Design Portfolio

Daniel WeldonENVD, MHP

Table of Contents

Historic Preservation Projects Morrisette House Tuskegee First United Methodist Church

Design Projects

Randers Art Museum Serenity Chapel Bramble Wool Farm Interior Space Wright Dana House

Graphic Projects

The Element Poundbury Analysis Auburn City Comforts Bramble Wool Farm Campaign

Creative Projects Plates Watercolors Pen and Ink Photography

Historic Preservation Projects

Located in Hale County Alabama, the Auburn University Rural Studio was founded by Samuel Mockbee and D. K. Ruth in nineteen ninety three in an eff ort to serve underprivileged communi es in the Black Belt Region of Alabama. The studio was established with the inten on of bringing quality architecture to the most deserving as poverty was not viewed as a reason to be excluded from being able to a ain quality design. The focus of the studio was predominately on residen al structures in the area of Mason’s Bend. Following the death of Sambo Mockbee, the leadership and direc on of the studio fell to Andrew Freear. With the change of command, a shi occurred in the types of projects completed. Residences were replaced with civic and public structures and focused on the communi es of Greensboro and Newbern. With the ongoing morphology in the manner of projects arose a shi in the ideology of the program’s direc on. Sustainability moved to the forefront with the introduc on of an outreach program focused on the 20k house series that could be constructed at an aff ordable rate for those across the state of Alabama. The idea of sustainability and stewardship then began to play focus on the Rural Studio itself in the fall of two thousand and eight with the direc on of the then visi ng second year faculty Elena Barthel. Barthel inspired an ethic with the students and staff of the importance of becoming a part of the grow eat local movement. Barthel constructed, during the studio’s annual fall neck-down week, a series of vegetable beds at the headquarter and student residence known as the Morrise e House. According to Barthel, the loca on of the garden in the front of the house served several purposes. First, it was the most logical loca on on the property. Second, it allowed the studio to serve as a living example to the surrounding community to eat local and would force the site to be maintained .

Morrisette Farm(r)Evolution

Garden In the fall of two thousand and nine, the third year program was taken over by professor and former outreach par cipant Margret Sledge. Following in the example of Barthel, Sledge con nued the eff orts already started on the site. The focus of the third year project would return to the early domes c roots of the program and be ed with the erec on of the new gardens. The kitchen facili es of the studio headquarters were deemed insuffi cient and lacking in order to accommodate the direc on that the leadership wished to take the studio; one hundred percent self suffi ciency in food produc on and consump on by the studio. To begin to achieve this goal, the students began to look at the present garden condi ons to see if they were able to support such an endeavor. It was deemed that the lots installed were a good eff ort, however, they would not be able to achieve the goal of self suffi ciency. The installed beds would be able to provide a mere ten percent of the produce needed in order to run the studio. During this me research was conducted and it was determined that several growing op ons were available as opposed to the tradi onal bed method. It was deemed that the most benefi cial method for this par cular loca on in the state of Alabama would be a combined eff ort of raised beds and that of a permaculture. The raised beds as seen in the illustra ons are constructed through the layer of per nent growing material placed within untreated mber framed boxes. The eleva on of the seedlings allow the plants to be less suscep ble to disease and bugs. The eleva on also allow those responsible for taking care of the plants easier access to vegetables produced by the respected plants.

Permaculture deals with the combina on of plants and orchards in a singular space. The plants are grouped in such a manner as to be mutually benefi cial to each plant. If plant x depleats a nutrient out of the soil, but plant y places the nutrient back in the soil, the two are paired together in order to create a benefi cial growing condi ons for the two plants. At the end of the plant evalua on exercise, it was determined that the most benefi cial method to gain one hundred percent independence of food produc on would be to install a series of gardens in phases on the property. Incremental approach would allow for the necessary infrastructure to be in place to manage the increase in vegetable produc on. The fi rst phase would con nue the erec on of raised beds on the front lawn to either side of the entrance. The addi onal bed would help to bring the studio up to twenty percent of the vegetables needed to sustain the program. The next phase would introduce a lot devoted to permaculture in the side yard of the complex. Apple and peach trees would be placed in between rows of corn and other taller vegetables. Later expansion, which would be necessary, would be relegated to the rear of the houses and added as needed.

