244

247

Protect ex. peonies

ex. boxwood

Groundcover

and Perennials (typ.)

245

246

(3) Buxus sempervirens/

American Boxwood; 5' O.C.

(5) Fothergilla major 'Mount Airy'

4' O.C.

(5) Ilex verticillata 'Red

Sprite'/Winterberry; 4' O.C.

(2) Viburnum burkwoodii/

Arrowwood viburnum

5' O.C.

(1) Quercus coccinea/ Scarlet oak

4" cal.

(1) Quercus coccinea/ Scarlet oak

4" cal.

(3) Ilex verticillata 'Red

Sprite'/Winterberry; 4' O.C.

(1) Acer Rubrum 'October Glory'/

Red Maple;

(2) Viburnum burkwoodii/

Arrowwood viburnum

5' O.C.

(6) Fothergilla major

'Mount Airy'

4' O.C.

(7) Hydrangea arborescens

'Annabelle'

3' O.C.

(1) Cladrastis kentuckea

Yellowood

85 SF

247

new bed line

248

250

249

existing bed line

ex. boxwood

90 SF

Ex. edge of drive

(3) Spirea japonica 'Anthony Waterer'

3' O.C.

(5) Spirea japonica 'Anthony Waterer'

3' O.C.

(7) Buxus x 'Green Mound'

4' O.C.

(7) Spirea japonica 'Anthony Waterer'

3' O.C.

.

(5) Buxus sempervirens/

American Boxwood; 5' O.C.

(1) Cornus kousa/

Kousa dogwood

as shown

(6) Buxus sempervirens/

American Boxwood; 5' O.C.

250

(4) Viburnum nudem

'Winterthur'/Smooth witherod

5' O.C.

170 SF

(1) Buxus sempervirens

as shown

NO. Date Issues/Revisions

STAMP

NOT FOR

CONSTRUCTION

PROJECT NAME

Hutcheson

Residence

ex. boxwood

ex. rhodo.

45 SF

246

247

248

(4) Clethra Alnifolia/Summersweet

4' O.C.

ex. rhodo.

ex. boxwood

dogwood

249

90% Design Development

(3) Cornus florida

'Cherokee Princess'/ Dogwood

as shown

(3) Viburnum nudem 'Winterthur'/

Smooth witherod; 5' O.C.

(1) Cornus Florida 'Cherokee Princess'

TBD; removal of existing TBD

(3) Osmanthus x fortunei/

Teaolive; 6' O.C.

ex. privet

(1) Cornus Florida 'Cherokee Princess'/

Dogwood; 5" caliper

(5) Rhododendron catawbiense

'English Roseum'

5' O.C.

(1) Cornus Florida 'Cherokee Princess'

TBD; removal of existing TBD

ex. boxwood

340 SF

247

248

PROJECT NO.:

DRAWN BY:

CHECKED BY:

DRAWING TITLE

Planting Plan

DATE:

SCALE: 1/8" = 1'-0"

(5) Osmanthus x fortunei/

Teaolive; 6' O.C.

246

DRAWING NUMBER

L4.00

`

native plants and edibles . . . . . veggies too.

KRANKIES

BIERGARTEN

WINSTON SALEM, NC

Design Consultant for Roots|First

Conceptual Landscape Design,

Graphic Design & Marketing of a biergarten

for client, John Bryan’s hipster joint,

The Wherehouse, in Winston Salem’s newly

penned ‘Innovation District”

ingredients:

foyer

dining

backyard

garden

& Beer

a nice cold pint of beer

‘tis tasty

recipe for a biergarten

to say this place is memorable is an understatement. if you happen upon the inconspicuous

entrance to the biergarten at Krankies in downtown winston salem, be sure to wander

inside. slip past the rolling tree boxes for a combination of beer, food, coffee, games,

and an overwhelmingly lush and vibrant atmosphere that will please even the hardest to

please in your crowd. krankies is hip, yet laid back. heck, you might forget that you arent

in your own living room.

we suggest tree=

directions:

boxes on wheels

something that is one way

by day

and another by night

if you*

can’t find these,

feel free to substitute

other tables

DO NOT however, scrimp on this

substitution!!

1.

the foyer.

first things first. you will need to attract beer lovers

to your establishment. the entrance should be inviting.

curious, but not overt.

it is important to have plenty space to circulate. there

will be a large number of people that will be coming

to check out the biergarten, and they might be a little

hesitant to walk right in. your regulars will know whats

up, but might also need to time and space to scope out

the scene. you must provide ample room for this key step

of the process.

2.

the dining room.

in a large open space, add several rows of those

long skinny german biergarten tables. arrange them

methodically, at least 2 rows with 9 to 10 tables in each.

the quality of these tables is VErY important.

Long benches and tables will encourage impromptu

conversation and possibly even new friendships.

in addition, it is wise to provide a space with some shade.

add a trellis up the east wall. fold it over to create an

arbor and encourage hops to grow here.

3.

the living room.

possibly the most important and dynamic space in your

biergarten.

you will need (in equal parts):

a bunch of movable seating

flexibility in function and form

good conversation

vvvvvv

= I find that it doesn’t

4.

!!!!!!!!!!!!!!!!

the back yard.

add to the above ingredients:

a smattering of fun games

a healthy dose of competition

one large grassy knoll to stretch out on

5.

the garden

enclose the above rooms on the uphill side with an edible

forest and native plantings. this will provide some

privacy as well as plenty of loot for urban foragers.

grow veggies and other goodies along the east wall for

easy access by the kitchen as well as ample sun exposure

for your plants to grow.

6.

the kitchen.

be sure to have set aside some space to work, youll

need a place for prep, as well room for service, lastly

you dont want the space to be too tight or youll be

stepping on each others toes and you definitely dont

need unnecessary distractions keeping you from your

beer enthusiasts.

remember, beer is enjoyed best when

its cold.

cheers.

vvvvvvvv

juneberries, blueberries, fruit trees, etc.

matter what kind, as long as folks

can move them around.

living room

kitchen

all kinds of games

games

juneberries ripe for urban foraging!

!!!!!!!!!!!!!

vvvvvvvv

vvvvvv

push / closed

pull / open

F O U R T H S T R E E T

6 0 ' P U B L I C R I G H T - O F - W A Y

S O U T H E R N R A I L W A Y C O .

moveable

bunches of these long skinny german tables

P A T T E R S O N A V E N U E

5 0 ' P U B L I C R I G H T - O F - W A Y

seating

mix up shapes & heights

wooden barrel table

ROOTS | FIRST

helping you grow ideas

solid box benches or tables

T H I R D S T R E E T

WIDTH OF RIGHT-OF-WAY VARIES

0 10 20 40 ft

CONCEPTUAL DESIGN | NOT FOR CONSTRUCTION

IN PARTNERSHIP WITH

ROOTS | FIRST

helping you grow ideas

WESTEND MILLWORKS

WINSTON SALEM, NC

Design Consultant for Roots|First

Conceptual Landscape Design, Graphic Design & Marketing

RIPARIAN URBANISM

A model

model

for

how

to

redevelop

within

and

along

urban

riparian

land

riparian

adjective

ri·par·i·an

1. Relating to or located on the bank of a natural watercourse

2. Describes land adjacent to streams that is strongly

influenced by the presence of water

Aesthetically, riparian urbanism signals a juxtaposition between

industrial, built structures and the soft, flowing quality of a waterfront

landscape. The buildings reflect the cultural history of the site and

its industrial uses, while the landscape becomes an ecological space,

offering the opportunity to rethink a civic landscape as regenerative

and productive.

