lisa mcguire portfolio 2014

Lisa McGuireCommunication & Design

Concept DevelopmentExhibit Graphic Design

Interpretive SignageBook Design

Lisa McGuire Communication & Design

[email protected]

In•for•ma•tion Ar•chi•tect

1) the individual who organizes the patterns

inherent in data, making the complex clear.

2) a person who creates the structure or map

of information which allows others to find

their personal paths to knowledge.

3) the emerging 21st century professional

occupation addressing the needs of the age

focused upon clarity, human understanding,

and the science of the organization

of information.

From the book Information Architects

by Richard Saul Wurman

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revealing the wondrous realms of nature, history, art, and culture

finding natural connections

Lisa McGuire has more than 25 years of experience in the graphic design field, with 20 years focused on exhibit graphic design and interpretive programming. She began her career at the Denver Museum of Nature & Science and spent 7 years learning her craft while there. Since 2006, Lisa McGuire—Communication & Design has provided custom interpretive graphic design and project management services as a freelance designer. She works collaboratively with clients and other project team members to develop interpretive strategies and graphic identities that integrate history, science, and culture to create community identity, and produce interpretive programs that engage visitors in memorable and meaningful experiences. She has considerable facilitation and management skills, which insures that a project team can expect participation and communication managed in a professional and timely manner. Lisa’s design process is consensus-driven and transparent, with extensive documentation at each phase.

Lisa provides a unique and fresh approach to exhibition graphic solutions insuring that the graphic direction is synchro-nized with the spirit of the entire exhibit design package and interpretive content. Her philosophy of design is geared toward encouraging a sense of wonder and discovery by designing settings for exploration that provide context, nurture curiosity, and invite participation and interaction. The following are key to her approach:> Know your audience> Compose meaningful messages> Use storytelling as a powerful tool> Accommodate many learning styles> Create opportunities for multiple ages and interests

Biography & Philosophy

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Select Interpretive Programs, Exhibitions, and Publications

INTERPRETIVE PROGRAMSLair of the Golden Bear Interpretive Trail, California Alumni Association (CAA) at UC Berkeley, California > Facilitation of CAA conceptual work sessions and Art

Director for final design development

Old Greenwood Community Signage Program, Truckee, California> Art Director for resort community identity, wayfinding,

and interpretive trail signage

Platte River Commons Interpretive Trail, Casper, Wyoming > Art Director for interpretive signage program

Native Legends Park Interpretive Trail, Castle Rock, Colorado> Art Director for community interpretive signage program

Fall River Visitor Center, Rocky Mountain National Park> Exhibit Graphic Designer for interpretive signage program

Cornerstone Park, City of Henderson, Nevada> Developer and designer for interpretive program for a new

park in the city

Wildlife Walk, The Wildlife Experience, Parker, Colorado> Designer for wayside interpretive panels for trail

Solar Display, Adams 12 Five Star Schools, Thornton, Colorado> Developer and designer for display mural and panels

Stanislaus River Interpretive Trail, TriDam, Pinecrest, California> Developer and designer for interpretive signage program

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LARGE EXHIBITIONS

At The Mirror, Denver Art Museum

Colorado Dreams, History Colorado Center, Denver, ColoradoConcept design only

Becoming Van Gogh, Denver Art Museum

Denver A to Z, History Colorado Center, Denver, Colorado

The Art of Xu Beihong, Denver Art Museum

Cities of Splendor, Denver Art Museum

Globeology, The Wildlife Experience, Parker, Colorado

Syria: Land of Civilizations, Riverfront Art Center, Wilmington, Delaware

Imperial Tombs of China, Denver Museum of Nature & Science

Prehistoric Journey, Denver Museum of Nature & Science

Other Exhibits for the Denver Museum Of Nature & Science:

Space Science Experience, concept development

Ansel Adams: The Wilderness Collection, exhibit panels

Whodunit? An Exhibition about Forensic Science, exhibit panels

North American Indian Hall renovation, exhibit development, interpretive panels, and murals

North American Wildlife Hall renovation, exhibit panels and slopers

ENVIRONMENTAL SIGNAGE PROGRAMSSignage program for the Morgridge Family Exploration Centerand Rocky Mountain Collections Center, Denver Museum of Nature & Science

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Select Interpretive Programs, Exhibitions, and Publications

PUBLICATIONS:Toward Legacy, a 300-page monograph about the philosophy and history of Design Workshop, Inc.

Garden Legacy, a 262-page book about the residential garden design and design philosophy of Design Workshop, Inc.

Embracing Africanity, the Work of Ella Maria Ray, an artist’s body of work and reflections. (not yet published)

Boomer Volunteer Engagement: Collaborate Today, Thrive Tomorrow, a book with worksheets for nonprofit organizations

Boomer Volunteer Engagement: Facilitator’s Tool Kit, a follow-up book with worksheets for facilitating the program

Colorado State Parks Volunteer Handbook, a handbook for all state employees who manage volunteers

DOCUMENTATION:Becoming Van Gogh Texto de la Exhibición en Español, exhibit guide for Spanish speaking visitors, Denver Art Museum, Colorado

Teaching our Many Grandchildren, fund-raising booklet for Mount Sanford Tribal Consortium, Alaska

Space Science Experience, fund-raising booklet for the Denver Museum of Nature & Science, Colorado

The New Butterfly Pavilion, fund-raising booklet for the Butterfly Pavilion, Denver, Colorado

River Rock Community, vision book for a new community in Cashiers, North Carolina> Vision work session facilitator, Graphic design

Union Park, vision book for an urban renewal project in Las Vegas, Nevada> Vision work session facilitator, Graphic design

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To see a world in a grain of sandAnd a heaven in a wild flower,Hold infinity in the palm of your handAnd eternity in an hour. — William Blake, from the poem: Auguries of Innocence

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Portfolio

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The brand new addition on the Museum’s south side has added 126,000 square feet and five levels to the Museum. The addition is broken up into two major areas: the Morgridge Family Exploration Center, and the Rocky Mountain Science Collections Center. Lisa worked with the Education and Collections Facility planning team to design a whole new signage program for the building. The program includes recogni-tion, wayfinding and room identification, donor programs, and artful environmental treatments. The signage program design began with an audit of all the existing signage and recognition in the museum. She also examined the architecture and finishes of the new addition. The new program builds upon the existing museum signage, but compliments the design of the new building. Signage materials link to the materials of the new center—metallic silver, limestone, glass and the warm colors of the new carpeting, all found their way into the design package.

Morgridge Family Exploration CenterEnvironmental Signage ProgramDenver Museum of Nature & Science

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Working closely with the Development staff of the museum, naming opportunities and levels were determined and design packages were created to share with prospective donors.

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A public campaign to help with funding many of the new programs for the Exploration Center was launched and Lisa worked with the Development staff to design a campaign that was delightful, engaging, and much more artful than the typical rows of names. Using the base image of flowing water, from the photography of Thomas Brunet, she designed floating aspen leaves to carry donor messages. The leaves were scanned from aspen leaves collected around her own cabin near Granite, Colorado. Each leaf was customized in rotation and leaf combinations. The flowing water was printed on glass and had a special texture on the front that added to the water abstraction. The leaves were direct printed onto metal and artfully laid out on the glass. When the campaign concluded, it was the most successful public donor campaign in the Museum’s history.


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Room identification and donor recognition became a very fun project for not only Lisa, but for the staff in Education, and Collections & Research. She combed through the photo archives to find just the right images to both entice prospective donors, but please the staff as well. Each image went through a rigorous approval process. Images for the Rocky Mountain Collections Center came directly from objects and specimens in the collection. Images for the new classrooms, or studios, were researched and chosen for their whimsy and abstraction. The images for these came from photographers around the world, including Russia, Iraq, Canada, Argentina, and England.


Room identification included note bars so that classroom teachers could leave messages.

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Images and recognition were direct printed onto metallic silver plates.

S U P P O R T E D B Y

Dr. Jane Day

ANTHROPOLOGY WORKSHOP

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Recognition had a thorough process and each major donor received a design package that included not only the composition of their sign, but also how it would appear in and around the building.


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Lisa had the great pleasure of working with artist Joel Nakamura to create artwork for the new school orienta-tion area in the museum. Joel’s artwork is beautiful, whimsical, and full of stories. He is also well-known for his creative student workshops. They started the project with tours through the museum and in the collections for inspiration. Lisa collected more than 200 images of the collections in a book for reference. Joel was so excited he started “doo-dling” straight away. Lisa received sketches almost daily. A direction was established and Joel finalized his sketches. The artwork was sized and laid out by Lisa on a large wall facing the orientation area. She designed custom painted shapes to frame the artwork. The paint-ings were scanned and printed as large panels. The paintings now adorn a public area of the new Rocky Mountain Science Collections facility.


The Inspiration Booklet for Joel with over 200 images of the collections.

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Joel’s final sketches.

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The paintings were scanned and printed as very large iZone panels.Custom-painted color fields were designed to frame the artwork.The artwork features objects that kids can see throughout the museum, and also some that only live in the collections areas.

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As part of the school orientation area, Lisa created artwork for new school carts that carry backpacks, lunches, and coats for kids while they are in the museum. The carts are made of a color infused wood product. Lisa picked the colors for the carts. The artwork was silk-screened onto the cart headers by local artist Stu Aldridge of Ink Lounge. The carts are so enjoyed that one teacher had all his kids stand in the cart so he could take their picture. A true test of durability.


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An in-depth exploration of Vincent van Gogh’s unconventional path to becoming one of the world’s most recognizable artists, Becoming Van Gogh examines critical steps in his artistic evolution. The visitor experience for the exhibition was envisioned by the team to be intimate, personal, surprising, with moments to observe more intently, and with greater meaning. The interpretive graphic package was designed to assist visitors in gaining new perspectives about van Gogh, without interfering with their contemplation of the artwork. In that endeavor the graphics were considered part of the environmental treatment, and not as discrete objects that may interrupt a visitor’s personal journey through the exhibition. Interpretive “moments” were optimally placed, sequenced and scaled. Typography for the graphic package is very DUTCH. Scala is embued with a traditional Dutch sensibility about function and design.

Becoming Van GoghDenver Art Museum, Colorado

The color palette for the interpretive graphics closely followed the paint plan, and is a variation of those colors. Interpretive messaging was designed to group in pleasing configurations in discrete areas in each gallery so that the curator’s sequencing choices had the most impact.

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Lisa worked closely with the curator to find just the right letter to highlight as a prominent part of the title wall design. It’s placement foreshadows a consistent design feature for what the team called “self-taught moments” in the exhibition. Colors were sampled from the paintings.

All photos this page© Denver Art Museum | Jeff Wells

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Van Gogh worked very hard to train himself. A goal of the interpretive team was to provide visitors an understanding of the dedication and struggles he had in becoming an artist. He used a variety of tools, objects and props in his endeavor. Four discrete areas, or “self-taught moments” in the exhibition explore some of the techniques and tools he used. Combined with quotes, it was hoped these moments would create personal insights into his intense, systematic and deliberate approach to his artwork.

Becoming Van GoghDenver Art Museum, Colorado

27All photos this page© Denver Art Museum | Jeff Wells

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Denver A to Z, taps into the essence of Denver letter by letter—“A” for adrenaline, “Z” for zombies, and every letter in between. Fun and whimsical, the graphic package is colorful, playful and shows off the lighthearted and interactive exhibit. Lisa worked closely with the development team to find just the right color palette, typeface and photo techniques. The panels were playfully skewed and layered on a wood backer. The murals required specialized formatting and effects to achieve the desired scaling. An HD filter was custom created just for the project.

Denver A to ZHistory Colorado Center

A big-time cow town, Denver has strong cowboy roots. Our stockyards, teeming with thousands of cattle, stretched far and wide. Denver hosted the first annual meeting of the National Stock Growers Association in 1898. Free barbecue and beer drew some 300,000 people…and the police, who came to calm the riotous crowd.