Structure To begin the kitchen addi on project, the site was documented in its current state. Measured drawings of the interior of the present kitchen, house and grounds were taken in order to determine the scope of the project and to establish parameters. By documen ng the site, the studio was able to analysis what concepts present on the site would inform the design decision of placing a new kitchen on the property. Would the kitchen be within the exis ng house? A renova on to the present kitchen? Placed in the front yard with the garden? Added to a rear por on of the present kitchen? The next step was to establish the context and history of the site. Using aerial photography, surveys of building member details, deeds and canvassing of neighbors adjacent to the property, the trajectory and story of the site were pieced together. By determining how the site had evolved, we were able to see how our scheme played into the greater story of the site. The study of the trajectory revealed that the present state of the property was derived from a series of changes brought about from a range of owners since the house was erected in the eighteen eigh es. Changes included addi ons and reconfi gura ons of the house and out buildings. Stables were erected and torn down for automobile garages. Barns were added and later removed. The trajectory of the site also included changes in the landscape and its rela onship to the house. A once open yard at one point had engulfed the house.

Proposal The fi nal solu on for the property was arrived upon for the kitchen a er schema cs and discussion in the studio. The proposal was to erect a structure at the rear of the building. The new addi on was to keep a similar width and roof line of the preexis ng structure. A breeze way would serve between the exis ng kitchen and the new space, recalling the dog trot cabin tradi on of Hale county. In addi on the kitchen’s separa on hearkened to the dis nc on of removing kitchens from the structure that was common in Southern house composi on during the eighteen hundreds, including the Morrise e house during its incep on. The loca on of the addi on was close to the original placement of the kitchen The separa on allows the chef the ability to close the kitchen from visitors during food produc on of meals and food storage. However, the kitchen isn’t a copy of the preexis ng structure. In order to demarcate where the new structure begins, a diff eren al siding was placed along the exterior. Further dis nguishing the projects, a new window rhythm was established with the window puncturing of the structure. The plan for the interior called for a long interior island for food prep and to allow circula on of the space to serve meals. Storage and cooking instruments is placed along the edges of the interior. Secondary access at the rear of the kitchen allows produce to be brought in to the space without eff ec ng other circula on.

New Structure Garden

Originally approached as an outreach project concerned with a revitaliza on of the grounds, the Tuskegee First United Methodist Church has shi ed from being used solely for religious purposes to being used to house a non profi t organiza on. The structure is currently used to house visi ng volunteers with and expressed desire to expand to accommodate other non profi t offi ces and lodging. A er ini al inves ga on of the site, it was discovered that the organiza on of Alabama Rural Ministries had in possession an architectural asset in the form of the Romanesque Revival church. Largely intact, but at risk of being lost due to desires to change the structure, the need for documenta on and protec on came to the forefront. The scope of the project was then formulated and was determined that a personal educa on of the team in ma ers of the Na onal Register nomina on and the implica ons of preserva on would be crucial to the project. To begin, the task of documen ng the church to the HABS standards had to be learned. The correct terminology had to be ingrained in the memory in order to engage with discussion to both the client and the per nent state and federal offi cials. The next phase of the process focused on establishing the history of the structure. Who designed the structure? What was the inten on of the design? How did the church fi t into the greater role of the Tuskegee community? Next began the documenta on process itself and a familiariza on to the standards established by the Secretary of the Interior standards for drawings and photography. Finally, the interior spaces were explored to determine how the spaces worked together through a series of one point perspec ves. With the study of the one point perspec ves, a ques on was raised as to what the church historically would have looked like based on the wri ngs exis ng from this me with schemes rendered

Tuskegee First United Methodist Church

Structural History Tuskegee First United Methodist Church is situated a block off the main square of Tuskegee. The church has the dis nc on of serving as a landmark on the town skyline. Erected in 1861 in part as college chapel for the East Alabama Women’s Ins tute and in part as the home of the growing Tuskegee Methodist congrega on, the structure was designed by Philadelphia architect John Stewart of the Stewart and Sloan fi rm. Stewart was previously commissioned to design the schools main mul func on building fi ve years prior to the erec on of the chapel. The erec on of the brick edifi ce coincided with the de of the Civil War. The confl ict caused the delay of the structure beyond the rudimentary four walls, leaving the interior exposed to the elements. This state of incomple on allowed for the structure to be sequestered by Union forces during their tenure in the town of Tuskegee. The Wilson’s Raiders allowed horses and ammuni ons to be quartered in the structure while raids where conducted on the nearby towns of the Auburn and Opelika the forces en route towards the town of Columbus in the closing days of the confl ict. Comple on of the structure con nued in 1871 following the raising of funds by the college and congrega on. Trees that had started to grow in the sanctuary were felled and used to construct beams for the roof. The two fl anking facade towers, a two story campanile inspired structure and a four story Gothic revival tower were erected at this me. The state of the facade of the structure would remain the same un l changes in the 1920s orchestrated by Montgomery architect Frank Lockwood.