You guys are not the typical developers. You want to show an

underlying care for the land and a sensitivity to the ecological systems

and cultural history of this place. You can distinguish yourself as a

leader in the southeast in integrating ecological processes into the

social infrastructure of your redeveloped spaces.

VALUES:

• Dynamic ecological process valued over static end product,

e.g. manicured lawn

• DIY or phased implementation allows for experimentation/iteration

and ecological emergence

• Local and native species bring ecological balance to the site and

speak to the history of the place

WS

NC

CURRENT OF WATER

CURRENT OF PEOPLE

CURRENT OF WATER

CURRENT OF PEOPLE

THE CONNECTOR = THE CURRENT

WS

THE CONNECTOR = THE CURRENT

WS

NC

THE

HEADWATERS

THE FARM ON THE BLUFF

THE

HIGH BANK

THE

TRIBUTARY

HIGH BANK

TRIBUTARY

THE STEEP BANK

THE

LOWERBANK

ENTRANCES + THRESHOLDS

THE EDDY

PROGRAMMING ZONES

CONCEPTUAL DESIGN DESIGN | | NOT NOT FOR FOR CONSTRUCTION

J F M A M J J A S O N D

THE TRIBUTARY

J F M A M J J A S O N D

THE HIGH BANK

FARM ON THE THE TRIBUTARY

BLUFF

THE HEADWATERS

THE HIGH BANK

FARM ON THE BLUFF

THE EDDY

THE HEADWATERS

THE STEEP THE BANK EDDY

CONCEPTUAL DESIGN | NOT FOR CONSTRUCTION

THE LOWER BANK

THE STEEP BANK

THE TRIBUTARY

THE HIGH BANK

STORMWATER THE TRIBUTARY

RAINGARDENS PLANTS THE IN HIGH ‘EDGEY’ BANK

DISGUISED AS LUSH ENTRY CONTAINER MATERIALS

GARDEN STORMWATER RAINGARDENS (METAL PLANTS CONTAINERS/POTS)

‘EDGEY’

DISGUISED AS LUSH ENTRY CONTAINER MATERIALS

GARDEN

(METAL CONTAINERS/POTS)

Echinacea purpurea

Purple Coneflower

Echinacea Native; long stems purpurea with orange central cone;

Purple drooping Coneflower rosy purple rays; bristly seed

heads lasting through winter; finches

Native; long stems with orange central cone;

like

drooping

the seeds;

rosy purple rays; bristly seed

summer heads - lasting fall interest through winter; finches

like the seeds;

summer - fall interest

Liatris spicata

Blazing Star

Liatris

Native; basal

spicata

tufts of narrow, grassy leaves,

Blazing Star

tall stems densely set with leaves and

topped Native; with basal narrow tufts plume of narrow, of small, grassy leaves,

fluffy tall purple stems or densely white flower set with heads; leaves and

attract topped butterflies, with narrow great plume plant of for small,

pollinators; fluffy purple summer or white interest flower heads;

attract butterflies, great plant for

pollinators; summer interest

Osmunda cinnamomea

Cinnamon Osmunda Fern cinnamomea

Native; Cinnamon erect fronds Fernarch out toward top;

cinnamon Native; brown erect fronds fronds in arch the center out toward top;

remain cinnamon and turn yellow brown fronds - orange in the in center

fall; young remain fronds and (fiddleheads) turn yellow - orange are in

edible; fall; thrives young in fronds dry + moist (fiddleheads) are

soils; spring edible; - thrives fall interest

dry + moist

soils; spring - fall interest

Ilex glabra

Inkberry

Ilex glabra

Inkberry

Native; evergreen shrub; thick dark green

leaves; black

leaves;

berries;

black

tolerates

berries; tolerates

wet soil;

birds eat the birds berries, eat the year berries, round year round

interest interest

CONCEPTUAL DESIGN | NOT FOR CONSTRUCTION

THE LOWER BANK

Cornus Cornus sericea sericea

Red Twig Red Dogwood Twig Dogwood

Native; multi-stem Native; multi-stem deciduous deciduous shrub; bright shrub; bright

red foliage red in the foliage fall; in bright the fall; red bright winter red winter

twigs; white

twigs;

flowers

white

in

flowers

summer;

in summer;

bluish

fruits after bloom; tolerates wet/

moist soils; birds eat berries;

year round interest

Chionanthus virginicus

Chionanthus Fringe virginicus

Tree

Fringe Tree

Native; small flowering tree; lightly fragrant

Native; small greenish flowering white tree; flowers; lightly flowers fragrant followed

greenish white by flowers; clusters flowers of small followed olive-like fruit;

by clusters of birds small eat olive-like berries; deep fruit; yellow

birds eat berries; foliage deep in the yellow fall; spring - fall

foliage in the interest fall; spring - fall

interest

Bouteloua gracilis

Blue Gramma Grass

Bouteloua Native prairie gracilis grass; horizontal seed heads

Blue change Gramma from Grass chartreuse to blonde +

hover over blue/green stems; drought

Native prairie grass; horizontal seed heads

change

tolerant

from chartreuse to blonde +

hover over blue/green stems; drought

tolerant

Calamagrostis brachytricha

Feather Reed Grass

Calamagrostis brachytricha

Ornamental grass; foliage is green with pink

Feather Reed Grass

feathery plumes in the fall

Ornamental grass; foliage is green with pink

feathery plumes in the fall

Carex flacca ‘Blue Zinger’

Blue Carex Sedge flacca ‘Blue Zinger’

Blue Ornamental Sedge grass; creeping blue/gray grass;

semi-evergreen;

Ornamental grass; creeping blue/gray grass;

drought semi-evergreen; tolerant

drought tolerant

Deschampsia cepistosa

Tufted Deschampsia Hair Grass cepistosa

Tufted Hair Grass

Native; tufted mound of narrow green

foliage; light green/golden inflorescences

in early in early summer; summer; semi-evergreen

semi-evergreen

Equisetum hymales

Horsetail Horsetail

Native; Native; slender, slender, narrow, narrow, upright upright rush; rush; bright bright

green green stems stems with with a ring a ring of black of black at each at each

joint; joint; use only use only in containers containers or pots or pots

FARM ON THE BLUFF

ROOF FARM TOP ON GARDENS THE BLUFF

ROOF TOP GARDENS

Seasonal Veggies

Edible + Cut Flowers

Feather Reed Grass

Edible + Cut Flowers

Ornamental grass; foliage is green with pink

Feather Reed Grass

feathery plumes in the fall

Ornamental grass; foliage is green with pink

feathery plumes in the fall

Year Round Herbs

THE HEADWATERS

THE ACCENTUATE HEADWATERS ENTRANCE

WITH PLANTINGS + PROVIDE

ACCENTUATE BUFFER TO ENTRANCE PARKING

WITH PLANTINGS + PROVIDE

BUFFER TO PARKING

Ilex glabra

Inkberry

Ilex glabra

Inkberry

Native; evergreen shrub; thick dark green

leaves; black berries; tolerates wet soil;

birds eat the berries, year round

Native; evergreen shrub; thick dark green

leaves; black

interest

berries; tolerates wet soil;

birds eat the berries, year round

interest

Espalier Fruit Trees

Pears, Peach, Cherry

Espalier Fruit Trees

Fruiting trees or vines to act as a buffer to

Pears, Peach, Cherry

the parking lot but also as an attraction +

Fruiting trees interesting or vines to living act as fence a buffer to

the parking lot but also as an attraction +

interesting living fence

Container Gardens

Container Pots and Gardens Containers to delineate entrance

Pots and Containers to or pots delineate to spill entrance out into parking

Containers lot or and pots into Mill spill Works out into High parking Bank

lot and into area; Mill containers Works High to Bank be planted with

area; containers herbaceous to be as planted well as with trees +

herbaceous shrubs as well as trees +

shrubs

Clethra alnifolia ‘Sixteen Candles’