Today Denver is full of culture and art. We highlight our big-city side, but we stay true to our western heritage too. At Denver International Airport—a global travel hub—greeters wear cowboy hats. And we love the cows at the Denver Art Museum. Dan Ostermiller made Scottish Angus Cow and Calf in 2003 for Leo Hindery, Jr., who donated it to the museum in 2005.

is for COW TOWNOur Pride (and Shame)

Herds of cowboys, cowgirls, and cow fans have come to Denver since 1906 for the National Western Stock Show. Every year the Brown Palace invites the blue-ribbon steer into its finely decorated lobby.

Stockyards covered acres of early Denver. They held cows coming and going—bought from ranchers and sold to butchers.

Courtesy Melanie Irvine

History Colorado, 89.451.2608

Once upon a time, money from nearby silver mines poured into Denver. It’s a true fairy tale: mining turned a scrubby, scrappy pioneer town into an instant city. Fueled by the riches of silver, buildings like the Brown Palace Hotel announced to the nation that respectable Denver had arrived.

Anchoring the end of Seventeenth Street, “the Wall Street of the West,” the Brown Palace has welcomed presidents, jealous lovers, socialites, common folk, and, once a year, the National Western Stock Show’s prize steer. Silver lost its luster in the crash of 1893, but the still-elegant Brown Palace reminds us of a time when silver was king and the future shined.

is for SILVERThe Brown Palace

Henry Brown used to water his cow on the site where he later built his hotel fit for royalty. The well still provides all the water the hotel needs.

Henry Brown’s vision for his Palace Hotel called for natural sunlight in every room. It left the center for the famous atrium, seen as an unprecedentedly extravagant waste of space at the time.

History Colorado, 10027316

History Colorado, PH.PROP.3508

If the zombie apocalypse happens, you probably don’t want to find yourself anywhere near Cheesman Park. After all, it was once Mount Prospect Cemetery, Denver’s first. Even at its busiest between 1858 and 1876 the cemetery never amounted to much. Wildlife and cattle grazed there, and its landscaping withered without water. By 1890 the growing city butted against it.

People preferred living next to a pretty park than a spooky cemetery. So most of the bodies were moved to resting places farther away from town. When an unethical mortician didn’t finish the job, some of the remains, well, remained.

is for ZOMBIESCheesman Park

Alice Cheesman gave money for a pavilion in her husband Walter’s memory in 1907. The park’s past as a cemetery didn’t deter her, and it doesn’t discourage celebrations held there today.

Workers moved truckloads of bodies. But it’s estimated that thousands stayed underground at Cheesman Park. In 2010, landscaping work uncovered four skeletons next to the Pavilion.

Courtesy Denver Public Library, Western History Collection, X-27288 History Colorado

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Cities of Splendor was a temporary exhibition that high-lights the Denver Art Museum’s Italian Renaissance collection. The exhibition provides visitors a journey through different regions of Renaissance Italy, each with distinct artistic traditions. A concept plan was provided by Fentress Architects and Lisa worked with their exhibit designer to design and produce the graphics package for the exhibition. She also worked very closely with the museum’s curatorial team for the desired period appearance, and appropriate interpretive features. To start the concept package, Lisa researched appropriate Italian Renaissance typography and the design look and feel was inspired by amazing illuminated books of that time. Colors were directly sampled from images of those illuminated books. Elements of the graphics package include custom stenciling, custom-cut murals, design details replicated from Renaissance decorative art and architecture, and custom vinyls.

Cities of SplendorDenver Art Museum, Colorado

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Lisa found a old book with historic maps and reproduced this map of Italy from about 1494 to be used for the title graphics. City crests and a trail though Italy were incorporated as part of the map art. The large mural was custom-cut and applied to the wall and continued onto the floor. A decorative border was designed from Italian Renaissance architectural details.

Using an image of hand-painted walls, Lisa created a stencil mask for one entire wall. The pattern was hand-painted to appear aged.


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A key component for the exhibition were very large atmospheric wall murals throughout the galleries. Lisa contracted digital artist Thomas Brunet to work with her. The murals were carefully composited to recede within the gallery spaces and integrate seam-lessly with color palettes and paint selections. A custom texture-map and luminosity-glow combined with low contrast color established an evocative ambient visual tapestry. Using that texture for all the images gave the murals an artistic consistency.

Cities of SplendorDenver Art Museum, Colorado

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(Above) A graphic called “panel reconstructions” was designed using images of painted panels as they would have appeared during the Renaissance. A stencil was created to fill-in the missing panels that would have been with the artwork.

(Left) Each gallery had an introduction that was either incorporated as part of a mural, or as a separate wall element with a stenciled border and vinyls, each with its own city crest.

Quotes about each city were sprinkled throughout the gallery spaces, adding additional interpretation.

Labels were designed to fit three formats and many wall colors. A “Renaissance doodle” was incorporated into the design.

Bonifacio BemboActive about 1444–78

Meeting at the Golden GateAbout 1455–60Tempera and oil paint on panelDenver Art Museum: The Simon Guggenheim Memorial

Collection, 1957.166


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Xu Beihong is a key figure in 20th century Chinese art. Drawn from the Xu Beihong Memorial Museum, the exhibition featured 61 works including Chinese ink brush paintings, oil paintings, drawings, pastels, and calligraphy. Visitors explored Xu Beihong’s career from early works including a 1918 landscape painting, drawings and paintings created during his studies in Europe, and several of his well-known and loved horse paintings. Lisa worked closely with the curator to provide just the right amount of interpretive moments in the galleries. Most American audiences are unfamiliar with Xu Beihong, so a minimal story line was included and placed discretely along the edges of the gallery walls. Lisa also designed the paint plan for the exhibition. Many of the pieces were dwarfed by the soaring gallery walls, so she devised a horizon line for the paint plan so that the painting and drawings were shown in a more appropriate and intimate scale. A complementary exhibition Threads of Heaven: Silken

Legacy of China’s Last Dynasty showed along side of Xu Beihong, and Lisa provided the exhibition graphics as well.

Xu Beihong, Pioneer of Modern Chinese PaintingDenver Art Museum, Colorado

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Lisa led the effort to design and produce more than one hundred interpretive panels that told the story of imperial life in China. Each panel was custom silk-screened and hand-painted to complement the exquisite artifacts on display. Development included historical research, directing illustrations to be drawn from ancient documents, and researching cultural archives for design references. The exhibition entrance included silk-screened banners and a custom 23-foot dragon overhanging the Museum atrium. Lisa directed the design of the dragon, which was patterned after one of the imperial robes featured in the exhibition. Each gallery started with a panel that gave an overview of the dynasty, provided a map of China at that time, and included a timeline. Decorative headers were drawn from a book that documented the clothing and fabric from each dynasty.

Imperial Tombs of China Denver Museum of Nature & Science

A hand-painted mural depicts a hunting scene from a tomb painting.

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Lisa worked with Andrew Merriell & Associates to design a new exhibition for the History Colorado Center focussed on the aspirations of some famous Coloradoans as a way to tell a greater story about Colorado history and share more of their collections. Lisa created concepts for the entire graphics package for the exhibition. She started with finding design precedents, inspiration, and graphic representations for the different eras to be featured in the exhibition. She also researched appropriate typography for each time period. The team wanted the environmental treatment in the exhibition to have a dream-like quality. Lisa researched techniques that could be used for large murals within the galleries. Each gallery in the exhibit was to have a different look and feel as visitors traveled through the dreams of each individual. Lisa found just the right combination of uniqueness and cohesiveness so that the interpretive graphics flowed from gallery to gallery. Unfortunately, History Colorado decided that the exhibition was not quite the right direction, and the exhibit was shelved.

Colorado DreamsHistory Colorado Center

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An exhibition that originated at the Musée de la Civilisation in Quebec and traveled to Wilmington, Delaware needed completely new interpretive signage, as it was originally in both English and French. Lisa worked with Exhibit Arts to design and produce new interpretive panels, murals, and the exhibit entrance. The new panels and case slopers were graphically enhanced by taking patterns and details from the artifacts and incorporating them into the design. Images from the exhibition catalog, not previously used, were also incor-porated to expand the interpretive content. Colors were carefully chosen to harmonize with the varied wall colors.

Syria: Land of CivilizationsRiverfront Art Center, Wilmington, Delaware

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It was also necessary to design new entry murals and panels to provide improved interpretation and wayfinding for each gallery within the exhibition.

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Native Legends Park is located in The Meadows, a master-planned community. Within the park, a pedestrian trail system required an educational component to be developed for the local residents. Lisa McGuire and the Design Workshop team chose to create a signage system that would share the compelling story of the spectacular environs, whose prehistory had included a vast sea, an ancient rainfor-est, and the debris of an exploding volcano. In order to provide the scientific data needed to show and tell the story, Lisa partnered with the Earth Sciences Department at the Denver Museum of Nature & Science (DMNS). Communicating the interpretive story was accomplished by creating five distinct "rooms" along the trail, with casual sitting areas, natural boulders, and native plantings. At each learning station, human-sized natural sandstone slabs were set in pairs to frame distinctive views that could tell a significant part of the geologic history of the landscape. Scientifically correct patterns of life-sized fossils were deeply blasted into each stone. The resulting trail has fun and unusual information, rigorously executed and artfully installed.

Native Legends Park Castle Rock, Colorado

Interpretive designs for the monuments were exactly laid out to fit each sandstone slab chosen from a local quarry (below). An event brought teachers, students and

parents to tour the trail with Kirk Johnson of DMNS.

© Design Workshop/Dale Horchner

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Sandblasted windows frame colorful artist’s depictions of what the region looked like in ancient times, including some of the creatures that inhabited the land. The sandblasted text is easy to read and understand, and often fun—starting each narrative with, “This was your neighborhood (xx) million years ago” and describing prehistoric species with phrases like, “Tyrannosaurus rex, five tons and forty feet of bad attitude…”

© Design Workshop/Dale Horchner

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Lisa researched each species to provide the illustrators with exact layouts for each illustration to accommodate both the narrative and the

taxidermy specimens placed in each case. Hand-painted backgrounds were created for the exhibit panels that discussed park policy.

This exhibit for the Rocky Mountain National Park (RMNP) highlights the seasons of the park. Interpretive panels explain how the animals of the park adapt to the park environment throughout the year. Large bronze sculptures provide life-size animals for visitors to touch, as they can not do so in the wild. Other panels in the exhibition teach visitors about how the National Park Service has maintained the park and its ecological philosophy. Lisa McGuire worked closely with the RMNP interpreter for final narrative, exact placement of specimens, and illustrative accuracy. Custom stencils were also designed to enhance the exhibit cases. The visitor center features “hands-on” exhibits and Lisa worked with the exhibit designer and park historian to find appropriate artifacts, images, and illustrations. Lisa directed two nationally recognized illustra-tors for the exhibition’s panels: Wendy Smith and Robert W. Tope. She also worked with local wildlife photographer Wendy Shattil to provide wildlife images.

Fall River Visitor Center Rocky Mountain National Park, Colorado

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Globeology is a very dynamic and interactive journey along a quarter mile path in an expansion of over 25,000 square feet of exhibit space. Visitors experience many compel-ling biomes that help maintain the planet’s ecological equilibrium. Along the way, they see animatronics and special visual effects, sound effects and interactive touch screens that are relative to the different biomes. These features in conjunction with the realistic exhibits provide visitors with a unique and immersive experience with the world’s wildlife and habitats. Lisa, working with the exhibition’s project manager, and exhibit designer, developed and designed the interpre-tive signage program for the new exhibition. The program includes wayfinding, interpretive panels with custom fabricated stands, interactives, murals, and donor recogni-tion which all had to fit in diverse fabricated environments.

Globeology The Wildlife Experience, Parker, Colorado

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Several large wall murals were designed as part of the orientation space for the exhibition. The first mural (right) incorporates earth biomes, created by designing complex vector paths directly over a NASA image from the “Blue Marble: Next Generation” project. Using land features, Lisa literally painted over the earth to define specific, translucent biome regions. The second mural, or Stewardship Mural (above), features the photography of an International Space Station astronaut: a stunning view of Earth from space just as the sun is setting over the Pacific Ocean. Laid on top of the large photo are five inspiring images of Earth stewardship in action, including Jane Goodall.