The Lockwood addi ons changed the facade to resemble the present confi gura on that included a set of triple doors and elevated and covered porch. Prior to this modifi ca on, the structure consisted of a set of double doors that allowed access into the church via a single stair. The addi on allowed for a grand more triumphant entrance to the structure. In addi on to changes along the front of the facade, the rear of the structure was modifi ed in the 1880s to accommodate a series of Sunday school classrooms. The rear space was further modifi ed with the expansion of a addi onal classroom spaces to the second fl oor of the structure. The addi ons coincided with a growth in the Church’s Sunday school program under the direc on of pastor Bilboro. Growth and expansion con nued to serve as a theme for the congrega on. Demands for further expansion came from the congrega on to the Methodist hierarchy. These pleas fell on deaf ears with the response reported that the congrega on must secure funding on its own. The needed funds for the expansion arrived in nineteen fi y fi ve with the structure erected in nineteen fi y six. This addi on was in the modern style and included mul ple classrooms and a fellowship hall. A er the eff ects of white fl ight occurred in the town of Tuskegee, the church popula on dwindled to the present day. The church building began to decay. The remaining congrega on has partnered with the Alabama Rural Ministries to maintain the building. The inten on is to convert the structure to house visi ng volunteers and make the building applicable to host social func ons of the greater Tuskegee community.

Interior History In its current state, the church sits largely devoid of decora on, a vic m of the Lockwood restora on. A brown dado adorns the sanctuary beneath a white wall within the sanctuary. However, prior to the stripping of the interior spaces, a series of painted columns lined the walls of the sanctuary under the barrel vault. The vaul ng above the windows was decorated with pieces of scripture instruc ng the congrega on. This scheme occurred under a series of murals that decorated the ceiling in a grand manner. Lost to the annuals of history is a record of what the murals in fact were and in what color scheme the building was decorated in. Of concern in conjecture with the interior scheme, is the pris ne stained glass that lines the sanctuary openings. Shrouded in mystery as to the origin of the glass, church legend had stated that the material was from a Northern cathedral that had ordered the wrong size panes and that the glass was then secured and shipped to Tuskegee. In this muddled history concocted by genera ons of parishioners was in fact shards of the truth. The glass was purchased for the church by a doctor prac cing in New York that had formerly lived in the town of Tuskegee. The evidence of the structure suggest that the windows were originally the wrong size for the building in Tuskegee itself and were modifi ed in order to accommodate the purchase due to changes in the exterior brick work. The country of origin remains a mystery. The details of fi gures and plants used in the glass allude to a master cra sman not associated with either American ar st LeFarge or Tiff any. However, the symbols allude to Art Nouveau infl uences and methods similar to that found in Northern French stained glass produc on.

Social History As was the case with most religious ins tu ons in the state of Alabama, the church was built in tandem with a college as a chapel. Students were instructed in their religious studies and allowed to use the spaces for religious devo on. In conjecture with the school, the church was used by the affl uent white members of the Tuskegee community. Business owners, doctors, lawyers and poli cians were all found within the walls of the structure. It is due to the demographics of the congrega on that the story of the structure becomes tainted and discolored with ac ons of segrega on and Jim Crow in the South. With the dawn of the Civil Rights movement in Montgomery in the form of the famous bus boyco , a similar boyco occurred in Tuskegee with businesses and religious ins tu ons including the First United Methodist Church. A par cularly infamous Sunday occurred when protesters gained access from the rear addi on into the sanctuary. The service was a ended to by the bishop of the diocese who allowed for a group of parishioners to forcefully remove the protesters and throw the individuals on to the concrete. The incident was preceded by a bloody a ack the previous week where the protesters were a acked with bricks and bo les. For a year African American protesters held Kneel Ins on the steps of the structures in eff orts to gain access to the services. As churches do not fall under Federal jurisdic on the protest ended only a er the United Methodist Church gave in to demands on their own accord.