Clethra Sweetshrub alnifolia ‘Sixteen Candles’

Sweetshrub

Native; deciduous shrub; fragrant white to

pink flowers in summer

THE EDDY

THE LOWER BANK

THE DEFINE EDDYTHE EDGES OF THE THE STEEP STABILIZE BANK

WITH THE LOWER REESTABLISH BANK RIPARIAN

EDDY WITH NATIVE + EDIBLE NATIVE FLOODPLAIN PLANTS EDGE WITH NATIVE PLANT

DEFINE PLANTS THE EDGES OF THE STABILIZE BANK WITH

REESTABLISH RIPARIAN

EDDY WITH NATIVE + EDIBLE NATIVE FLOODPLAIN PLANTS EDGE WITH NATIVE PLANTS

PLANTS

Cornus florida

Flowering Dogwood

Cornus florida Native understory tree; horizontal branching;

Flowering Dogwood white flowers in the spring; oval scarlet

fruits in the fall; birds eat the fruit;

Native understory tree; horizontal branching;

white flowers in the

deciduous

spring; oval scarlet

fruits in the fall; birds eat the fruit;

deciduous

Blueberry

Edible Blueberry

Blueberry

Fruiting blueberry bushes in full sun areas;

Edible Blueberry

deciduous shrub

Fruiting blueberry bushes in full sun areas;

deciduous shrub

Hydrangea quercifolia

Hydrangea Oakleaf quercifolia Hydrangea

Oakleaf Hydrangea Native, deciduous shrub; leaves resemble

Native, deciduous oak; shrub; large white leaves flowers resemble in late spring /

oak; large white early flowers summer; in late flowers spring / turn pink and

early summer; remain flowers through turn pink fall and

remain through fall

THE STEEP BANK

Ceonanthus americanus

New Jersey Tea

Ceonanthus americanus Native deciduous shrub; dark green leaves

New Jersey Tea turn yellow in the fall; white flowers in

spring - early summer

Native deciduous shrub; dark green leaves

turn yellow in the fall; white flowers in

spring - early summer

Lindera benzoin

Spicebush

Native, deciduous shrub; light green l

turn brillant yellow in fall; bright re

fruits; birds eat fruit

Native, deciduous shrub; light green leaves

turn brillant yellow in fall; bright red

fruits; birds eat fruit

Lindera benzoin

Carpinus caroliniana

Spicebush

Ironwood

Native, deciduous shrub; light green leaves Carpinus caroliniana

Native, deciduous tree; dark green lea

turn brillant yellow in fall; bright red

Ironwood

trunk is blue gray and smooth; nu

Native, deciduous shrub; fruits; light birds green eat leaves fruit

Native, deciduous tree; dark fruits green leaves;

turn brillant yellow in fall; bright red

trunk is blue gray and smooth; nutlet

fruits; birds eat fruit

fruits

Lindera benzoin

Spicebush

Rhus aromatica ‘Gro Low’

Rhus aromatica Fragrant ‘Gro Sumac Low’

Cornus sericea

Cornus sericea Red Twig Dogwood

Fragrant Sumac Native, deciduous shrub; foliage turns red Red Twig Dogwood Native; multi-stem deciduous shrub;

Native, deciduous shrub; in the foliage fall; yellow turns flowers red in the spring;

Native; multi-stem deciduous red foliage shrub; in bright the fall; bright red w

in the fall; yellow flowers small in red the fruit spring;

red foliage in the fall; bright twigs; red white winter flowers in summe

small red fruit

twigs; white flowers in summer; fruits after bluish bloom; tolerates

fruits after bloom; tolerates moist wet/ soils; birds eat ber

moist soils; birds eat berries; year round interest

year round interest

Amelanchier arborea

Serviceberry

Native, deciduous understory tree; wh

Native, deciduous understory tree; white

flowers in the spring followed

flowers in

by

the

edible

spring followed by e

berries; yellow to orange berries; fall foliage yellow to orange fall fo

ROOTS ROOTS | |

helping you grow ideasFIRST

helping you grow ideas

Lindera benzoin

Spicebush

Ilex verticillataIlex verticillata

Winterberry Winterberry

Native, deciduous tree; Native, bright deciduous red berries tree; bright red ber

in early fall and last all in winter; early fall birds and eat last all winter; bird

berries

Hamamelis viriginiana

Witch Hazel Hamamelis viriginiana

Witch Hazel

Native; multi-stem deciduous shrub; bright

fall foliage, Native; multi-stem deciduous shrub;

nodding clusters fall of yellow foliage, to red

blooms in winter nodding clusters of yellow to

blooms in winter

MORV: a roving

agricultural research

center

in collaboration w/ Amadeo Bennetta [MArch ‘11]

critic: Bill Sherman

As part of the initial research into the site at Morven,

we were divided into groups and given topics to

explore in further depth. The topics ranged from

History & Archaeology, Ecological Structure,

Environmental Science, Succession Acceleration

Research, the Built Environment, and our topic,

Agriculture. We were asked to design a research

station that could house all the materials needed

while out in the field as well as the option for a

place to sleep.

We were inspired by large-scale agricultural

sprinkler systems and decided that our research

station would need to be mobile. We aptly named

him ‘Morv’.

2

3

1

4

1

4

3

2

1

SUSTAINABLE FORESTRY / FOREST PATH PLANTING EXTENDED EDGE / ECOTONE POLYCULTURE / INTERCROPPING HEDGE

1

POLYCULTURE / INTERCROPPING

2

SUSTAINABLE FORESTRY / FOREST PATCH PLANTING

MOBILE MODE

DEPLOYED MODE - SHELTERED

3

NO-TILL / COVER CROP / DROUGHT-RESISTANT AGRICULTURE

PLAN

CROSS-SECTION

SECTION

4

WET-FIELD / TROUGH IRRIGATION PLANTING

PLAN CONFIGURATIONS - MOBILE / DEPLOYED

DEPLOYED MODE - STORAGE / SOLAR

DEPLOYED MODE - WORKING

3

4

ROW

NO-TILL / COVERCROP / DROUGHT

RESISTANT AGRICULTURE

WET FIELD / TOUGH IRRIGATION

DEPLOYMENT DIAGRAMS

MORVEN RESEARCH

INSTITUTE:

barns + bath house

critics: Karolin Moellmann + Bill Sherman

in collaboration with Assad Abboud [BArch

‘11], Amadeo Bennetta [MArch ‘11], Colin

Curley [BArch ‘11], + Amanda Swanekamp

[MArch ‘11]

The overall concept for a living experience

at the proposed Morven Research Institute is

one which questions conventional standards

of living for university students. Our vision

is one of a living and learning environment

that engages, and has minimal impact upon,

Morven’s stunning landscape.