Wetlands

Coral Reef

Rainforest

Savanna

Temperate Grasslands

Temperate Forest

Montane

Desert

Tundra

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Globeology exhibits seven different biomes by creating distinct walk-though environments. The interpretive program is designed to seamlessly integrate into

the trail that passes through each environment.(Below) Push button bird calls, and a flip interactive matching patterns to animals.

The interpretive program features large cut-out animals to appeal to the many children that visit the museum. The graphics are large and colorful. A pedestrian flag pole announces each biome along the trail.

Rainforest

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(Above) Biome Introduction panels, each fitting in to their respective fabricated environments.(Far left) A spin-matching game designed to match flowers, leaves, and fruit of desert plants, seen at the Great Sand Dunes National Park and engineered by Adcon for Globeology.

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Mammal evolution is described as an explosion of species. Lisa designed this panel (above) to visually express a complicated process with very few words. This panel was evaluated with visitors to the museum to test its design success before final fabrication.

Prehistoric Journey is a major permanent exhibition at DMNS. As part of the exhibit team, Lisa designed the logo for the title wall of the exhibition. The logo icons were drawn directly from the “star” specimens in the exhibition, Allosaurus and Stegosaurus. The title wall features a stylized raptor, custom resin letters with embedded fiber optics that emulate a molten liquid, and pinned-off bronze letters. Lisa designed the “family trees” in Prehistoric

Journey. This included specimen selection and place-ment for panel interpretation, species research, illustration direction, and fabrication supervision. Each family tree features a shape that visually describes the process of evolution particular to those species. She also worked with the interactive designer and curatorial staff to design and produce many of the interactive panels in the exhibition.

Prehistoric Journey Denver Museum of Nature & Science (DMNS)

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TriDam Project and the USFS is updating some of their facilities in the Stanislaus National Forest. Lisa worked with the USFS to create an interpre-tive signage program for new trails. A work session with key USFS staff, facilitated by Lisa, guided the concept direction for the program. One trail is focused on the history of the dams, and the other on the natural beauty of the forest and river. Lisa developed and designed panels with a foundation based on California Mission style. She aided in the content development, image research and illustration direction. The artwork of Kristie Wilde was the central focus for the history panels, with historical images to support the narrative. The photography of National Geographic photographer, Phil Schermeister, was the unifying element for the forest and river panels, in tribute to the beauty of the Stanislaus National Forest. Other contributing photographers added interpre-tive content.

Stanislaus River Interpretive Trail Pinecrest, California

From its headwaters high in the Sierra, the

Stanislaus River tumbles through pristine granite,

carving these rugged canyons. The river’s clear,

cold water sustains life as it flows through the

timbered lands of the Stanislaus National Forest.

It journeys one hundred miles to the San Joaquin

River in California’s fertile Central Valley.

Me-Wuk Indians lived in this area for ages before

the California Gold Rush. Their intimate knowledge

of the natural world and of the life-giving waters

provided them with a bountiful livelihood. The

fevered quest for gold in 1849, ignited a worldwide

stampede of miners to the nearby foothills, forever

changing the Me-Wuk way of life.

Free flowing water provided Me-Wuk Indians with an abundant life. Since the time of the Gold Rush, Californians adapted to living in a semi-arid climate by diverting water away from its source and using it elsewhere.

HARNESSING A RIVER

This half mile walk reveals the story of the

Stanislaus River. With roots in the Gold Rush,

great efforts and human ingenuity have been used

to transport and harness the life sustaining power

and promise of this dynamic waterway. You’ll

discover how the river influences the lives and

livelihoods of those who have settled in this region.

The Story of the Stanislaus

All original artwork by Kristie Wilde at wilde-art.com © 2010

Courtesy of Edward Curtis Collection

Courtesy of the California History Room, California State Library, Sacramento, California

Courtesy of Oakdale Irrigation District Archives

© 2010, Phil Schermeister

RIPARIAN DELIGHT

The big leaf maple offers shade for people and animals during the hot summer months. Their propeller-like seeds are eaten by mice, squirrels, chipmunks and even some birds. The tender leaves of young saplings are important browse for black-tailed and mule deer.

The sound of rushing water is nature’s mountain symphony.

With their striking spring “flowers” and bright fall color, the Western Dogwood provides a brilliant accent to shady riparian areas. Their berries are a source of food for songbirds.

Shady, cool, green ribbons of trees, shrubs, and grasses adjacent to rivers and streams are called “riparian areas.” Riparian areas support an especially productive plant community different than that of nearby uplands. Look for trees such as alder, dogwood, and big leaf maple growing next to the water. Trees and other stream-side plants are living water filters that help keep water clean and prevent erosion downstream.

All photos: © 2010, SchermeisterPhotography.com

RIVER OF LIFEWater sustains life as it flows through riparian corridors. These areas provide important habitat for hundreds of species of wildlife. Over-hanging trees offer shade for fish. Great hatches of insects rise from the river providing abundant food for fish, birds, and bats. Animals like bear and mountain lion depend on the river as well. Take time to watch and listen and let the river of life unfold before you.

Tracks and scat are the closest you may come to seeing a bear. They forage for berries and fish from the river, just like people do.

With webbed feet and waterproof feathers, buffleheads are well-adapted to live in an aquatic habitat. They dive for their food feasting on riparian insects, crayfish, clams and plant seeds.

The acrobatic violet green swallow hunts on the wing in riparian river corridors. They feed on flying insects like mosquitoes, butterflies, mayflies, and moths. Look for their nests in holes high in the trees.

A habitat is the natural home for plants and animals, even insects. It includes food, water, shelter and space, supplying everything for life.

Rainbow trout

Gray fox

© 2010, Phil Schermeister

© 2010, AlanMurphyPhotography.com

© 2010, Kevin Schafer, Minden Pictures

© 2010, Michael Durham, Minden Pictures

© 2010, AlanMurphyPhotography.com

© 2010, Suzi Eszterhas, Minden Pictures

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Water WorksMiners needed year-round water to extract gold from the rich gravel

deposits in the seasonally dry foothills. A group of enterprising miners

and businessmen formed the Tuolumne County Water Company in 1851.

Building an elaborate system of reservoirs, ditches, and flumes on the

South Fork Stanislaus River, they delivered water, to the foothill mines

of Columbia and Sonora and surrounding communities. Costs were

passed on to customers with rates considered excessive by miners.

Fed up with the high prices, miners took matters in their own hands

and formed the rival Columbia and Stanislaus River Water Company in

1854. Tapping the Stanislaus River’s main fork, just a couple miles from

here, they took measures beyond belief, building a 60-mile flume and

ditch system into the Columbia area, completed in 1858.

Whiskey’s for drinking, water’s for fighting about. —Attributed to Mark Twain

Extraordinary EffortsIn the September, 1893 edition of the Overland Monthly, writer

William Hutchinson vividly describes the miner’s herculean efforts:

Suspended by ropes at dizzying heights, men toiled week after week

drilling holes in the perpendicular faces of giant cliffs, preparing

supports for the great flume which was then safely to carry in mid

air a river in such volume of swift, rushing water to their waiting

claims, a score and more mountain miles away.

Miners were the first to establish “appropriative” water rights, the right to use water by those not owning land next to a waterway. The Tuolumne County Water Company acquired water rights on the South Fork Stanislaus. They sold certificates and charged a premium price for water to pay for their water systems.

Though the Columbia and Stanislaus River water system was short-lived, relics of it remain on this storied landscape. Most of the system is still in use today for local domestic purposes.

Moving water shaped California’s history, resulting in new settlements and livelihoods. In the 1850s the nearby town of Columbia swelled to 6,000 people.

GOLD CHANGED EVERYTHING

© Denver Public Library, Western History Collection, McClure, Louis Charles, MCC-1918A

Courtesy of California State Parks, 2010

Lawrence & Houseworth albums. [Title]. Society of California Pioneers. Gift of Florence V. Flinn

Lawrence & Houseworth albums. [Title]. Society of California Pioneers. Gift of Florence V. Flinn

Forest to FaucetCalifornia’s largest “reservoir” is the Sierra Nevada

snowpack, with snowmelt providing a slow release

of water from late spring through midsummer.

This snowmelt supplies almost half of the drinking,

agricultural and recreation water for all of

California. If you live in the central San Joaquin

Valley, your water comes from the snow capped peaks

and protected wilderness areas of the Stanislaus

National Forest. The Forest Service helps safeguard

these lands so that water flowing through them

stays clean and healthy.

Nature’s FilterAlong streams and rivers you’ll find shady

groves hugging the banks. The lush vegetation

shelters all sorts of animals, from deer and

birds to fish and frogs. Forests capture and

hold winter snow, their absorbent soils work

like a sponge. As the snow melts in the spring,

healthy forests provide a natural cleansing filter,

replenishing underground aquifers, regulating

runoff to prevent floods and erosion and refilling

reservoirs like Beardsley.

Our Legacy National Forest reserves were set aside over

a century ago to “protect and enhance water

supplies, reduce flooding, secure favorable

conditions of water flow, protect forests from

fires, and provide a continuous supply of timber.”

Today, National Forests work to support and

balance a wide range of activities from fishing

and hiking to grazing and logging. Demands for

forest resources are increasing, especially for

water. Use this precious resource wisely, so we

can leave a legacy for future generations.

WATER IS LIFE

Water renews our spirit in the great outdoors.

Water refreshes.

© 2010 Kristie Wilde

All photos: © Phil Schermeisterunless otherwise noted

FOREST TRIBUTE

From towering trees to delicate wildflowers and everything in between, the Stanislaus National Forest is a treasure trove awaiting your discovery.

Future forests begin as grains of pollen blown on the wind.

The Forest Service mission is to sustain the health, diversity and productivity of the Nation’s forests and grasslands to meet the needs of present and future generations.

The environment that surrounds you is National Forest—specially managed public lands that benefit and belong to all of us. As demands for resources increase, it is up to each of us to value and take care of this land that sustains us. We share this special place with the future.

56

North American Wildlife Hall Denver Museum of Nature & Science (DMNS)

Working with the exhibits staff of the Denver Museum of Nature & Science, Lisa designed all new interpre-tive signage for an old diorama hall. The new graphics included wall panels and replacing old diorama slopers with new interpretation and imagery. The design included custom icons and map making for seven North American locations using satellite data.

57

Using digital satellite data strips, Lisa stitched together the appropriate latitudes and longitudes for each map. She then designed an illustrative overlay for each map to include the interpretive information needed to describe each diorama location.

58

Platte River Commons Interpretive Trail Casper, Wyoming

Design Workshop provided master planning and landscape architectural services to Amoco, now BP, for the cleanup and reuse of a 360-acre site in Casper, Wyoming. A former oil refinery, the property is centrally positioned in the city and immediately adja-cent to the Platte River. The remediation plan incorpo-rated innovative solutions that BP wanted to share with the public in an interpretive trail signage program. Lisa McGuire worked with BP and The Retek Group, Inc. to interpret and illustrate the entire remediation system, along with the history and process that created a new amenity for the City of Casper. A key is provided on each panel so that visitors can understand where in the remediation system they are. The panels are set in traditional NPS stands, but custom painted to match the golf signage system. The signage program is part of a trail system that connects to the rest of the city, and is incorporated into the property’s new golf course.

Illustrations were created from the engineers drawings, and meticulously reviewed to make sure the science behind

the engineering can be easily understood by visitors.

59

Many surprise elements will include quotes from travelers on the Emigrant Trail, including Old Greenwood himself:

“I was here twenty years ago, before any white man see this lake and the rich land about it.”

“Greenwood’s dress was of tanned buckskin, and from its appearance one would suppose its antiquity to be nearly equal to the age of its wearer.”

Old Greenwood is a family-focused resort community, named after a famous local mountain man from the 1800s. The general feel of the property is natural and casual. Lisa McGuire developed the concept design for the community signage program while working for Design Workshop. The signage program needed to be on a personal scale—shaped and refined from natural materials indig-enous to the area. It also had to balance the need to provide information with subtly blending into the land-scape. Artfully-carved boulders from the site provide a surface for the signage components. Surprise elements such as a porcelain interpretative panel or Paleolithic petroglyphs are set into boulder faces. Other interpretive discovery elements, such as a cairn marking a wagon wheel rut, will be placed for residents to find as they walk the property.