-To take a structure back to a signifi cant moment in the history of its existence

-Applicable to an exis ng physical site

- The en re site must be returned to a specifi c me period, nothing is allowed that existed from an earlier or later period.

- Missing elements must be recreated in a historically accurate manner

Historical analysis of the site must be conducted to determine when in the structures existence the structure will be restored to

-Inventory of all architectural elements, addi ons and furniture must be conducted to determine of what period they belong too

-Uncharacteris c items have to be removed

-Missing components have to be replaced in a manner appropriate to the me period

Major changes have to be approved by the Na onal Parks Service

Replace

Drayton Hall, Charleston, SC Mount Vernon, Fairfax, VA

Restora on Rehabilita on- To make viable again by transforming from a previous use to another purpose

-The historical character of the site has to be maintained.

-The original inten on of the structure has to be expressed within the new program

- The new interven on must be inserted in such a manner that the original character of the structure isn’t destroyed and can be removed at a period later in life of the structure within out causing damage to the original structure

-Analysis conducted of exis ng material and func ons that have to be replace, or can be maintained within the new construc on

-Minimal repairs of historic material and changes where necessary

-New program physically inserted into the structure so that at a later me they can be removed

Replace Historical Features

Repair

Union Warehouse ,San Diego, CA Urban Ou i ers Campus, Annapolis, MD

- Reten on of the en re site and its trajectory

-Applicable to a physical site

- The historical character of the site must be maintained, in both exterior and interior spaces

-Replacement is a solu on in extreme cases only; materials are to be preserved

Preserva on

-Documenta on of the site including history and the evolu on of the structure during the en rety it existence

-Iden fy historic materials that are at risk of decay

- Minimal replacements and repairs in present day materials to add to the evolu- on of the site.

-Upda ng to compile to code

Major changes have to be approved by the Na onal Parks Service

Repair and Maintain

Octagon House, Washington D.C. Lyons Hall, Demopolis, AL

Reconstruc on

- When an previously constructed structure no longer exists, new construc on used to create a feeling of a former me

-Applicable to a site were a previous landscape or structure existed

-Documented proof or ar facts must verify that a structure previously existed on the site in the proposed manner of recon-struc on

Reconstruct

-Archaeological survey must be conducted to determine what re-mains of the structure that is being reconstructed

- Exis ng elements are incorporated in new construc on

-Reconstruc on cannot have the appearance of faking a historical structure; must be made of current material but have the integrity of a later periods construc on

Colonial Williamsburg, VA

Defi ni onM

ainte-nance

ProcessRegula

onsExam

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Drawings In order to properly document the building and to produce the correct drawings needed for a Na onal Register nomina on, the Secretary of Interior’s Standards for HABS documenta on were followed. This stringent set of standards was adhered to in ma ers including line weights, drawing forma ng, poche standards, and the order in which the drawings had to placed. Every brick was hand drawn and every measurement was lined in order to maintain a perfect string course measurement. In order to improve the mely manner in which the drawings were produced, the task was evenly divided among the three members of the group. Each had a facade, sec on and fl oor plan. My responsibility focused on the drawing of the Northwest eleva on, fi rst fl oor and the longitudinal sec on. Issues occurring with these par cular drawings included the drawing of capital details and the set of matching circa nineteen hundred chandeliers along with varying fl ooring material. Brick Deterioration Study Also documented in the process was the deteriora on of the brick facade. The drawings were created in order to aid the client in determining what issues in the structure need to be addressed. A system of color coding was developed in order to denote areas of greatest concern. Bricks were ranked by condi on of fair, poor, and extreme condi on. Bricks also received denota on if there was missing mortar, missing bricks or vegeta on present in place of bricks. The study was marked brick by brick and showed the majority of brick damaged had occurred along the base, tower and southern facing facades of the building.

One Point Perspectives To be er understand and document the state of the structure, a series of one point perspec ves were cast. The focus of the perspec ves was to show fl ooring, wall detail and the rela onship to other spaces within the church. The study reveled a change in the materiality of both the fl ooring and wall covering. From the front to the back the materiality of the fl oor shi s from le to wood. Plaster adorns the front of the structure before being replaced with wood paneling in the rear of the structure.