In a design process which oscillated among

site visits, case study analysis, and design

charrettes, we considered a number of different

sites and bathing concepts, all of which were

fundamentally rooted in water systems, natural

features, and infrastructural design. Our

final design is systematically and formally

positioned on a slope between the “Living

Barn” and a damp, low-lying valley. Aiming to

operate independent of wells or conventional

water infrastructure, the bathing facility creates

and occupies an intersection within the natural

flow of water from the roof of the “Living Barn”

to the damp lowland, harvesting rainwater and

filtering it using a combination of a Living

Machine filtration system and constructed

wetlands. Water consumption is mitigated

through the use of composting toilets as well

as through making visible the water storage

cisterns and filtration systems.

MORVEN FARM’S WATER

& LANDSCAPE NETWORK /

TREATMENT TRAIN

46 in / year

2 year rain event

RAIN

27000 cuft / year

2230 cuft / event

WATER COLLECTION

& WATER STORAGE

28500 cuft / year

2320 cuft / event

46000 cuft / year

3960 cuft / event

WATER FUNCTIONS

barn 3

WATERWAYS

spring

wetland bath

bathing terrace

kitchen garden

LANDSCAPE

CENTRAL WHARF

PLAZA: figuring

movement

graphic analysis of

Reed Hilderbrand’s Central Wharf Plaza,

Boston

critic: Elizabeth K. Meyer

As a knuckle connecting the wharf to the Rose

Kennedy Greenway, the Central Wharf Plaza

filters people into and out of the adjacent areas.

Workers, vistors to the wharf and aquarium, as

well as tourists and bostonites, pass through,

relax, and linger.

This project realizes a classic urban landscape

- a continuously paved plaza shaded by a

dense grove of mature trees - responding

to challenging conditions through the

development of a simple but innovative

structural and horticultural design solution.

Part of what was once the busiest commercial

port in North America, Boston’s Central Wharf

became a parking lot in the second half of the

twentieth century, severed from the city by

the highway known as the Central Artery. The

Big Dig and the creation of the Rose Kennedy

Greenway, with its ample walks and gathering

spaces, released this one-third acre site to the

possibility of a renewed urban life.

The project fulfills two essential urban

roles: reconnecting pedestrian activity from

downtown to the harbor and providing a shady

spot for residents and tourists to relax and

linger under the trees.

SHIFTING ACCESS_interior

WALLS AND PLANTING BEDS PREVENT

ACCESS (OCCASIONALLY PUNCTURED)

TREE TRUNKS AND ARBOR POSTS ALLOW

ACCESS THROUGH

C IRCULATION_east-west

FLOWS CONNECT THROUGH THE PLAZA FROM

THE ROSE KENNEDY GREENWAY ON THE EAST

TO THE WHARF AT THE WEST

SHIFTING ACCESS_exterior

WALLS AND PLANTING BEDS PREVENT

ACCESS

STAIRS AND RAMPS INVITE CIRCULATION

THROUGH AND IN

CIRCULATION_north-south

ACCESS PRIVILEDGES PATRONS FROM THE

ADJACENT BUSINESS BUILDINGS

CIRCULATION_vertical

STAIRS AND RAMPS NEGOTIATE THE CHANGE

IN GRADE

HORIZONTAL ENCLOSURE_canopy + arbor

THE CANOPY AND ARBOR PROVIDE A

HORIZONTAL ENCLOSURE, MAKING THE PARK

INTO ROOM WITHIN THE CITY

STRUCTURE

WALLS, POST, TREE TRUNKS ALL CONTRIBUTE

TO THE CHOREOGRAPHY OF FLOW

SYMMETRY + BALANCE

THE PARK IS WEIGHTED TO THE NORTHEAST,

HOWEVER AN ASYMMETRICAL BALANCE

IS ACHIEVED WITH THE ARBOR ON THE

SOUTHERN EDGE

R ESTING + WATCHING

BENCHES ARE CONGREGATED UNDER CANOPY

(NATURAL + ARTIFICIAL)

VIEWS BOTH IN AND OUT OF THE PARK ARE

CONSIDERED

SHIFTING ACCESS

AM

CIRCULATION WITHIN

AND THROUGH THE

PLAZA IS INCREASED

DUE TO THE WORKING

CLASS PATRONS OF THE

PLAZA. ACCESS INTO

THE PLAZA PRIVILEDGES

THE ADJACENT

BUILDINGS AND NORTH-

SOUTH CIRCULATION.

A DIRECT CONNECTION

BETWEEN THRESHOLD

OF BUILDING TO

THRESHOLD OF PLAZA IS

MADE. PEOPLE TEND TO

CONGREGATE UNDER THE

CANOPY AND CANOPY

STRUCTURES, WHILE

ALSO PREFERRING TO

SETTLE IN THE NORTH-

EAST CORNER AS WELL

AS TO OCCUPY THE

PERIPHERY.

PM

EVENING CIRCULATION

IS DECREASED

AND AN EAST-WEST

CIRCULATION PATTERN

FROM GREENWAY TO

WHARF IS PREFERRED.

THE PLAZA BECOMES

MORE OF A FIGURE

IN THE LANDSCAPE

CONTAINING MOST

OF ITS PATRONS

WITHIN ITS BOUNDS

AS OPPOSED TO THE

AM WHEN THE EDGES

ARE MORE HIGHLY

POPULATED.

TRESPASS:

a river, rail, and road

Independent Research along the Jones Falls

Corridor in Baltimore MD, critic: Jorg Sieweke

LAYER

The term trespass has typically only been

considered a positive term by those who

consider themselves to be part of a subversive

subculture, where it is considered ‘cool’ to

infringe on others space. However, I hold that

we are all part of our own subcultures – in fact,

and almost always, we participate in many

subcultures – and thus the idea of trespass

could be reinterpreted to take on a more

positive and generative meaning.

Can we create new public space in a grassroots

manner? Is it plausible to develop a design

strategy that proposes an appropriation of

space as a means to created a user-defined

landscape? Would these spaces be any

more successful than traditionally designed

landscapes? And how do we obtain metrics

that evaluate/provide evidence to critique this

approach? Who’s right is it anyway?

STITCH

TANGLE

CONCEAL

i

STEP 1: LOCATE THE ENTRANCE

DIVIDE

STEP 2: CROSS THE RAILROAD

BULGE

0

1 2 tilt NW to SE

3

fold in along N Charles St

4 fold in towards the river

5 the folded and faulted ground of the

Jones Falls corridor

From North to South, the Jones Falls River

undergoes a stark change, transforming from a

steep valley of urban wilderness to a cramped

corridor of bundled traffic infrastructure. Linear

rail– and motor-ways weave over the river

and along the Fall line until the Jones Falls

is buried in an underground concrete conduit

just north of Penn Station. This subway-sized

culvert opening is where the river “ends” and

this project begins.