Old Greenwood Truckee, California

2.1

S i g n a g e P r o g r a m D e s i g n D e v e l o p m e n t

BID DOCUMENTATION

December 19 , 2003

WORKING DRAWINGS FOR DESIGN INTENT ONLY.

NOT INTENDED FOR

CONSTRUCTION.

D R A W I N G

Identity Signage

1” = 1’-0”

1’ 3’0

Description:The granite boulder is approximately 5’ tall, 8’wide and 5’ deep. A vertical face is cut into theboulder leaving part of the natural bouldersurface intact. Cut face is lightly honed andscarring amended.

Letters are sand-blasted 3/4” deep and paintedblack. Capped letters are approximately 4 1/2 “high.

The Old Greenwood golfer is blasted into theboulder face 1/4” and tinted with a varnish.

Boulders require graffiti treatment.

There are currently 2 Identity signagecomponents.

5’

Face cut into boulder as close to verticalas possible.

Horizontal edge rolls out to naturalboulder. Only 2” - 3” deep toprevent a snow ledge.

Grade finishAmount of boulder set below grade to bedetermined by fabricator

5’

NOT TO SCALE

60

Lisa contracted Advanced Resource Management, Inc. to work with her to develop the interpretive script. She collaborated with Design Workshop landscape architects to develop and design the interpretive package to:• Exist harmoniously with the landscape.• Incorporate indigenous materials, and re-use and re-purpose existing

on-site debris.• Use the existing environment as inspiration for design elements.• Use materials that can withstand the Mojave desert environment.• Place interpretive stations and wayside stands to incorporate important

view sheds or significant features of the park or wetlands.• Incorporate active interpretive elements in appropriate areas for a more

diverse experience.• Sequence the interpretive experience to appeal to all learners using

passive and active elements.• Incorporate environmental art or play sculptures where appropriate.

Cornerstone ParkHENDERSON, NEVADA

INTERPRETIVE MASTER PLANDesign Development & Content Development Lisa McGuire

Communication & Design

2

I. Content Development

The Big Idea is the over arching theme and an

organizing tool. It is the thread that connects all

content. Content that doesn’t fit the theme is

not included.

THE BIG IDEA

Nature’s resourcefulness and human ingenuity are transforming this site from

an abandoned gravel pit, and spoil site to a vibrant lake and marsh ecosystem,

a welcoming, multi-functional park, and a vital water management tool.

Cornerstone ParkHenderson, Nevada

Lisa participated as part of a larger team contracted by the City of Henderson to transform an existing gravel site into a functioning park that would allow residents to engage in a wide variety of recreational opportunities. She worked closely with the design team and the City to develop the overall interpretive approach and design to support the restoration story. The goals of the interpretive plan were to help

visitors:• Understand why and how the site was changing,

and how the changes would ensure that the park was sustainable through every storm water event.

• Learn about the importance of urban wetlands.• Follow their curiosity to explore and discover more

about the inter-connectivity of natural and human-made systems, the site’s industrial past, the animals, plants, and more.

• Feel connected to the park and community and experience pride about living in Henderson.

The interpretive program was put on-hold until phase 2.

61




9

PROGRAMMING IDEAS FOR ACTIVE INTERPRETIVE EXPERIENCES

1. Educational play sculptures and models Larger than life scale (stained concrete)

• sketchestocomelater

Smaller than life scale (stained concrete)

• sketchestocomelater

2. Interactives: Observation:

• SitingTubes–simple,movabletubeswithnomagnification

toseepolesin‘SurfaceTension’withmarkersfor100year

floodwaterlevel,otherlevels,too.Sketchestocomelater.

• SpottingScope(s)forbird/wildlifeviewing

Tactile:

• Tactilemodels/sculpturesonpanels(magnifyingglass,scat,

tracks,eggs,etc.)Sketchestocomelater

Games:

• Example:spinandmatchanimaltopreferredfood,ormatch

birdtoseason.Sketchestocomelater

• Example:flipbook,matchthebirdandfind-outalotmore

informationintheflipbirdbook

• Example:I-SpyGame,takearubbinginconcrete,matchto

somethinginthepark.Wecanusesometheindustrialrem-

nantsaspartof thegame.

3. Outdoor art Nature sculpture

• Smallanimalsmadelarge

• Largeanimalsmadelife-size

• Interpretivesculpture,artist’sconceptionof amarshprocess

I. Content Development

Concreteplaysculp-

turesfromCre8play

Castresinmodels

fromAcorn

Naturalists

CastresinmagnifierandmagnifiedanimalpanelsculpturebyStaabStudios

Rubbingsinconcrete,byoutdoorartist,LindaLundquist

Aluminumandhigh-pressurelaminateflipbookbyVarroBooks.

EnvironmentalartistLornaJordan

Outdoornature

sculpturesfrom

StaabStudios

Matchingspingame

fabricatedbyKVO

Industriesfor

outdooruse




34

Where did the water go?

Dry and wet

CORNERSTONE PARK

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Who else is here

Marsh Inhabitants

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Take a closer look

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Hunting

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Resting and nesting


Birds of a feather


CORNERSTONE PARK

Water SanctuaryQuos dolores et quas molestias excepturi sint, obcaecati cupiditate non provident, similique sunt in culpa, qui officia deserunt mollitia animi, id est laborum et dolorum fuga. Sed ut perspiciatis, unde omnis iste natus error sit voluptatem accusantium doloremque laudantium, totam rem a

A tasty treatItaque earum rerum hic tenetur a sapiente delectus, ut aut reiciendis voluptatibus maiores alias consequatur aut perferendis doloribus aspe riores repellat. quos dolores et quas molestias excepturi sint, obcaecat

Hiding in the reeds

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Quos dolores et quas molestias excepturi sint, obcaecati cupiditate non provident, similique sunt

THE MODULAR SYSTEM: Two Panels, and One Panel (not being used at this time)

65" 40"




11

INTERPRETIVE STATION (IS) 2.01: WELCOME AND ORIENTATIONLocation S1

Due to human ingenuity, Cornerstone Park is a multiple-use park

A Park and More!

Cornerstone Park is multiple-use, showing that human ingenuity can transform sites to serve people and the environment.

The park’s storm water management features include: • Thelakeandmarsh(waterdetentionbasin)• TheMounds• Inflowandoutflowimprovements• Swales• Otherfeatureswillbementioned

The park’s water quality improvements include:• Nativeplantingsforwaterqualityimprovementandshorelinestabilization• ThemarshareaatTheMoundswillremoveammoniafromstormwater.• Treesplantedtoshadeandcoollakeandmarshwater• Minimalirrigationrun-off fornewplantingsisroutedtotheoutlet,notintothelake.• Otherfeatureswillbementioned

Anoverviewof thepark’srecreationamenities(trails,picnicareas,volleyball,basketball,thegrandlawn,wildlifeviewing,etc.)willbeprovidedandreferencewillbemadetoadditional amenities to come, such as the dog park and playground.

Thepark’sthreemajorecologicalcommunities—lake,marsh,andupland-willbementioned.Thepark’s“sustainabledesign”featuresinclude:• Rockandgravelfromthesitewereusedon-site.• Industrialdebrisonthesitehasbeenreusedwhenpossible,suchasforseatingareas.• Theparkservesmanypurposes,maximizingtheuseof theland.• Droughttolerantnativeplantshavebeenplanted,eliminatingtheneedforalarge

amount of permanent irrigation.• Water-absorbantmaterialswereaddedtotheplantingsoiltoretainmoistureand

minimizesupplementalwateringaroundthelake.• Marshesremovecarbonfromtheenvironment,reducingthegreenhousegassesthat

contributetoglobalwarming.• Allmajorinfrastructureislocatedoutsidethe100-yearstormeventzoneandmost

trailsareoutsidethe10-yearstormeventzone.• Otherfeatureswillbementioned.

Map of the park showing the trails, amenities, and other important features, overlaid withphotosorillustrationsof multi-usefeatures(e.g.,watermanagement,recreation,habitat,sustainabilityfeatures).

PANEL 2

TOPIC

DRAFT TITLE

GENERAL CONTENT

GRAPHICS

TAKE HOME MESSAGES

More than a Park! Resourcefully redevel-oping the gravel pit into a multifunctional parkmoresustainablyenhancesthesafetyandwell-beingof Hendersonresidentsmoresustainably,providesapleasingplacetoplay,reflect,andlearn,andimproveswildlifehabitat.

Cornerstone Park has a diverse history and will continue to evolve as nature’s ingenuity and human resourcefulness interplay.

II. Content Matrix

R1W3

W6

W1

W10

W8

W8

W8

S3

W9

S2

W4

P1

W2

W7

W5

S1

KEY SHEET# MESSAGE # PANELS PHASE INTERACTIVE

Interpretive Stations

S1 IS2.01 WelcometoCornerstonePark(corporate) 3panels Phase1

S2 IS2.01 WelcometoCornerstonePark(family) 3panels (NIC-Phase2)

S3 IS2.01 WelcometoCornerstonePark(pavilion) 3panels (NIC-Phase2)

Wayside Stands

W1 IS4.01 EcologicalCommunities 3panels Phase1 viewscope,matchinggame

W2 IS5.01 MarshCommunity 2panels (NIC-Phase2) matchinggame

W3 IS3.01 UplandCommunity 3panels Phase1 flip-book

W4 IS5.01 Stewardship 2panels (NIC-Phase2)

W5 IS4.01 StormWaterManagement 3panels Phase1 viewscope

W6 IS3.01 MarshCommunity 3panels Phase1 flip-book

W7 IS3.01 LakeCommunity 3panels Phase1 flip-book

W8 IS5.01 OverviewofthePark 2panels Phase1

(TherecanbetwoduplicatesinPhase2atNorthandWestoverlooks)

W9 IS5.01 LakeCommunity 2panels (NIC-Phase2) matchinggame

W10 IS5.01 Hydrology 2panels Phase1

W11 IS5.01 ParkTransformation 2panels Phase1

W12 IS5.01 ParkTransformationupdate 2panels (NIC-Phase2) viewscope

Railing Panels

R1 IS6.01 TheMounds 2panels

Interpretive Play Objects

P1 Cattailsbalanceplayobject 3ormoreobjects(NIC-Phase2)

(otherplaysculpturestobedeterminedinPhase2)

W11

W12




29

COLOR PALETTEIII. Design Standards

PMS DS 293-3

PMS DS 316-6 PMS DS 2-9 PMS DS 201-6 PMS DS 201-8 PMS DS 201-9

PMS DS 296-9 PMS DS 26-5 PMS DS 26-7 PMS DS 26-8

GRAPHICS PANELS

PAINTED ALUMINIUM

PMS DS 1-8

(narrative type)

4/C rich black

(narrative type)Matthews Paint: MP21956warm matte metallic

Design inspiration

color palette

Subtle shades for

the panels, letting the

environment be the

dominate colors




33

8/2/

2010

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sunt in culpa, qui officia deserunt mollitia

Making steppes

Desert storms


Dry and wet


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An Unusual PlaceCORNERSTONE PARK

Cornerstone Park 200 years ago


Wet and dry seasons

Natural drainages

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INTERPRETIVE STATION IS2.01 — Three-Panel Sign typical

3" 3" 3"3"

1/2" 1/2"

34"

8"

1"1"

3/8"

A

A

A

A

A

A

A

B

B

B

C

C

23" 23"25"

D

DDD

D

D

E

EE

E

12"

93"

FF

F

FRONT BACK

END VIEW — Three-Panel SignScale: 1½” = 1’-0”

2IS2.01

ILLUSTRATIVE FRONT ELEVATION — Three-Panel SignScale: 1½” = 1’-0”

1IS2.01

BACK ELEVATION — Three-Panel SignScale: 1½” = 1’-0”

3IS2.01

PLAN VIEW — Three-Panel SignScale: 1½” = 1’-0”

4IS2.01

57"

61 3/8"

40"

1/2"

INTERPRETIVE SIGNAGEDESIGN INTENT DETAILS

These Drawings are for the sole purpose of illustrating design intent only and are not for actual fabrication purposes. Sign contractor accepts total responsibility for materials, engineering, fabrication and installation.