Historic Interior Study

Wri ngs of the church detailed that during a por on of its existence, murals and colors graced the walls of the now dour colored sanctuary. Painted columns and capitals adorned with vases overfl owing with lilies underneath a set of murals. Unfortunately the detail of the pa ern and exact coloring was le to the imagina on. To postulate what the color pa ern could be, several case studies of both religious and domes c interiors were analyzed for style of ornamenta on and color pallet. Examples of Tiff any, Eastlake, Pompeian Revival, Romanesque Revival were further developed and applied to the interior of the building.

First Floor Plan

Longitudinal Sec on

Facade

Brick Deteriora on

Red- Severe Damage Orange- Moderate Damage

Yellow- Minimal DamageMagenta - Missing BrickCyan- Damaged Mortar

Blue- Missing Mortar

DesignProjects

Situated on the Jutland peninsula, Randers, Denmark enjoys the dis nc on of being one of the country’s furthest inland port due to the way the sea cuts into the typography. With this dis nc on the town developed as a nexus for the Danish fi shing and shipping industries. However, the area is know for its agricultural produc on as well tradi onal Danish cra sman ship. The town is surrounded by the Scandinavian country’s northern farm region. As a mari me town, the site for the museum project is located at an abandoned pier site near the center of the town. The pier has been cut and squared off to create a rec linear space for docking of the ships. This division creates two dis nc ve sides in the town plan; a more formal civic center and an industrial quarter undergoing revitaliza on. Once the site of several warehouses and processing facili es, the site has been cleared with green space added to the northern por on of the site adjacent to housing. To the south of the current site a proposed new community that will increase the city’s total housing with the inten on of providing aff ordable housing in a suppor ve community for ar st. The Randers’ museum will serve as the bridge between the residents of the city to that of the ar st. The world of the industrial and fi shing is connected with that of the world of the ar s c. It is with the metaphor of the bridge that the design of the museum began to be molded and developed. The form of the museum consist of two parallel bars on either side of the harbor bisected by the elevated perpendicular gallery bar. The appearance mimics a bridge with elements of the anchored bases and bar of crossing.

Randers Museum

While it was decided that museum of Randers would take the form a bridge, the program for the museum was decided to also adhere to the concept of the bridge: a link between the crea on of art and the recep on of the pieces by the public. In the tradi on of the museum schools of Britain and the United States of the nineteenth century, the inten on of the Randers museum is to foster an environment within the studio spaces were mul ple medias can be worked and cra ed. The arrangements of the spaces are such that mul ple ar st can share a studio at one me without a confl ict of projects being distributed or room to be insuffi cient. The studio spaces have such fl exibility that spaces when not used by ar st can be converted to classrooms and be used as an extension of the museum to teach skills and apprecia on of the arts to the public. In addi on to the studio spaces to instruct, the museum is equipped with workshop spaces for materials conserva on and demonstra ons. An auditorium space also provides a se ng for more formal lectures and interac ons with the ar st. However, the ability to provide the necessary space for ar st is but one of the inten ons of the museum. The gallery spaces, including a por on adjacent to the studio spaces, provides a ready canvas on which the handiwork of the ar st can be viewed by the public. The composi on of the galleries vary in both ligh ng, wall covering and size in order to best accommodate the art work produced by the local ar st.

The Modulus In the crea on of the layout of the museum, a unit modulus was selected in order to create a methodical scheme. Movements found within the plan of the museum would occur along the predefi ned unit. Solids and voids in the plan were carved out along these divisions in the scheme. Gallery spaces and instruc on classrooms provide the solid mass that anchors the more open lobby space and circula on pathways of the project. In order to add interest in the plan, the two parallel bars of the museum were made of diff ering widths. This is due in part to the programma c elements that the two por ons accommodate, the thicker the more formal face of the museum with the offi ce spaces and conserva on eff orts. Whereas the studio bar is thinner and less massive. In order to further delineate the two features and to rec fy a hierarchy of the program the bars are of varying lengths. The composi on of the bureaucra c wing of the building has a more substan al appearance due to shorter profi le in plan. However, the studio wing of the museum has a thinner lighter footprint, commen ng on the frailty of crea vity and the ability to create meaningful artwork.