Over the past twenty years, several initiatives

have suggested the razing of the expressway

and the transformation of the corridor into an

“urban boulevard” that would increase local

property values, spur lively mixed-use urban

development at its margins, and generate

additional taxes for the city. However, the

manicured lawn of the boulevard proposals

still represents a late-modernist understanding

of “Green” as a largely visual quality. These

projects seek a more performance-focused

conception of the public realm.

The Jones Falls corridor is a barrier in the city, a

repository of waste generated by consumption

and excess: the unfinished expressway, the

pollution of suburban development and

deforestation, the narrative of neglect both in

maintenance and in imagination.

The river, buried to make way for a grand

boulevard, instead opened a corridor for the

JFX, a direct conduit from the suburbs to the

Harbor and back again that disengages from

its urban adjacencies in its speed and in its

disconnection from the ground.

The river, the railroad, and the road together

characterize the layered history of the city and

the Jones Falls corridor; this project takes on

the corridor at the point of confluence of the

these systems, at North Avenue, to recharge

Jones Falls.

The systems and implications of the site are

multiscalar, and untangling this knot generates

partnerships and investments across the city,

watershed, and region.

FIRST CAME THE RIVER...

...THEN CAME THE RAIL...

...NEXT CAME THE ROAD.

WHO’S RIGHT OF WAY?

“…mathematical sciences [and I argue many other sciences]

, in the theory of wholes, concern themselves with closed

and open spaces…they concern themselves very little with

the question of partially open, with wholes that are not clearly

delineated, with any analysis of the problem of borders.’

-Luce Irigaray

0.0

0.2

0.4

0.6

0.8

1.0

BERLIN TEMPLEHOF

Design Competition entry with Professor Jorg

Sieweke, Tom Hogge, David Malda [MArch, MLA

‘10] + Jenny Jones [MUEP, MLA ‘10]

STRUCTURING PROGRAMMATIC INDETERMINACY:

The future of Tempelhofer Freiheit, the last unresolved

inner-city area is currently debated between the

top-down PRO-Park and the bottom-up NO-Park.

A petition not to build anything opposes the current

city master-planning schemes, yet ‘pioneers’ and

interim users bring new life to Tempelhofer Freiheit.

Intermediate and “pioneer” uses are the results of

economic and social structural transformation. In

other words, new and open spaces that provide room

for experimentation and creative potential arise in

areas where the original use of the location has come

to an end This project proposes to structure the vast

open field with a continuous point-grid framework,

only indicated by it’s focal points. These points

prescribe a minimum order and orientation, but

more importantly allow for flexible open zoning of

indeterminant programs. The circular ‘enabling fields’

can easily be adjusted in scale by shrinking and

growing their radius, which is only signified by the

grass being mowed shorter, This result is minimum

physical intervention with maximum programmatic

flexibility. A complementary point-grid of retention

depressions allows for storm water to drain and

infiltrate, recharging the groundwater, and dynamic

programming incorporates the nature preserves since

many ecosystems thrive on disturbance.

DESIGN AND CURATE:

Typical park management constantly monitors and

anticipates programmatic demands. Instead of fixing

and determining the park and its program this design

is a framework for curating the full scope of informal

to institutional programs. The design of the park is

adaptable, and can be updated weekly, for example on

the occasion of the next World Cup a series of soccer

fields would be provided. The anticipated collisions

of scheduled events and everyday park users instigate

unforeseen encounters – precious moments that have

become rare in many parts of the city.

2011

2013

2017

2020

FASHION ART INFORMAL PERFORMANCE SPORTING EVENTS FAIRS

CURATION OF PROGRAM

C5

A100 Exit Tempelhof

s

S-Bahn stop

Circulation south

economic inequality

E2

B8

Entwaesserungspunkte

Point Grid

enabling fields

decentralized infiltration

The winning design results of the 2010 Desgin

Competition were rejected by the public. With

the DMY Berlin 2013 exhibition happening on

the Templehof site it made sense that we revisit

this project, as well as some of the ideas we

had conceived of intially. The DMY proposal

became even more about flexible programming

and user initiated design.

As part of our DMY Exhibit, we created a scaled

version of our proposal at Tempelhof. Near the

western entrance we established a point grid

and began testing our previous proposal by

mowing circles. These circles ranged up to

120 feet in diameter. Each day more mowing

happened, by us and by those interested in

participating in our little experiement. The

programmable spaces to accumulate, overlap,

and disappear. Our objective was to empower

park users and DMY participants to “mow their

own” space; creating an armature for flexible

programming while incorporating park users in

the design process.

DOUBLE DOODY:

remediating the

Gowanus Canal

Gowanus Canal Brooklyn NY

Gowanus by Design Competition entry with

QUORUM (Elizabeth Bailey, Melissa Elliott,

& Daphne Lasky)

Double Doody reimagines a major source of

Gowanus Canal contamination—sewage—as

an eventual means to its remediation.Through

a phased plan, Double Duty accommodates

in-situ remediation of the Fulton MGP and the

gradual separation of NYC’s combined sewer

system into individual storm and sanitary

sewer systems. Tanks initially constructed

for CSO retention are later repurposed as

biogas vaults, returning the site to energy

production. Increasing quantities of storm

water are brought to the site, pressurized in

water towers, and used to flush sewer overflow

and contamination from the canal, eventually

replacing the Flushing Tunnel and normalizing

salinity levels in the Gowanus Canal. The

byproducts of biogas production are utilized in

the construction of floating wetlands and offsite

habitat restoration projects.

T

P1

P2

a

P2

b

bacteria

excavate & mound

in-situ thermal

remediation

stormwater storage

DOUBLE DOODY

NAPL barrels

cso storage

biogas vaults

CH4 biogas

to sewer

treatment

plant

TODAY

Double D is a continuing source of Gowanus Canal

pollution, as NAPL from the former Fulton MGP

contaminates ground water flowing into the canal.

Additional pollution occurs in the form of combined

sewer overflow outfall into the canal. Alcanivorax

borkumensis and Geobacter metallireducens bacteria

released into the combined sewer system can reduce

CSO frequency by increasing CSS capacity by

metabolizing waste that has accreted on sewer walls.

PHASE 1 (18 months)

In-situ thermal remediation: Using electrical resistance

heating, NAPL contamination is recovered through wells

at former Fulton MGP site and sent off-site for recycling

or reuse.

PHASE 2a (5 years)

CSO retention facility: Combined sewer overflow is

screened and stored in tanks before being returned to

the sewer system. If the system has exceeded capacity,

CSO may outfall into the canal. Stormwater collected on

site and from adjacent streets is pressurized and filtered

in water towers; in the event of a CSO, it is used to flush

the canal and disperse contaminants.

PHASE 2b

Following conclusion of in-situ thermal remediation,

remediated soils are excavated, mounded and capped

to create play area, basketball and handball courts, and

ice rink.

14

P3

floating wetland

filterkuchen

CH4 biogas

PHASE 3 (10 years)

Separated sewer system: As NYC separates stormwater

and sanitary sewer lines, CSO tanks are gradually

converted for use as biogas vaults, using sewage to

produce methane for use in Gowanus community.

Increasing quantities of stormwater are pressurized

and filtered in water towers and released into canal,

eliminating need for the Flushing Tunnel and normalizing

salinity of canal water.

The existing grove of Platanus x acerifolia trees is

underplanted with native Platanus occidentalis. Double

D Recreation Center opens to public.