IS2.01

87"

Design Intent for Interpretive Sign Type IS2.01 — Three-Panel Sign typicalQuantity: 1

A FACE PANELSThree (3) 1/2˝ High-density phenolic panels with digitally printed graphics front, printed flat color back (by Fossil, iZone, KVO Industries, or equal). Panels are custom-shaped and will vary in size. Use a base size of 36˝ x 40˝ per panel for costing. Digital artwork to be provided by Lisa McGuire Communication & Design.

Suede matte finish. Bullnose edges with polished finish. Panel attachment via bolts through posts into expandable threaded inserts in back side of panels.

B POSTSSix (6) 3˝ x 2˝, 1/4˝ rectangular aluminum tube*, with capped top. Painted Matthews Paint** color: MP21956 warm matte metallic, and UV clear coat. Weld to base plate.

C BASE PLATE3/8˝ aluminum plate*. Painted Matthews Paint** color: MP21956 warm matte metallic, and UV clear coat. Attachment to existing concrete base to be determined by fabricator and coordinated with Project General Contractor. Decorative industrial bolts on top, approximately 18, weld to base plate.

D DECORATIVE BACKER 1Two (2) 3/8˝ aluminum plate*, 57˝h x 31˝w, custom laser cut from vector path illustration. Painted Matthews Paint** color: MP21956 warm matte metallic, and UV clear coat. Artwork to be provided by Lisa McGuire Communication & Design. Attachment to post to be determined by fabricator.

E DECORATIVE BACKER 2One (1) 3/8˝ aluminum plate*, 61 3/8˝h x 29˝w custom laser cut from vector path illustration. Painted Matthews Paint** color: MP21956 warm matte metallic, and UV clear coat. Artwork to be provided by Lisa McGuire Communication & Design. Attachment to post to be determined by fabricator.

F CONCRETE BASEBy Others. Refer to Landscape sheet series L4.

*Choose a high strength aluminum with good corrosion resistance (5052)

** Or Equal

2" 2"

13"

10"

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Com

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Inte

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Plan

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Des

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Des

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@w

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et

A A

EQEQ

B BB

30"

32"

30"

40"

3 1/2" 3 1/2"

C

F

F

B

B

2 11/16"2 11/16"

D

C




32

BASE CONCEPT: THE MODULAR SYSTEM: Versatile, easy to accommodate a variety of content messages, easy to combine

IV. Design Development

Design inspiration

for gabion base:

rock debris wash

Design inspiration

for gabion base:

layers of rock

Design inspiration

for ornamental

backer: cattails,

reeds and grasses

Natural drainages Mountain steppesMaking steppes


Dry and wet

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perferendis doloribus asperiores repellat. quos dolores et quas molestias excepturi sint, obcaecati cupiditate non provident, similique sunt in culpa, qui officia deserunt mollitia animi, id est

laborum et dolorum fuga.

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sunt in culpa, qui officia deserunt mollitia

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An Unusual PlaceCORNERSTONE PARK

Cornerstone Park 200 years ago


Making steppes

Desert storms

Wet and dry seasons

Natural drainages

Quos dolores et quas molestias excepturi sint, obcaecati cupiditate non provident, similique sunt in culpa, qui offici

62

The Glacier Club Durango, Colorado

The Glacier Club is a new golf resort development located near Durango, Colorado. The signage program is designed to fit into a spectacular natural environment with minimal intrusion. The design concept takes its cues from the force of glaciation and the movement of ice carving through the landscape. Limestone acts as artistic metaphor for ice splitting indigenous boulders from the property. Planted Aspen trees and natural grasses provide the setting for each signage element. The integrated signage program includes project identity, project and neighborhood monuments, wayfinding, regulatory and golf course signage.

1390 Lawrence S t ree t #20 0Denve r, Co lo rado 80204

[303 ] 623 -5186©20 03 Des ign Workshop , I nc .

TAMARRON DEVELOPMENT CORPORATION

40292 US HW Y 550NDurango , Co lo rado 81301

WORKING DRAWINGSFor design intent only. Notintended for construction.

1.2

Master Plan

7/18/03 Design Intent

2/24/04 Final Documentation


Project:

Document Type:

Drawing Description:

Date Document

Drawing Number:

Identity Monument

Neighborhood Identity

Wayfinding

Street Signage

Regulatory

6

C-3.02

B-4.04 C-2.04 C-3.01

C-3.01 C-3.01B-3.01

C-3.01 B-4.01 C-3.02

C-3.02C-3.01 C-3.01 B-2.02

A-3.01

B-4.02B-4.03 A-1.01 C-2.01 C-3.02 C-2.03C-2.02

B-1.01

A-2.01 B-2.01 A-5.02

C-3.01

C-5.02

C-5.02

C-3.02

C-3.01

A-4.01

C-4.01

C-5.02

C-5.01C-4.01

C-2.07

C-2.08

C-3.01

C-2.06

C-2.19

B-4.05

C-3.01

C-3.01

C-2.05

C-3.01C-2.15

C-2.13

A-4.02

C-2.09

C-2.11

A-4.03

C-4.01

C-3.01

A-4.04

C-2.16

C-2.17

C-2.12

C-2.14

C-3.01

C-2.10

C-3.01

C-3.01

C-3.01

C-5.01

C-2.18

A-5.01

on small island on small island

A-4.06

C-4.01

C-4.01

A-3.02? TBD


[303 ] 623 -5186©20 03 Des ign Workshop , I nc .

TAMARRON DEVELOPMENT CORPORATION

40292 US HW Y 550NDurango , Co lo rado 81301


2.3

Neighborhood Entry




Project:

Document Type:


Date Document

Drawing Number:

6’

+/- 10’

4’

6”

1” ALUMINUM LETTERING WITH FAUX PATINAFINISH,PINNED 1/2” FROM SURFACE

ROUGH HAND CUT EDGE

PRESELECTED BOULDERS FROM SITE, FABRICATOR TOCUT STONE WITH DIRECTIONFROM DESIGNER

LIMESTONE SLAB HAND SELECTEDBY FABRICATOR, WITH MATTE FINISH

SMOOTH CUT EDGE

A-04 Typical Secondary Entry, Neighborhood

All ENGINEERING AND INSTALLATION OF MONUMENT AND BOULDER TO BE PROVIDED BY FABRICATOR. THIS MONUMENT WILL BE ON A +/- 10%GRADE. THE CLIENT WILL PROVIDE THE BOULDER AT A CENTRAL LOCATION ON THE PROPERTY FOR RETRIEVAL BY THE FABRICATOR. SIZE ANDSCALE OF BOULDERS ARE APPROXIMATE. THIS BOULDER HAS THE OPTION OF BEING SPLIT INSTEAD OF CHANNEL-CUT.

MESSAGE ON ONE SIDE OF MONUMENT


2.4

Wayfinding




Project:

Document Type:


Date Document

Drawing Number:

6’ 5’

3’4”

6”

60”


[303 ] 623 -5186

40”

36”

30”

1/2” THICK ALUMINUM LETTERING WITH FAUXPATINA FINISH,, PINNED 1/2” FROM SURFACE7 3/4” WIDE x 5 1/2” TALL

LETTERING BLASTED INTO SURFACE OF STONE AT A DEPTH OF 3/8”AND PAINTEDBLACK. LETTERS ARE APPROX 2 1/4” TALL

SMOOTH CUT EDGE

ROUGH HAND CUT EDGE

LIMESTONE SLAB HAND SELECTEDBY FABRICATOR, WITH MATTE FINISH

PRESELECTED BOULDERS FROMSITE, FABRICATOR TO CUT STONEWITH DIRECTION FROM DESIGNER

B-01 Typical Primary Wayfinding B-02 Typical Secondary Wayfinding B-04 Typical Residential Wayfinding

B-03 Typical Tertiary WayfindingALL ENGINEERING AND INSTALLATION OF MONUMENT AND BOULDER TO BE PROVIDEDBY FABRICATOR. THE CLIENT WILL PROVIDE THE BOULDER AT A CENTRAL LOCATION ONTHE PROPERTY FOR RETRIEVAL BY THE FABRICATOR.

MESSAGE ON ONE SIDE OF MONUMENT

63

Limestone rock was hand-picked from a quarry in Texas. All the natural stone was selected on-site by Lisa, then collected and placed around each monument.

64

Lisa and the Design Workshop team worked with the Mayor’s office of Las Vegas to brand a new district in the City, giving it a local identity, and the feeling of a new, shared frontier for those experiencing Las Vegas’s first true urban neighborhood. Its name implies an urban, edgy and artful district within the city, with a nod to its past. Its character is distinct from The Strip, with a quieter, more livable and elegant style.

THE DISTRICT NAME • Simple, logical, memorable, honest. An extension of the

place, its heritage and geographical location.• A name that conveys new excitement about the future• A name that locals can own, and feel comfortable adopting.

SIGNAGE • An extension of the quality of design of the new district • Light, elegant, timeless • The metal finishes and patinas are an abstraction of

railroad history, but applied in contemporary forms• Low maintenance materials and systems • Designed to coexist with and unify a variety of other

project elements

Union ParkLas Vegas, Nevada

65

Lair of the Golden Bear is a family retreat for the University of California at Berkeley Alumni Association (CAA). Lisa worked with CAA staff in a vision session to determine an appropriate way to recognize donors that helped to fund a renovation for the retreat. She designed a signage package with fabrication specifica-tions that they later fabricated themselves. Along the river are seven discovery areas, each one honors 100 donors on a unique trail marker. The Legacy Trail marker features a playful bear cap over a large cedar post that stands five feet tall. The look and feel of the trail marker recalls the mining and railroad history of the area with the look of cast-iron sleeves, caps and historic fasteners. Donors are recognized with a short commemoration in silver. Each discovery area provides seating with the traditional Lair of the Golden Bear custom benches. These discovery areas become places for gathering, a family picnic, or for a moment of quiet contemplation. Interpretation informs and celebrates the 1000 years of interaction with the river ecosystem including the Me Wok people, the miners, railroad travelers, and finally the families that have camped here as part of the Lair of the Golden Bear.

Lair of the Golden Bear Legacy Trail Pinecrest, California

-All material, hardware and finish samples

-1(one) full size donor plaque

-1(one) full size cap w/ bear

DATE: June 20, 2006

DRAWN BY: TS

CHECKED BY: LM

Design IntentBid Document

Submittals Required:

Revisions:

1390 Lawrence StreetSuite 200Denver, CO 80204303-623-5186

These Drawings are for the sole purpose of illustrating design intent only and are not for actual fabrication purposes. Sign contractor accepts total responsibility for material selection, engineering, fabrication and installation.

1.2

Donor Kiosk and Trail Marker

5‘

7 ”

4 3/4”

5“

2“

34“

5“

15“

12 1/4”

12 1/4”Top Cap

QUANTITY: 10 TOTAL POSTS, EACH WITH CUSTOM DONOR PLAQUE QUANTITY: 20 TOTAL POSTS

Plan View

4‘

ELEVATION

SCALE: 1" = 1'-0"

Donor Kiosk

1ELEVATION

SCALE: 1" = 1'-0"

Trail Marker

2

8 1/4”

8 1/4”Top Cap

8 1/4”base

4‘

8” squareWood Post

Plan View

8 1/4”

5‘

12 1/4”base

12 1/4”base

See sheet 1.3 for cap details

Top cap, base and donor plaque to be welded one-piece construction.Fit over wood and postand secured with fasteners.

Donor Plaque:4 sides 1/8” thickaluminum powdercoat all exposed surfaces, Match Color MP19970 (matte). Names to be surface screen printed, Match color MP18071. Secure with 3/4” dia tamper-proof blackened acorn nut fasteners.Finish with clear anti-grafitti coating

Top Cap: Fabricate from 1/8” thick aluminum with finished top powdercoat all surfaces. Match Color MP19970 (matte).