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First Floor A. Auditorium B. Gallery C. FoyerD. Storage E. Restora on Workshopsf. Gallery SpaceG. studio

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Second Floor A. Offi ces B. Gallery

Facades

Structural Diagrams

Sec ons

Gallery

Foyer

Gallery

Studio Space

` The strongest shape in nature, the triangle is ensconced intrinsically with symbolic meaning. The three sides have been used to represent the trinity; faith, hope and charity; the past, present and future. It is with that mindset that the design for the Serenity Chapel began to evolve. The inten on of the project is to create a place of solitude that visitors can use in medita on. Visitors are allowed to engage in the space to contemplate their course of ac on. Serenity Chapel is designed to serve a community that was ravaged by a natural disaster. The space is meant to be a place of healing and discussion within the community as it recovers and builds back the pieces of stability and normalcy. The idea of three is present in the scheme of the structure. The building consists of three elements: an access ramp, a chapel plane and a plane for medita on extending from the chapel. At its core the project has three structural elements of the fl oor, wall and roof planes. The levels are decreasing in level from the upper ramp to the lowest level at that of the resolu on plane. The structure has three walls present, one at the rear of the chapel, one forming the wall of the chapel and one defi ning the access ramp. The supports for the chapel’s roof plane are a varia on on the number three with the denomina on that of six per each side. The slat pa ern of chapel is yet another varia on of the number three with two diff ering systems of slats.

Serenity Chapel

Triangle Design The overarching concept for the project as stated before revolved around the number three, leading to an inclina on to design using the shape of the triangle. At the start of the design process it was conceived to originally consist of three equal sized triangles radia ng in a semi circular pa ern. The idea morphed to the present form where the three elements, while dis nct and legible in the project scheme, are interlocked in a such a manner to produce a more straight forward composi on for the chapel form.

Compression and release

The selec on of the triangle shape allowed to direct fl ow in the project. By reorien ng the entrance component, the large base por on of the triangle greets visitors and fi lters them towards the chapel component of the project through the use of physical and visual compression. The adjoining side walls help with the funneling mo on. Playing on the idea of release, the roof of the chapel space is slanted in such a manner as to give the viewer ul mate release at the end of the journey in the space with the upward thrust of the roof combined with the lower projec on of the deck area of the chapel.

Slat Study Perhaps the most important element in the project is the use of slats to delineate the second wall. Slats allow for the boundary of the space to be defi ned yet at the same me open as it allows for the viewer to feel

connected with the surrounding site. One can feel a part of nature, without being physically in nature. To begin the process of deciding the correct propor on of the slats and pa ern, the study started with simple confi gura ons and varia ons of this arrangement. Working on denomina ons of the three and consis ng of slats running the en re length of the project, varying sizes extending from one side and varia ons of random arrangements A er the selected arrangements were determined, the slat pa erns were expanded on a study model. With the slats placed on the model the next step in the design process was to preform light studies to see how light interacted with the slats on the interior spaces. Design and varia ons were manipulated further at this level of study. A er the results were considered, a fi nal slat confi gura on was selected and used to make the fi nal model of the project.

Chapel PlanA. Entry B. Chapel C. Porch

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Residing on a curving slope in North East Alabama’s mountain region, the Bramble Wool Farm is devoted to the produc on of organic wool from the Gulf Coast breed of sheep. The inten on of the design of the farm is two fold: to create a modern farm complex that has the feel of an an quated evolved landscape and to create an arrangement of structures that are inspired by Shaker forms but adapted to meet the needs of the present day. The Shaker community was known for its more austere geometric cra ed architecture and furniture. These heavily abstracted forms helped to infl uence the Modernist and their planar rec linear architecture that would occur a century a er the decline of the religious sect. The Shaker style of architecture has become synonymous with farm life as the communi es clustered together in ght farm units. The Shaker work ethic, as viewed from the outside community, developed a connota on of quality in the products produced as a by product of the Shaker’s teachings. It is the inten on of the owner, while crea ng a modern farm, to evoke an iconic image from America’s agricultural past and link to the modern era. The goal of the Bramble Wool Farm is the create quality sheep products in a fashion similar to the Shakers; organically and by hand. Farmer, product and user are in mate and known. The use of Shaker mo fs has the benefi t of allowing an instant heritage to be created on the site despite being an new construc on project. Yet despite the mo fs, the planar geometry is applied in such a manner as to make the property feel uniquely modern; bridging the gap between the present day and the roman cized agrarian past.