13

14

9

10

11

UP THE POOL RAMP AND OVER

THE BASKETBALL COURTS

7

1 Entry Grove

2 CSO / Biogas Vaults

3 Walkway to Upper Levels

4 Mounded Play Area

5 Handball Courts

6 Ice Skating Rink

7 Half-court Basketball

8 Community Recreation Center

9 Swimming Pool

10 Changing Rm / Lifeguard Rm /

Pool Equip.

11 Sun deck / Seating Area

12 Skate Park

13 Water Towers

14 Stormwater Outfall to Gowanus

Canal

6 5

4

8

1

3

12

2

ACROSS THE ICE AND INTO THE GROVE

13

12

11

9

7

10

8

6 5

4

3

1

2

AT THE SKATEPARK ON TOP OF THE TANKS

ENDLESS SUMMER

LAGI: Land Art Generator Initiative competition

2014 in Copenhagen, Denmark with

QUORUM (Elizabeth Bailey, Melissa Elliott,

Daphne Lasky, & Joy Wang)

During the winter months, Copenhagen

has short days and long nights. ENDLESS

SUMMER uses the energy from the moon

to create artificial sunlight.The gravitational

pull of the moon causes the oceans’ tides.

ENDLESS SUMMER converts this kinetic

energy into electrical energy using the

VIVACE converter (Vortex Induced Vibrations

for Aquatic Clean Energy), developed by

University of Michigan. Each VIVACE converter

consists of two sidewalls with horizontal

cylindrical cross bars, oriented perpendicular

to the direction of the water current. As the

current passes over the round cross bars, tiny

vortexes are created, causing the bars to move

up and down. This, in turn, moves a magnet

along a metal coil to create Direct Current (DC)

power. Once converted to Alternating Current

(AC) power, the electricity is then harnessed

to power the ENDLESS SUMMER installation.

endless summer

PRISMATIC DIFFUSION

GLASS

7200 LEDS PER

LIGHT TUBE

VIVACE WATER ENERGY

TECHNOLOGY

as the currents pass

through, the water causes

cylinders to move up and

down, creating vortexes

that are then harnessed for

energy. water currents as

slow as 0.25m/s can extract

energy with a high power

conversion ratio.

LED LIGHT TUBE

ART INSTALLATION

ENDLESS SUMMER !

01

juhuu!!

Adr....Ej!

Ha! ha!

DC

AC

on average there are only 45 hrs of sun

per month in the winter. the prevailing

winds blow from the arctic ice sheet,

summer tmeps only reach 8-20° and

there is 68-70mm of rain during the rainy

season.

= dreary copenhagen

5.5 CENTS PER KILOWATT HOUR

500-KILOWATT PER UNIT

Excess energy is sent back into the city center to

power buildings in Copenhagen. VIVACE is distinct

from other forms of hydropower in that it is able

to capture energy from slow-moving waters and

does not require a dam or turbines. In addition

to capturing energy from the tides, it may also

capture energy from other movement in the water

body. It is considered less expensive than wind

and solar energy, making it a viable competitor

with conventional energy sources.

The ENDLESS SUMMER art installation provides a

1.5

visible register of the energy production occurring

1.5

19.5

2.8

below the water’s surface. Light tubes, spread

across the site, dim and brighten based on the

amount of energy collected each day. Each light

2.3

tube is 12m tall, and contains 7200 full spectrum

17.3

LEDs. The light from the LEDs 21.3 passes through

prismatic diffusion glass, causing the tubes to

appear as if they were glowing. The tubes emit

full spectrum light, which offers the same moodenhancing

benefits as sunlight – evoking the

feeling of an ENDLESS SUMMER, even during

Copenhagen’s dreary winter. The ENDLESS

SUMMER light feature will only operate for one half

hour before sunrise and after sunset, minimizing

concern regarding light pollution. Artificial sand

dunes, created using dredged material from the

harbor, create a defined and protected space on the

pier recalling Copenhagen’s tradition of artificial

land formation. At 10 m tall, the dunes will be a

unique topographic feature in the city. The south

sides of the dunes are covered in sand, creating

a warm space for sunbathing. The north sides

are covered in beach grasses, creating habitat for

ground-nesting birds. Observation areas on the

dunes afford views back to the city. The height

difference between the dunes and light tubes

allows the tops of the tubes to be visible from the

city, but requires that Copenhageners visit the site

to fully experience the installation.

2.8

4.0

1.0

10.8

1.5

FULL

SPECTRUM

LIGHT-EMITTING

DIODE

28.8

19.5

2.3

17.3

21.3

2.8

4.0

10.45

2.8

1.0

10.8

PRISMATIC

DIFFUSION GLASS

STAINLESS STEEL

PLATE

HEX SCREWS

LED

PRISMATIC

DIFFUSION GLASS

LED

PRISMATIC

DIFFUSION GLASS

STAINLESS STEEL

PLATE

LAMP BASE /

DRIVER

CONDUIT OPENING

CONCRETE

BASE

a

b

c

28.8

10.45

a

b

c

12.00

10.45

GRASSHOPPER:

metamatic musings

or modeling dynamic

terrain

a rain cloud:

theories of parametric design course in

collaboration with Lauren Hackney

critics: Robin Dripps + Lucia Phinney

a metamatic rain cloud:

We modeled the flows of water particles across

a GIS-generated surface and have created a

soil retention topography; using Kangaroo, we

studied how soil retention capacity might be

modified through uptake interventions (trees,

soil amendments, etc.) We utilizied the GIS-

Grasshopper connection by mining excel

soil and topography databases for attributes

of porosity and composition, as well as

topographic elevation.

Representation based in GIS is often planimetric,

with layers’ embedded data conveyed through

color ramps subject to categorizations and

qualifiers. Spatializing and manipulating this

data output effectively is difficult, particularly

for dynamic data. Grasshopper’s potential to

recombine and manage this data in physical

terms and space. Color ramps are a means of

differentiating data in GIS across a planimetric

surface. Either through gradient (algorithmic)

and random (distinct colors along a spectrum)

color ramps, the position of data relative to the

spectrum has important implications for the

representation, interpretation, valuation, and

spatialization of embedded data, as a field and

in relation to other data.

depending on gravity

settings, a prototypical

tree or soil cell

INTERVENING / WATER UPTAKE TACTICS:

SOIL CELLS COLLECTING PARTICLES OF WATER, MODELED IN KANGAROO

THE PROCESS

1. surface differentiation: surface made from

GIS contours and represented through a

gradient of particle size (porosity) based on

topographic elevation data

2. importing, organizing, and culling data:

moving from tabular data used for the surface,

we created a database using microsoft access,.

we worked using the GIS-Grasshopper

connection by mining excel soil and

topography databases for attributes: porosity,

composition, and topographic elevation, then

extracted a range of values in grasshopper,

resulting in volume representing soil depth by

type.