8“ square penofin-treated rough sawn cedar wood post. Length to be determined by footing depth.

Base Cover: Fabricate from 1/8” thick aluminum powdercoat all surfaces. Match Color MP19970 (matte).

See sheet 1.4 for footing details

All paint colors specified are from Matthews Paint Companywww.signpaint.com

See sheet 1.3 for cap details Lair of the Golden Bear

Lair of the Golden BearLair of the Golden BearCalifornia Alumni Association

Donor Recognition and Interpretive Work SessionResults and Conclusions

[ 4 ]

Along the river are seven discovery areas,

each one honors 100 donors on a unique

trail marker.

The Legacy Trail marker features a playful

bear cap over a large cedar post that stands

fi ve feet tall. The look and feel of the trail

marker recalls the mining and railroad

history of the area with the look of cast-iron

sleeves, caps and historic fasteners. Donors

are recognized with a short commemoration

in silver.

Each discovery area provides seating with

the traditional Lair of the Golden Bear custom

benches. These discovery areas become

places for gathering, a family picnic, or for a

moment of quiet contemplation.

Interpretation informs and celebrates the

1000 years of interaction with the river

ecosystem including the Me Wok people, the

miners, railroad travelers, and finally the

families that have camped here as part of the

Lair of the Golden Bear.

Recognizing Donors:the Legacy Trail Walk

[ 6 ]

Up-Close details

• The Legacy Trail Donor Marker stands fi ve-feet tall and one-

foot wide, is made of treated rough-sawn cedar hardwood

and features durable painted aluminum resembling historic

cast-iron detailing.

• Each commemorative donor trail marker has the capacity to

recognize 100 donors (25 per side.)

• The Legacy Trail markers have a custom Lair Bear cap with

4 different cut-out bear silhouettes on each side.

• The Legacy Trail marker stands four feet tall and eight inches

wide, and is made of treated cedar hardwood.

• Final locations will be determined in the fi eld.

MEMORY OF ANNABELLE WILLIAMS

THE TORGERSON FAMILY

JANE & WILLIAM ROSE

SAM, ALEX & ANDI MCGUIRE

THE ROSENQUISTS

THE THOMAS & HOOPER FAMILIES

MILLIE SMITH

CHARLES VAN LIMBURG STIRUM

MEMORY OF HENRY APPLEWOOD


THE TORGERSON FAMILY

JANE & WILLIAM ROSE


THE ROSENQUISTS


MILLIE SMITH



JANE & WILLIAM ROSE


THE ROSENQUISTS


MILLIE SMITH




Lair of the Golden BearLair of the Golden BearCalifornia Alumni Association

Donor Recognition and Interpretive Work SessionResults and Conclusions

Note: it is the intent for boulders and rocks to be artfully placed around the base of each trail marker.

66

Toward Legacy Book design for Design Workshop, Inc.

TowardLegacy

TowardLegacy is a visual and literary

walk through 35 years of evolution of the

landscape architecture fi rm, Design Workshop.

A formative point in that evolution was the

development in 1998 of the philosophical

statement around which the company has

formed a systematic approach to its work.

That statement has become a mandate:

When environment, economics, art and

community are combined in harmony with

the dictates of the land and needs of society,

magical places result. Places that lift the spirit.

Sustainable places of timeless beauty, enduring

quality and untold value – for our clients, for

society and for the well being of our planet.

U.S.A. $45.00

DE

SIGN

WO

RK

SHO

PTow

ardL

egacy

art

community

environment

economics

sy

nt h

e s i s

These extraordinary landscapes are the

result of Legacy DesignSM. This book expresses

through essays, project descriptions and case

studies how Design Workshop seeks to move

projects Toward Legacy.

A rich and satisfying body of planning and design, over thirty-fi ve years, thoroughly and elegantly presented.

— Peter WalkerPeter Walker and Partners Landscape Architecture

(Left) The book jacket. (Top) Each chapter has a specific topic, such as “Places,” illustrated by appropriate projects by the firm.

Chapters are delineated by a two-page spread, each with a custom color that represents the topic.

(Bottom) Topics are discussed in an essay by one of the partners at the beginning of each chapter.

Toward Legacy is a visual and literary walk through the 35-year evolution of the landscape architecture firm Design Workshop. This book expresses—through essays, project descriptions, and case studies—how the firm seeks to move projects to a higher level of design and con-struction. Lisa worked with the editor and the firm’s partners to create an intuitive book design for very complicated content. The grid, while rigorous, also allowed each page to be thoughtfully designed with the wide variety of images, drawings, narrative, and graphics that made up the subject matter.

030 1. Nature

We need to recognize as a society that nature can be a restorative force for the community.

AN ESSAY BY RICHARD SHAW

031

H uman beings can single-handedly render the Earth uninhab-itable, not just through apocalyptic weaponry but also through our everyday lives. The world is now supporting billions of people, technol-ogy produces byproducts beyond what other societies have ever had to reckon with and our reliance on nonrenewable resources is threatening our very existence. The consequences of some of our actions are now irreversible because of the scale at which we live and the immense power we wield. What we do counts in ways we are only just beginning to understand, and sometimes our actions come back to haunt us. Nature damaged at this scale cannot sustain civilization. As our numbers grow, nature shrinks. Once, we had a wealth of wil-derness to draw upon. Now, we must be more careful; we must learn nature’s limits, its resilience, how we can support it and how it fi ts with the rest of our lives. Our relationship with nature over the millennia has been ambivalent and changeable. It has been both boon and threat. We have subsisted on it, feared it, controlled it and exploited it, but we have also found within it aesthetic experiences that restore us. And we have edited, shaped and crafted nature in myriad ways in order to re-create these experiences for ourselves. The garden is a microcosm of this and has taken many forms. In traditional Japanese gardens, personal restoration comes from the cher-ishing gesture of emulating the landscape, where boulders are mountain ranges and ponds are oceans. In classic French gardens, a haven emerges from strict order imposed on profl igate nature, managing it with the controlling formality of the straight line and the precision of perfection in a tightly dominated composition. The English garden constructs pic-turesque ideals, framing the existing landscape with composed natural elements. These purposeful efforts to create and subsequently control nature are single, dimensional, human imprints imposed on nature as a way to engage with it, to craft it, dream it or idealize it, according to the values of the culture. We have all experienced at the personal level the power of nature to revive us: When we need to get away, we go to a sandy beach, a moun-tain retreat, an urban park or our own backyard. What we have not

Human beings have imposed structure and design on nature in many ways, including this hedge maze at the Château de Villandry in the Loire Valley in France.

Essay

2. Places076

2 Places

077Contents 077

ESSAY

Terrall Budge, a partner since 2003, explores the dangers of franchising spaces and the need for insightful intervention to create a platform from which people can create the meaning of a place. The projects that follow show how using the history, context and environmental conditions of a site creates distinctive places — places with strong appeal and documented drawing power.

PROJECT DISCUSSIONS

Rio Grande Botanical Garden: A dangerous park fi nds new life as a botanical and cultural history of the Rio Grande.

Blackcomb Ski Resort: A vision for the future turns Blackcomb Mountain into one of the world’s top resorts.

Inn on Biltmore Estate: The Vanderbilt family replicates the turn-of-the-century experience at this national landmark.

Gardens on El Paseo: A lush desert setting broadens the mission of a retail hub to include community events.

La Posada: New purpose and design reverse the decline of a historic Santa Fe inn, creating a destination resort and spa.

IN-DEPTH ACCOUNT

Pittsburgh World War II Memorial: Creating a war memorial in Pittsburgh honors home-front efforts as well as the fi ght.

Chapter Contents

67

100 2. Places

When the Vanderbilt family decided to locate an inn on the grounds of

Biltmore Estate, they wanted to replicate the experience of turn-of-the-

century guests. The original design principles of Frederick Law Olmsted

served as the basis for locating and designing the new accommodations

for this Southern landmark.

101Inn on Biltmore Estate

PROJECT DISCUSSION: INN ON BILTMORE ESTATEAsheville, North Carolina

In 1890, George Vanderbilt purchased

120,000 acres to build a lodge in the

Blue Ridge Mountains, land that had

been denuded of its forests by settlers.

Vanderbilt hired Frederick Law Olmsted,

the nation’s premier landscape architect,

to develop the estate and manage the

forests, and architect Richard Morris

Hunt to design a 250-room house mod-

eled after three 16th-century French

Renaissance châteaux. Eventually, the

family would deed 90,000 acres of the

site to the federal government to create

nearby Pisgah National Forest.

Forty years later, Biltmore House

opened to the public in the midst of the

Depression. The Asheville economy

had been hit hard and local offi cials

asked the family to invite visitors in

order to encourage tourism to the area.

In the years since, studies have estimated

Biltmore’s economic value to the region

at hundreds of millions of dollars.

The Biltmore Estate has been man-

aged in recent decades by a for-profi t

cooperative of heirs with overall objec-

tives of sustainability and preservation.

The extensive estate lands were divided

among family members in the 1970s,

leaving the 8,000 acres containing

Biltmore House and the designed land-

scape, farms and forests around it. As

development increased nearby, low-end

accommodations grew up around the

estate, a stark contrast to Biltmore’s

beauty and refi nement. At that time,

Biltmore counted about 350,000 visitors

annually. The family worked to create

amenities and programs to encourage

longer visits, and visitation increased

dramatically. In 1996, after a 10-year

debate, they decided to build an inn

that would evoke the original experi-

ence of staying at Biltmore House,

Careful siting of a new inn preserves an icon’s sense of seclusion

Visitors approach both Biltmore House and the Inn on Biltmore Estate by winding roads through forest canopy, which allows the buildings to be suddenly revealed.

160

CASE

LEGACY GOALS:

161

CASE STUDY:ST

UDY RANCHO VIEJO DE SANTA FE

DILEMMA: Large-lot subdivisions with wells and septic tanks were destroying the environment, ambiance and sense of culture in Santa Fe County. No master plan existed to regulate or shape growth in the sector, which had continued uncontrolled over many years.

EnvironmentSet aside half of the district as open space, preserving habitat and scenic assets and minimizing disruption of the land; conserve resources by harvesting runoff and using it to recharge groundwater and by orienting homes for solar heating in winter.

Community Collaborate with citizens, developers and offi cials to realize their common desire for smart growth, working together to set development guidelines for a large district and ensuring that residents will have the power to guide their own future.

EconomicsNegotiate a creative land deal that keeps housing prices low and use this to build a signifi cantly dense and affordable mixed-use core for each village, optimizing land use and supporting the county with new tax revenue.

ArtUse natural systems for infrastructure, preserving the beauty of the arroyos and lining them with trails that make villages walkable; frame views to the distant mountains from village cores and the community’s trails.

THESIS: By committing to the hard work of collaboration and bringing smart growth principles to fruition, citizens, government offi cials and developers can create a new pattern of development that will make wise use of the land and protect the local environment and culture.

Overview The “amenity migrants” drawn to Santa Fe have consumed the landscape with large

homes on huge suburban lots. County offi cials and developers in the city’s primary

growth corridor challenged that trend when they teamed up to create a new pattern

of villages that accommodate growth, preserve the landscape and conserve natural

resources. A unique collaboration of developer, government and designers is produc-

ing a new settlement pattern guided by principles of community and sustainability

on 11,000 acres in Santa Fe County. The design of Rancho Viejo allows the natural

environment to determine the pattern of development and leaves half the land as

open space for wildlife habitat, aquifer recharge and scenic value. Each of 10 pro-

posed mixed-use villages is clustered around a central plaza in the tradition of early

New Mexican settlements, and each includes affordable housing and promotes

resource conservation.

Context/History In recent decades, Santa Fe, New Mexico, has come under increasing growth pres-

sures and fallen prey to indifferent suburban development. While the compact, tradi-

tional pattern of old Santa Fe has attracted many “amenity migrants,” these transplants

often choose to live on 2- to 10-acre lots in large suburban subdivisions — the very

antithesis of what drew them to the area in the fi rst place and a trend that is devastat-

ing the region’s beauty, natural resources and culture.