Bramble Wool Farm

In the tradi on of American farming, the site of Bramble Wool Farm was manipulated with the introduc on and clustering of husbandry, livestock and secondary buildings to give the appearance of having evolved over me. A pastege of pa na is applied to the overall site. Secondary axii and means of circula on were manipulated over the course of the landscape to give the added feel of mul ple layers of interest and change. Yet , historically recognized composi ons and pa erns were cri cal in forming the building arrangements. Buildings such as the studio structure and summer house conform to an arrangement that would have been prevalent in larger American farms with such features as detached kitchens and important storehouses, yet they have been updated in order to accommodate the needs of the modern client. Preven ng the farm from having a completely haphazard and disheveled appearance, a modules was erected on the site in order to create a logical system for the placement of the structures to adhere to. The modules creates a dis nc ve central courtyard space that the more residen al and leisurely associated buildings abut to create a formal outdoor room. Bisec ng this central courtyard is the set of modules reserved for the more agrarian aspects of the farm response for product produc on. It is along this axis that barns responsible for housing the farms sheep and garden produc on are located. The studio building is located along this axis due to its associa on with product design and its func on as a working building while at the same me serving as a retreat.

Farm Layout A. Barn ComplexB. HouseC. Guest House D. Summer House E. StudioF. Garden Shed G. Apple ShedH. Secondary Structures

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First FloorA. FoyerB. KitchenC. Dinning RoomD. Living RoomE. Studyf. Gathering RoomG. PantryH. Mud Room

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Second Floor A. BedroomB. BathroomC. Gathering Space

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Longitudinal Sec on

Front Facade

Rear Facade Le Facade

Right Facade

Guest House

Garden Shed

Summer House

Studio

Side Yard from drive way towards the house

Over View of Property

Front View

A box and a rectangular tube are combined to create a space in any confi gura on to serve any purpose, what space do you choose to conjure? Do you place the rectangle at the end of the square box? Have the rectangle go barreling through the form of the box? My answer to this design problem imagined an open study space housed in the square that was punctured by a long rec linear hallway. The hallway would serve as both the main circula on and the storage for the bookshelves while the square was lowered on to a lower plane allowing for a release to be experienced a er traveling down a low corridor. A er the spa al confi gura on was decided upon, the task was then given to render the space in a three d manner. Two line drawings were created of the spaces. This was followed with the rendering of the line drawings in a monochrome color scheme. Finally one of the line drawings was rendered in color to give a sense of the feel of the space. An analy que was then constructed showing a diff erent view and the plan of the space.

Interior Rendering Project

Plan Rendering

Classic architecture design school Beaux-Arts style exercise. Take a fl oor plan of a famous building and draw the plan out using hand drawing skills. Copy the work of a master designer and understand the inten on of the plan before applying the concepts to a project of your own. The added twist to the project was the addi on of analyzing the structure for the predominate elements incorporated into the overall design of the structure. The analysis had to be drawn in scale to the plan that was copied. Assigned the Dana Lawrence House by Frank Lloyd Wright, the structure is one of the architects more dynamic crea ons due in part to the willingness of the patron to display excess. The diagramma c analysis of the Prairie school residen al structure began with the denota on of the solid walls found in the house’s plan. Atypical of concurrent houses, the plan features limited walls, making the plan more open but emphasizing the special use of the walls in the scheme. This was followed with the examining of Wright’s use of fi replaces as a spa al organiza onal tool. This was followed with the demarca on of the service (solid) and served spaces that were le blank. Finally the circula on through the house was examined.

Graphic Projects

“ Find your passion and combine with your talent to create a truly engaged and fulfi lling existence.”Sir Ken Robinson charges his readers that they are to fi nd their innate talent, whether it be wri ng or playing a musical instrument, and pursue it to their up most poten al by linking it with something that they are truly passionate about. The passion could be an idea, an ac on or could target a demographic. The concept of passion mapping was introduced as the conclusion element of environmental design introduc on course. As a part of the exercise students where to map their passions and then formulate a scheme for how these passions had infl uence their life and could be developed and used in their life. The students had to prove, if possible how both the talent and passion had been present in their life. I iden fi ed three areas that have molded my inten ons thus far: sustainability, history and the arts. The areas of passion have been present from my childhood and have maintained throughout my college career. Early ques on concerning how things came to be, the allure of pa na, and the ques on of meaning sparked curiosity and explora on in these par cular interest. The areas have merged and blended to form my present trajectory. The plan developed at the end of the exercise is to further pursue the preserva on fi eld with my ability to design. My combina on of talent and interest can in fact come together in the fi eld of preserva on design in such a manner that see the realiza on an cohesion of the passion.