3. visualizing data: comparative representation

of 4 soil types’ available water capacity and

particle size percentages.

the calm before the storm:

a metamatic raincloud

hovers over our GIS

-genreated slope

utilizing kangaroo, a

physics modeling plug-in

for rhino, we begin to see

the droplets of rain hit the

surface of the ground

4. intervening / water uptake tactics: soil cells

collect particles of water, based on soil type,

amendments added, tree’s evaporation and

water uptake rates; modeled in kangaroo.

kangaroo allows us to

model the affects of

gravity on the simulated

water droplets. In the

next interation we are

hoping to reverse this

force and simulate evapotranspiration

the soil cells absorb some

of the rain, while the

remainder runs of off an

unvegetated slope

Nola Girl with Umbrella by Banksy

MIDCITY STORMWATER

PARK:

social space as flexible

infrastructure

DEW studio New Orleans, LA

critic: Jorg Sieweke

published in lunch vol. 5

Located in an abandoned railyard within New

Orleans’ Lafitte corridor, the site is an in-between,

a non-space, a vague terrain, neither a part of the

surrounding neighborhoods nor able to sustain the

role it once held for the economic and social vitality

of the city. As it currently exists, it is seemingly

void and lifeless. The project attempts to give new

meaning to this liminal space, re-envisioning the

role of a former industrial corridor as an Urban

Stormwater Park.

This project identifies 3 types of flux as a means

for identifying a site within the context of a larger

city, negotiating boundaries and edges to develop

a design strategy that responds to the cultural,

social, political and ecological pasts and future

of this new urban space. The MidCity Stormwater

Park illustrates that social space can function as

flexible infrastructure, providing an alternative

to the traditional and taxed water infrastructure

systems of the city of New Orleans.

Water in New Orleans is a paradox, both sustaining

and potentially destroying the city in one fell swoop.

Historically, the city’s hydraulic endeavors have

attempted to subjugate the natural flows of water in

this deltaic plain, using huge infrastructural feats

to combat the threat of flood. Many of the social,

economic, and infrastructural challenges that the

MidCity neighborhood faces are tied to the city’s

struggle to keep New Orleans afloat. The pumping

of ground and storm water in New Orleans has lead

not only to ground subsidence but continues to

be a significant economic drain on the city. With

these challenges in mind, there is an opportunity

to rethink the city’s current drainage infrastructure

and to focus on the cultural and functional aspects

of water in MidCity, the Lafitte Corridor and New

Orleans as a whole.

In its heyday, the Lafitte Corridor was one of the

earliest locations in the New Orleans community

where residents could experience public and private

outdoor space created for recreation and leisure.

Unfortunately, today, the Lafitte Corridor is nothing

more than an underutilized post-industrial site.

While the corridor was largely derelict far before

the complications of Hurricane Katrina revealed the

shortcomings of the city’s infrastructure systems,

the adjacent neighborhoods have maintained, if

not responded remarkably well, to the surrounding

challenges. In fact, the post-Katrina return rates for

the MidCity neighborhood total about 70% which

is significantly higher than most New Orleans

neighborhoods.

In this proposal, the MidCity Stormwater Park

would alleviate pressure on the existing drainage

system by day-lighting the drainage canal that

runs from the French Quarter along Lafitte Street

at North Jefferson Davis Parkway. Allowing the

Park to serve as the primary drainage system,

the current system would be maintained to serve

as backup during large storm events. The Park

would create a network of “urban wetlands” that

would allow for flooding during times of high

water volume. Creating a floodable landscape in

MidCity could contribute to an overall strategy for

the city to manage stormwater and subsidence by

establishing a more permeable landscape.

Addressing the issue of water as one of both

cultural and functional importance, the MidCity

Stormwater Park revitalizes an existing and

underutilized public space by re-establishing the

economic and cultural importance of the land and

water. Obliging social space to double as flexible

infrastructure, the park engages the surrounding

communities with the water that defines their city,

and by doing so blurs the boundaries that currently

separates them from each other.

This new social infrastructure sets forth a dynamic

spatial framework that will grow and morph. By

engaging this liminal space, matrices of circulation,

seasonality, habitat and social patterning begin to

overlap. This is a prescriptive and responsive flux,

a choreography of space and flow that becomes a

strategy for fostering positive urban growth and a

new landscape identity.

MINIDOKA: Japanese

Internment Memorial

national parks design studio in collaboration

with David Ericsson [MArch ‘11]

critic: Ed Ford

The story of Minidoka is one of alienation,

dislocation, endurance, grief, and loss. It is

a time in American History that is preferably

skipped over. Fear, hysteria, and racism led

to almost 13,000 Japanese Americans being

removed from their homes and relocated to the

high desert plain of South Central Idaho from

1942-1945. By 1945, the Japanese were free

to leave and the site was quickly raized and

turned into farming land, thus the story of these

people and of this place was, in a sense, erased

from that land. The landscape, as we know it, is

dotted with agricultural artifacts with little to no

evidence of the camp.

We found both the period of internment and

the subsequent shift of the site to agricultural

land fascinating and chose to tell the story

of Minidoka as one that was layered and

multifacted--one that calls into question the

term ‘native’. What does it mean to be ‘native

to a place’? Is it possible to become native

or will there always be a duality between

what is perceived as native and what is alien?

For us, there were three main themes that

commemorate this period of time and we have

chosen to represent these through minimal

incisions in the landscape. These minimal

incisions guide you throught the landscape,

down into spaces that evoke the themes of

dislocation, transition, and endurance. The

agriculture history of the site post-internment

is left undisturbed while the history of the camp

is revealed below a datum. Our hope is that

this minimal approach to telling the story of

Minidoka will be one that encourages collective

memory, reflection, education, discussion.

volcanic layers of geolgical time

hyrdrological sytems of the high-desert plain overlaid

with a highly intensive agricultural irrigation network

mountains in the distance and flat plains describe this

barren landscape carved by the snake river

left top: models illustrating

dislocation

transition

endurance

left lower:

located atop a volcanic range, Minidoka’s dynamic

geological history is revealed in the materiality of the basalt

wall which appear as scars across the agicultural landscape

recalling at once, the geological history of the site and the

emotional disturbance of those interned there.

1

2

3

warehouse / dislocation

checkpoint / transition

barrack / endurance

3

2

1

above:

the dry desolate high desert plain

33,000 acres | 950 acres

approx 13,000 internees

20 people per apt

range in temp 21 to 104

VICENZA PROGRAM

VICENZA ITALY

critic: Charlie Menefee

The Vicenza drawing program at the University

of Virginia was a 5 week program in and around

the Veneto Region of Italy, primarily Vicenza

and Venice. This experience, was for me, not

only a lesson in learning to see and draw, but

also a lesson in striking a balance between

precision and expression. My experience was

a process laden with much trial and error. There

were days when drawing was a complete delight

and others when I was frustrated beyond belief.

Upon my return, I compiled a book of my

sketches that represented both my successes

and failures — some that were complete and

most others that were not, it included my

measurements, notes, and scribbles. Through

this experience, drawings began to function as

a tool and move beyond something so precious

and so serious. These are a few examples.

SOL LEWITT

ASHEVILLE ART MUSEUM

Installation of Sol Lewitt’s Wall Drawing #618

Bands of Lines in Four Directions with Color Ink

Washes Superimposed with Sarah Heinemann

(Sol Lewitt Foundation), Dennis Ambrogi, Todd

Charles, Anna Child, & Tracy Scott Lucas

A ‘NUTHER

MODERNISM: the

slow parametrics

of particularity,

peculiarity, and place

in collaboration with Melissa Elliott

critic: Elizabeth K. Meyer

Landscape architecture theorist Elizabeth K.