Santa Fe, New Mexico

Unusual alliance sets a new course for development in Santa Fe

Rancho Viejo de Santa Fe3. Community

(Left top) The project introductions each have a very specific design, but are consistent with the color of each chapter.(Left middle, below) Case Studies are in-depth discussions of a project, one for each chapter, and also have a signature layout.

162 3. Community 163Rancho Viejo de Santa Fe

CASE STUDY

In 1996, Santa Fe’s city planning

department proposed reducing growth

pressures outside of the city by creating

infi ll development within the city, but

voters rejected the idea. Since moun-

tains and suburban development

embrace the city on three sides, its most

suitable growth option was an open

corridor to the south. Local smart-

growth advocacy groups had long con-

sidered this area “the poster child for

sprawl,” since 2,000 acres of it had

already been zoned for large lots with

individual wells and septic tanks. In an

effort to foster innovative development

in the corridor, county planners had

embarked on a new growth manage-

ment plan for the area. About two-

thirds of this area belonged to Rancho

Viejo de Santa Fe, a group of landown-

ers who had considered developing for

several years but who loved the land and

wanted to make sure it would be well

cared for.

Process “Collaboration” was the watchword

for the project from the beginning. The

longtime owners of the land had talked

informally with a developer, SunCor of

Phoenix, for several years about how

they might work together to maximize

the special potential of Rancho Viejo.

They fi nally agreed to proceed. In 1996,

to ensure the development would meet

their goals for the environment and

community, the owners asked Design

Workshop to lead a workshop with the

developer to establish a vision for the

site, which they would then use as the

basis for the contract to sell the land and

begin development. The collaboration

broadened signifi cantly when planner

Jack Kolkmeyer of Santa Fe County vis-

ited the vision workshop. In the chaos

of tracing-paper plans, sketches and idea

cards, he recognized the same emphases

on the land system and village pattern

that had been initial ideas in the coun-

ty’s new growth management plan. This

early recognition of common vision

spurred a commitment to collaborate in

lieu of the typically adversarial relation-

ship between developers and government.

The weeklong workshop produced

a vision plan that protected the aesthetic

and environmental values of the land,

clustered development in villages in the

tradition of New Mexican settlements,

made a priority of affordable housing

and designed a native landscape that

conserved water. It also created an inno-

vative business deal that made the proj-

ect possible.

The owners realized that they faced

many hurdles, including hefty front-end

investment, a small market, a diffi cult

political environment and high commu-

The city of Santa Fe (outlined in blue) is bor-dered on three sides by hilly and mountain-ous terrain, large-lot subdivisions and federal lands. The only land capable of ac-commodating Santa Fe’s growth is the cor-ridor to the south, where the Rancho Viejo landholding (outlined in red) and the Santa Fe Community College District (outlined in yellow) both lie.

The careful planning of this sensitive terrain perserved its essential character from un-managed growth.

Toward Legacy © Design Workshop

68

Above: the book cover. A landscape size was chosen for best proportion for the photography.

Garden LegacyThe Residential Landscapes

of Design Workshop

In the arid intermountain American West, a

philosophy of landscape architecture exists that is

deeply rooted in the land, with design tuned to the

existing conditions of dry land, intense sun, tempera-

ture fluctuations, endless vistas, and a limited plant

palette. Rather than ignoring these elements, land-

scape architects are embracing them to form a

viewpoint about designing for private gardens.

Garden Legacy explores nine gardens in the Rocky

Mountain West and desert Southwest designed by

Design Workshop, Inc., the landscape architecture

firm named 2008 Firm of the Year by the American

Society of Landscape Architects. This second book of

the firm’s residential garden designs weaves together

images and words to paint a picture of a pattern

language and design style that celebrates the beauty

of the region.

The common elements linking these gardens are

strikingly simple. Whether the garden is in Aspen,

Colorado, Jackson, Wyoming, or Tucson, Arizona,

Design Workshop uses the cultural and environmen-

tal components of the site to evoke the elegance and

strength of the land. The gardens reflect individual

tastes, but they also indicate a design style forged in

a region of the country which throughout history

has elicited a sense of individual pride and a desire

to be different.

The garden designs presented in Garden Legacy

celebrate outdoor living as a focus for the lifestyle

of the intermountain West, an expression of art and

craft, and a connection to the region’s magnificent

natural environments.

U.S.A. $36.00

Garden LegacyThe Residential Landscapes

of Design Workshop

Garden

Legacy

Th

e Residential L

andscapes of D

esign W

orkshop

Garden Legacy explores the residential landscape architecture

of Design Workshop. The gardens contained within these pages

are found in some of the most beautiful natural environments

in the world: on the boundary of Wyoming’s Teton National

Park, in the heart of Colorado’s Rocky Mountains, and in the

foothills of the Southwest’s Sonoran Desert. While each garden

reveals the special intent of its owners, the collective design

philosophy for the gardens emphasizes a respect for the natural

landscape and a desire to preserve, through views, reflections,

and the celebration of natural features, the inherent beauty

found in each place.

The residential landscapes of Design Workshop and the principles that guide an emerging philospophy about gardens in the 21st Century.

Garden Legacy

Design Workshop designs some of the most exclusive residential landscapes in the country. Garden Legacy captures the amazing beauty of some of these special places. Lisa’s concept for the book was to create an elegant design that parallels the philosophy of legacy design of Design Workshop; timeless, appropriate and thoughtful, engaging, and beautiful. Images are given priority. Narrative is open, with plenty of white space. Rialto typeface was exclusively chosen for the book and purchased directly from the type designer. The grid is uncomplicated, making for a straightforward and elegant layout. A thought-ful rhythm for page turning is set up for the reader, with narrative pages leading to full-page images.

Garden Legacy Book design for Design Workshop, Inc.

69

The book is divided into four major sections. The front matter with foreword and essay. The gardens chapter that highlights the photography and design of each residential landscape. Each garden opens with an impressively large full page image with a short poetic vision about that specific garden. The narrative that follows discusses the particular design decisions for the garden. Captions carry important design details

LEGACY GARDENS

14

Legacy GardensThe private landscapes contained within these pages were designed to foster a reverence for the land, to cultivate

the creative spirit, and to inspire a principled exploration of a vast and varied geographic setting.

Garden Legacy © Design Workshop

17

STAR MESA RETREAT

L ike a Himalayan landscape, Star Mesa Retreat evokes a feeling of being on the roof

of the world. Mountains, visible on all sides, appear on the edge of the high-meadow

landscape, creating an environment of reflection and unity with the sky.

Star Mesa Retreat

LEGACY GARDENS

16

59

TETON OVERLOOK

Balancing the intimacy of shelter with the

splendor of outlook

The Teton Overlook’s sloping site north of Jackson, Wyoming, offers

spectacular views of the Teton Range, including the Grand Teton,

illuminated in the foreground by sinuous cottonwood bosques and

ranchlands. The garden’s sheltered space provides extensive outdoor

living opportunities, despite the climate’s challenges of bitterly cold

winters, steady southwesterly winds, and significant shade. Achieving

a subtle balance of protection and expansion in this dramatic and

exposed location required special knowledge of seasonal changes,

topography, and native plant patterns.

The landscape architect collaborated closely with the owner and

the home’s designer, Carney Architects in Jackson. The simple lines of

the stone and timber home express its commitment to human utility

and environmental sustainability. Natural materials and architectural

details unite the linear series of living spaces that respond to the

topography. The architectural style is grounded in a Western vernacular,

with minimal impressionistic boundaries between the domestic and

wild. In the tradition of Frank Lloyd Wright’s Taliesin in Spring Green,

Wisconsin, the design team employed the concepts of prospect and

refuge in the interlaced interior and exterior spaces and in design that

gives way to views of the valley. Exposure to the elements, a common

concern in mountain environments, is balanced with protective devices

such as a controlled entrance. The inspiration of Charles and Henry

Greene’s design for the Gamble House in Pasadena, California, is

A table for two sits under the protective cover of a pergola.

The surrounding kitchen and cutting gardens offer color

and fragrance in this intimate walled patio.

Located on a north-facing slope, the home and landscape

accommodate the hillside topography with elegant stone

walls and level changes that offer privacy and protection

from the elements. Simple terraces extend into the

landscape, punctuated by carefully placed cottonwood and

aspen trees, transitioning to borderless grassy plains that

merge with the natural landscape.

58

LEGACY GARDENS

70

This chapter describes the guiding principles and ideas that Design Workshop uses in their process. Specific images were chosen to demonstrate each principle. The design of this chapter uses the base book grid, but is modified with more specific guides to accommodate the detail required.

139

DESIGN PRINCIPLES

138

GARDEN LEGACY

Design PrinciplesLegacy gardens embody the expression of many carefully considered design principles. Each plays a role,

such as creating atmosphere, defining space, or providing a focus for the garden. The following design

principles offer insight into the concepts that guide Design Workshop’s creation of legacy gardens.


143

DESIGN PRINCIPLES

Sculptural Elements Large native boulders can be used in a sculptural

way to provide three-dimensional focal points that

give a sense of permanence and illustrate the region’s

geologic history. Boulders can be used in numerous

ways, such as marking a curve in a pathway and

anchoring the end of a wall. Other natural features,

such as groupings of trees or topographic changes in

the landscape can provide sculptural interest. In a

large garden or property, art sculpture offers scale

and focus.

Pervious PavementsPaving that allows rain or irrigation water to percolate

below the surface is important for plants and for

maintaining healthy groundwater supplies. Pervious

paving materials such as sand and gravel address this

need by providing permeable horizontal surfaces.

A hard surface such as a stone path can be “softened”

by separating pieces of stone or other paving with

grass or sand, which also allows water to be absorbed

into the soil and creates an interesting transition

from one space to another within the garden.

142

GARDEN LEGACY

PavingPaving materials form the horizontal surface—the ground

pattern—of a garden and are an essential element for

reinforcing and unifying the character of a space. In place-

ment, color, shape, and craftsmanship, paving materials

offer textural interest to the garden beyond that provided

by the plants. More intimate garden spaces generally

require smaller paving materials. Bands of paving in a

different color or texture can be used for wayfinding in a

large garden. They also add dimension to expansive

horizontal planes, such driveways and large patios.

Encountering the Land

The design for a garden can be enriched by using materials

found on the site. Local flagstone used for paving or fieldstones

used for building walls or as sculptural elements can provide a

singular experience of place. Using native materials also grounds

the landscape within its surrounding environment, creating a

more seamless transition between the built and natural.

155

DESIGN PRINCIPLES

154

GARDEN LEGACY

Atmosphere

Gardens are affected by seasons and sun angles, humidity and aridity,

and temperature fluctuations. With the changing seasons come intense

changes in light and shadow. In full sun at noon on a midsummer’s

day, the colors and textures of a garden at the peak of its bloom may

appear flat and faded. The same garden at dawn displays fresher, more

vivid colors and textures. In midwinter, low and more indirect light

intensifies shadows, showing greater contrasts in horizontal and vertical

planes than appear during the summer months. At high altitudes, the

lack of humidity coupled with the sun’s intense rays produce color and

contrast that cannot be duplicated at lower and more humid elevations.

The presence of fog or steam can change an open and vibrant space into

a moodier scene of shadows and anonymous features.

71

A plant portrait section was added to help readers identify plants used in the landscapes.

In each garden a beautifully rendered site plan was incorporated to help readers understand the design.Blow-ups of these were used as graphic elements in the back section of the book.

159

DESIGN PRINCIPLES

158

GARDEN LEGACY

Plant Palette

The gardens represented in this book showcase plant material that is

hardy and xeric, thriving in climates that are defined by short growing

seasons and extreme temperature fluctuations.

Adequate winter moisture can transform the subtle earthen hues

of a desert landscape into a vivid and painterly palette, suggesting

however fleetingly, a lush environment.