The Element

Poundbury, England , pet project of the Prince of Wales, serves as an example of New Urbanism development in the Interna onal design community. Poundbury was established as an extension to the town of Dorchester to accommodate a growth in popula on due to expansion of industry in the town. The town design is meant to be implemented in phases in order to ensure that facili es are only built as needed. The incremental me frame is that of forty years for the en re development. However, the me frame can be adjusted if popula on projec ons are not quiet to expecta ons. At the present phases one and two have been completed. The overall scheme centered on the ideal of walkability. The pedestrian is given priority over the car. Squares are located periodically throughout the development in order to provide mee ng spaces for ci zens to gather. Designated market spaces that memick historic town pa erns are incorporated within the community to provide established roots to the presented scheme. The materiality of the hardscape in the community is permeable allowing water to drain into the aquifer and so enough to provide a low impact walkable surface. Further following the tenements of New Urbanism, the community has forgone tradi onal zoning prac ces in favor a form based building code. Factories are next to civic and residen al ins tu ons. The overall architectural scheme of Poundberry refl ects the greater Georgian style of the town of Dorchester in an eff ort to blend new build with pre exis ng structures.

Poundbury Analysis A

Throughout the urban landscape are nodes of development that a ract interac on and engagement be er than others. Why is this so? Are the designers of these spaces aware of some secret quality that makes these places more habitable? In short, yes they are, as they are aware of elements or city comforts that make the life of the pedestrian be er. The impact of design is such that well thought out characteris cs or city comforts naturally a ract and infl ux of human ac vity to par cular regions in the urban fabric. These characteris cs include but are not limited to : walk ability, elevated sidewalks, terrace sea ng, street trees, engaging store fronts, and interac ve art. Within the town of Auburn, AL, defi ned by the university, analysis was conducted and three dis nc ve areas that adhere to these standards began to manifest in a ght arrangement of clusters: middle campus, the nexus of Samford and Gay Street and the downtown core and North campus historic district. These areas exhibit quali es not found within the rest of the city’s fabric. Pedestrians are able to engage with the built in environment in such a way as to not feel threatened about safety in ma ers concerning the automobile and in an unobstructed manner with the ameni es of the greater community. Shops extended out to a broad elevated sidewalk with generous display windows. Open air sea ng en ces visitors to enjoy a casual lunch. Artwork and me telling devices are situated in prominent loca ons to visually engage the pedestrians as they journey through the town.

Auburn, AL City Comforts

Sustainable. Quality. Local.

These ideas form the ideology behind the founda on of the Bramble Wool Farm. Located in Northeast Alabama, the Bramble Wool Farm is commi ed to the produc on of quality wool in an area of the country o en overlooked and under exploited in terms of wool produc on. The breed of choice for this high humidity and moisture drenched region is the Gulf Coast sheep. The breed has the dis nc on of lacking fur on their head, legs and stomach making it ideal for growing in this climate. The par cular breed also has the classifi ca on of producing a wool similar to Merino wool and resis ng diseases that plague other sheep breeds.

The deliverables of the project included a logo, business cards sta onary and layouts for a website to sell the products produced by the farm’s herd. The overarching concept for the scheme focused on a sketch of the sheep silhoue e. Classic form but abstract, the image conjures and iconic idea of the sheep. The color pallet relates to the cozy image wished to be created with the product line.

Bramble Wool Farm Branding

Creative Projects

Plates

Robbs Run, Texas

Mc Adams Co age

Tuskegee First United Methodist Church Capital

Charcoal of Herdwick ram

Water Color Sketches

Glasgow School of Art

Glasgow School of Art

St. Agnes in Agony

Castel De Saint Angelo

Timpe o

Edinburgh

For the Birds

Barn Owl

Chickadee

Peacock Feather

Pen and Ink Sketches of Rome

Venice

St. Giorgio Maggiore

Schonbrunn Palace

Casino Royale Monte Carlo

Genoa Harbor