Meyer has described landscape architecture

as ‘modern other’; we hold that modern art,

architecture, and landscape architecture, as

practiced in the South, might be described as

another ‘other’ Modernism. With this project

we aim to equate the spatial strategies of

landscape architecture with the collective,

artistic, and cultural practices of quilt-making,

with specific reference to the quilt-making

community of Gee’s Bend.

GEE’S BEND

The community of Gee’s Bend, Alabama has

become recognized over the last ten years

as the center of a quilt-making tradition that

has developed over several generations. The

quilts, now the subject of major exhibitions

and several books, have been described as

remarkably similar to modern art. We hold

that these quilts represent another instance

of a southern adaptation of Modernism. The

Gee’s Bend community history began in 1816,

when Joseph Gee purchased a plantation on

the Alabama River. After Gee’s death in 1824,

the plantation was acquired by Mark Pettway,

of Halifax County, North Carolina. Pettway’s

slaves walked from North Carolina to Alabama;

it is the descendants of these slaves that

comprise the community of Gee’s Bend today.

Following emancipation, Pettway’s former

slaves became tenant farmers on the plantation.

quilt by Lucy Mooney

‘Blacks and Strips’ Workclothes quilt

c. 1935

quilt by Linda Pettway

‘Housetop’eightblock variation

c. 1975

quilt by Loretta Pettway

string-pieced quilt

c. 1960

A drop in cotton prices in the 1920s left the

community in extreme poverty. In the 1930s

Gee’s Bend became the site of a New Deal

projects that included construction of a number

of homes - making the former tenant farmers

land owners. Throughout this time, a tradition

of quilt-making was developed. This art was

put to economic use in the 1960s-1980s when

the Freedom Quilting Bee sold quilts to major

retailers. Gee’s Bend was rediscovered by

William Arnett in the late 1990s.

The history of Gee’s Bend illustrates that

the community has been connected to and

influenced by greater historic events, but the

landscape of Gee’s Bend illustrates the extent to

which it has been isolated. Located on low land

in a meander of the Alabama River, Gee’s Bend

is nearly surrounded by water and swamps. The

landscape is dominated by agricultural fields,

timber plantations and wetlands, all bearing

the signature of of the river’s shifting course

(ox bows). While the history of Gee’s Bend,

and the relationship between quilt patterns and

vernacular architecture have been studied, little

research has been devoted to the relationship

between the quilts and the surrounding

landscape.

SLOW PARAMETRICS

Quilting is a craft based in parameters

related to patterning and material availability.

Through analysis of the quilt, we develop a

system of slow parametrics based on pattern,

tradition, collectivism and improvisation

that will guide future landscape design.

Here we also rely on Elizabeth Meyer’s

description of slow landscapes - we do not

imagine a project instantly completed, but

one slowly accumulated, developed, and

grown driven by process and not product

PIECING, PATCHING, PROCESS

We submit that the Quilts of Gee’s Bend provide

a spatial strategy for exploring place-making in

landscape architecture.

First, these quilts represent several strands

of current art theory: the work is abstract, the

artists are outsiders, the working method is

constellatory. The material use is economical.

The completed work is both aesthetic and

functional.

Second, the quilt corresponds with current

ideas in ecology. In ecological terms, patch

refers to the basic unit of the landscape -- a

relatively homogeneous area distinct from its

surroundings. The quilt suggests a patterning

of patches; a range of sizes and configurations.

The seams between patches are referred to in

ecological terms as ecotones. Quiltmaking

creates a hierarchy of seams: minor seams

withing each square, which are then pieced into

strips, and finally into a quilt. Quilting creates

a three-dimensional seam between layers. This

suggests a range of patches and ecotones that

could be explored on the landscape.

Quilts also represent process and performance,

tradition and improvisation. Patterns are

repeated, adapted to the materials at hand,

scaled up or scaled down, combined,

tesselated, reversed. Fabric is cut, ripped,

reused. Scraps are combined. Old quilts are

burned to drive away mosquitoes. Even where

a single hand has constructed the quilt, we

can read accumulation and collectivism in the

final product. We believe that the collectivism

and accumulation represented by the quilt are

a more appropriate image of Moderism in the

United States, especially that of the American

South.

PARTICULARITY, PECULIARITY, PLACE

We expect that our research and documentation

of the cultural landscapeof Gee’s Bend will

enhance the discourse on cultural landscapes

already occurring within the field of Landcape

Architecture. The image that emerges is one of

a landscape with loose, changing composition

shaped by many hands and intended to

commemorate history and express identity

- not unlike a quilt. The quilt, with its system

of interlocking patches and squares, provides

us with a language for creating new particular,

peculiar, and culturally relevant landscape

“The crux of Mary Lee’s visual style

is her ability to create small vignettes,

composite blocks of three to six forms

(sometimes with miniature medallions),

and then arrange these blocks into

larger compositions where everything

balances, interacts gracefully, and

preserves the dynamism of the

component parts. Nearly any detail of a

Mary Lee Bendolph quilt would work as

a quilt unto itself.” (Arnett 27)

quilt by Mary Elizabeth Kennedy ‘Housetop’

Log Cabin variation c. 1935

REBOUND: a

responsive chair

in collaboration with Callie Broadus, Hugo

Fenaux, Brittany Olivari+ Adam Poliner

[BArchs ‘12]

critic: Melissa Goldman

The chair is a tool suited to the human form.

The chair has developed over time to enable

rest, interaction, work, and comfort. A group

of five undergraduate and graduate students

collaborated to develop aggregating, modular,

and kinetic system that adjusts to external forces

and needs of the user. This project explores

the relationship between the human form and

the act of sitting, working, standing, etc. In

addition to the goal for kinetic responsiveness

of the chair, the course, led by professor and

fabrication manager, Melissa Goldman, asked

the students to explore the methods of ‘popup’--

the cut, the score, the fold, the joint —in

order to produce a portable structure that could

hold weight. Experimentation with various

material and fabrication techniques coupled

with a highly iterative process allowed the

students to explore these ‘pop-up’ mechanisms

extensively.

previous page: exploded axon showing

assembly of parts; CNC-routed ply-wood,

washers, threaded metal rod, elastic band

left: diagrams illustrating full kinetic rangefrom

table to chair as well as detail drawing of

joint exploration

right: documentation of the many full-scale

iterations - the intent was that the chair would

be completely interactive and respond to the

weight of the human body

below: infinite assembly of aggregated units

LUNCH: the

independent student

journal of the

university of virginia

school of architecture

lunch is the student-run design and research

journal of the University of Virginia School

of Architecture. This annual journal aims to

provide an interdisciplinary voice alongside

pressing international dialogues, both

academic and professional in nature.

I helped to lead the development and editing of

Vols. 5, 6, and 7. I organized groups of fifteen

copy-editors, developed content and design

for journals, selected submissions, and wrote

grants and fundraised for nearly $20,000 to

support the journal. Vol. 6 became first journal

in series to achieve financial stability, be

printed in full-color, and completely sell out

of copies.

uvalunch.com

volume 5: Flux copy editor

volume 6: Systems lead editor

volume 7: Conversations administrative editor

i’m rad.

ELIZABETH CLAIRE BAILEY

2 elmwood place asheville nc 28804

919.624.1699 | ecb8r@virginia.edu

the end.

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