In the mountains, short summers and concentrated high-altitude

sunlight yield an unusually brief and brilliant perennial blooming

season, producing floral combinations not typically found at lower

altitudes where flowering times do not always overlap. As in desert

gardens, microclimates in mountain gardens that are created by

enclosed or protected spaces and an increase in water promote a

proliferation of color and extend the bloom time. Similarly, a winter

landscape suddenly becomes engaging with the addition of colorful

and sculptural materials which add texture to an otherwise monochro-

matic scene.

The following pages provide a pictorial description of the range

of plants that are available for mountain and desert gardens. Of para-

mount consideration for each landscape are the seasonal characteristics

of the region. For more information on specific planting combinations,

consult individual chapters within this book. To obtain additional

information or imagery, refer to horticultural reference books.


The members of the Design Workshop team

Project Management: Dori Johnson, Elyse Hottel

Prepress and Graphic Preparation: Nino Pero

Photography Preparation: Thomas Brunet

Base Plan Preparation: Ashley Allis, Mike Albert, Darla Callaway,

Diedra Case, Julia Daruich, Brandon Hardison, Adrian Rocha, Carolina

Segura, Steven Storheim, Kristen Walsh, Wayne Sanderson

Contributing Photographers:

Page 90, Kate Russell Photography

Page 128, Jason Jung/Estetico Group

FOOTNOTES1. See Foreword to this publication, page 7.

2. Griswold, Mac and Eleanor Weller. The Golden Age of American Gardens: Proud Owners,

Private Estates 1890-1940. New York: Harry N. Abrams, Inc., 1991, pp. 290-293.

3. For a complete breakdown of the Olmsted work in Colorado, see The Master List of

Design Projects of the Olmsted Firm, 1857-1979 edited by Lucy Lawliss, Caroline Loughlin

and Lauren Meier. National Association for Olmsted Parks, Second Edition, 2008.

4. From 1925-1928 the Olmsted firm completed several subdivision commissions in

Colorado Springs. The clients included Penrose, with whom the firm had consulted

earlier regarding his estate.

5. Karson, Robin. A Genius for Place: American Landscapes of the Country Place Era.

Amherst: University of Massachusetts Press, 2009, page 23.

6. Kelly, George W. Rocky Mountain Horticulture is Different: How to Modify Our

Climate to Fit the Plants and How to Select Plants to Fit Our Climate. Denver,

Colorado: The Green Thumb Council, 1951. In particular, see the preface to this

second edition.

167

ACKNOWLEDGMENTS

166

GARDEN LEGACY

TAcknowledgments

his book is the result of the steadfast partnerships Design Workshop

has built with clients, in which every project pursues themes of discovery,

trust, communication, collaboration, and refinement. We are grateful to

the owners of these gardens and to the following individuals for their

contribution to the design, development, and preparation of the book:

Richard W. Shaw, FASLA, whose design ideas are found in many of the

gardens within this book, and who provided the foresight and leadership

to guide this publication to fruition;

D.A. Horchner, whose photographic eye captures the essence of each

garden not just as a piece of landscape architecture, but as a work of art;

Sarah Chase Shaw, whose knowledge of and love for gardens and the

landscapes of the American West are embedded in the writing found

throughout the book;

Lisa McGuire, Communication & Design, whose intuitive and creative

graphic design skills made this book a work of art;

Kathleen McCormick, Fountainhead Communication, LLC, whose careful

and comprehensive editing clarified the individual traits and larger

purpose of the book;

Kotchakorn Voraakhom, whose graceful illustrative plans placed the

gardens in their context and graphically communicated the nuances of

their design; and

A

G

F

E

J

BC

H

K

I

D

37

SNAKE RIVER RESIDENCE

A. Residence

B. Boardwalk

C. Terrace

D. Reflecting Pool

E. Runnel

F. North Meadow

G. South Meadow

H. Auto Court

I. Sculpture

J. Meadow Path

K. Guest House

40'0' 20'10'

LEGACY GARDENS

36

(Above) Enclosed in a dense cottonwood bosque along a

tributary of the Snake River, the home and garden nestle

into the landscape, translating the riparian environment

into a formal landscape that celebrates the surrounding

natural setting.

(Left) A sandstone path parallels a water channel leading away

from the spa courtyard next to the house. Representative

of the spring creeks along the Snake River, the runnel is

bordered by blue fescue (Festuca glauca) and tufted hair

grass (Deschampsia cespitosa), transitioning to native Rocky

Mountain iris (Iris missouriensis) and the wetlands

environment.

72

Lisa is currently working the artist and anthropologist Ella Maria Ray to design her monograph. The book is set to be printed in fall of 2014.

Embracing Africanity, The Work Of Ella Maria Ray

74

The cover needed to be bright and eye-catching to reflect the innovation and excitement being generated by this new approach to volunteerism. The typography of

the book is very classical, and laid out to reflect the book’s workbook content.

Boom er Volunteer Engagement Collaborate Today, Thrive Tomorrow

Jill Friedman Fixler and Sandie Eichberg,with Gail Lorenz, CVA

Foreword by Marc Freedman

In partnership with VolunteerMatch

Edited by Beth Steinhorn

This innovative book provides a step-by-step guide for engaging Boomers as volun-teers and contains everything nonprofits need to engage skilled Boomer volunteers:Boomer research that is current, relevant, with 14 downloadable PDF worksheets, including work plan and progress report templates. Lisa worked with the book’s authors to design a book that was very user-friendly, thoughtfully laid out in a workbook style with easy to use work sheets. She also designed and produced all of the interactive worksheet PDFs that accompanied the book.

Boomer Volunteer Engagement:Collaborate Today, Thrive TomorrowJFFixler & Associates, and VolunteerMatch

75

The book utilized custom symbols to help with the navigation of the narrative and the work sheets.

25|

Structuring for InnovationProcess & Assessment

CHAPTER 2

KEY CONCEPTS

1. Organizational change happens in three stages: letting go of old ways of doing business, a transitional phase, and an integration of new practices.

2. To be successful, board and executive leadership must fully embrace the initiative for change, model the collaborative approach of Boomer volunteer engagement, and hold staff accountable for this new way of partnering with Boomer volunteers.

3. A Boomer Volunteer Engagement Task Force must include key agents of change (people who connect, share information, and spread the word), visionaries, and individuals with particular skills and expertise.

4. An important part of the fi rst stage of organizational transformation is to assess current practices of Boomer volunteer engagement and identify areas of need and opportunity.

53|

Vision:

Element DescriptionProgress, Challenges, and Needs

Indicators and Tools

Resources

Action

Yield

Initial Impact

Sustained Outcome

PROGRESS REPORT

• Develop a Work Plan for your nonprofi t’s Boomer Volunteer Engagement initiative.

• Identify appropriate pilot programs to advance the initiative and design a Work Plan for each.

• Use the Progress Report to begin tracking progress on each Work Plan.

61|

MAKING IT HAPPEN

Behaviors• Mobile in careers/relationships/

locations/roles• Long work hours• Always “on call” for their jobs• Gradual transition to retirement• Less demanding encore careers• Possible sabbatical after

retirement and before volunteering

Demographics• Late retirement• Long life• Healthy late life• More women wage earners• Sandwich generation• Greater fi nancial resources

• Offer fl exible work schedules and locations

• Offer short-term volunteer opportunities that have clear beginnings, middles, and ends

• Create volunteer positions that can expand as the volunteer has more available time

• Create volunteer career ladders

• Be prepared for loyalty to a volunteer assignment, not loyalty to the nonprofi t

• Market your nonprofi t to Boomers who may volunteer later

Opportunities for Boomer Volunteer Engagement

When generating position descriptions, fi rst take some time to dream. Successfully engaging Boomers just could make those dreams come true. Review the results of your Needs Assessment exercise from Chapter 2, and work as a team to bring some structure to those dreams. How can your nonprofi t increase its scope and range through additional knowledge, skills, and abilities? What can be accomplished if resources are unlimited? Developing position descriptions is a way to actualize those dreams. Consider your current volunteers as well as the vast pool of potential Boomer volunteers. What are their characteristics, and how can their wants and needs fi t with the wants and needs of your nonprofi t? Gather your team together and complete the following Opportunities for Boomer Volunteer Engagement exercise to explore these big questions.

Boomer Characteristic StrategyOpportunities in My Organization

Downloadable PDFs are available at www.BoomerVolunteerEngagement.org

76

The cover was designed to sit side-by-side with the first book.

Use as a companion to the book Boomer Volunteer Engagement: Collaborate Today, Thrive Tomorrow.

28 new field-tested tools, including meeting agendas, position

descriptions, evaluation tools, and more!

Boomer Volunteer EngagementFacilitator’s Tool Kit

Jill Friedman Fixler and Beth SteinhornIn partnership with VolunteerMatch

“Every member of our Task Force sat around the table, each with a copy of Boomer Volunteer Engagement and these tools. Having the templates right there was invaluable. We were able to fill out the templates, discuss the foundation for volunteer engagement, and determine the right next steps for our organization. Our goal was to be able to model this process and then replicate it in other areas of our organization – and that’s exactly what we’ve done.”

Phyllis Adler, Executive DirectorStepping Stones…Embracing Interfaith Families

“This Tool Kit builds on the success of Boomer Volunteer Engagement by providing the exercises, meeting agendas, and context for utilizing skilled volunteers as facilitators of a capacity-building initiative. With so many individuals seeking ways to serve, there’s no better time than now to harness them as volunteers to lead your organization’s Volunteer Engagement Initiative.”

Greg Baldwin, PresidentVolunteerMatch

“As a Facilitator, I was able to bring skills from my professional experience and apply them to a whole new arena – the nonprofit sector. Facilitating a Volunteer Engagement Task Force at a nonprofit was really rewarding, as I was able to help the organization find new ways of engaging volunteers to measurably extend programs and services beyond what staff alone can achieve. These tools were key to helping the Task Force members assess their needs and their current practice. Being intentional in that way makes all the difference in the world. It’s the difference between getting it done and not.” Margaret Browne, Volunteer Facilitator

“In a time when all nonprofits are facing economic challenges and increased demand for services, this program provides a strategic solution. Through this model of partnering professional and volunteer staff, we have developed and launched several new programs that help local nonprofits recognize and utilize volunteers as a critical resource in addressing societal needs.”

Kristy Judd, Executive DirectorMetro Volunteers

Comments from Tool Kit users

Everything Facilitators Need to Lead a Volunteer Engagement

Initiative at Your Organization

Bo

om

er

Vo

lun

te

er

En

ga

ge

me

nt Facilitator’s Tool K

itJill Friedm

an Fixler and Beth Steinhorn

Jill Friedman Fixler

and Beth Steinhorn

In partnership with VolunteerMatch


A companion to Boomer Volunteer

Engagement, the Facilitator’s Tool Kit contains everything facilitators need to lead a volunteer engagement initiative. Lisa used the previous book’s grid and created new icons to accompany the existing icons from the first book. Small insert pages from the first book were used to help the readers navigate between the two books.

Boomer Volunteer Engagement:Facilitator’s Tool KitJFFixler & Associates, and VolunteerMatch

77

The second book contains all new guides and exercises.

29|

Planning and Cultivation Getting the Right People

at the Table

MoDULE 1

KEY oUTCoMES

1. organizational leadership will clearly understand the powerful outcomes of a Boomer Volunteer Engagement Initiative and will communicate their support through a signed resolution of support.

2. Co-facilitators will be cultivated to lead the initiative.

3. A list of potential Task Force members will be generated and a cultivation plan will be developed.

MONTH

1 MONTH

2

|301

Planning and Cultivation

Re-engineering volunteer management into volunteer engagement takes resources, time, and – most importantly – commitment…. For a nonprofit to move from a volunteer management model to one that engages Boomers for the skills and passions they have to offer, the leadership of the organization must fully embrace the change. —(Page 26, Boomer Volunteer Engagement)

The first two months of this endeavor lay the foundation for its ultimate success. This initial period focuses on three main activities: securing leadership support, cultivating effective facilitators, and identifying potential Task Force members. All of these efforts reflect the importance of securing support and involvement of key stakeholders. Chapter 2 of the book explores the theory behind organizational change and the rationale for gaining the support of the nonprofit executive. It also details the role of the Boomer Volunteer Engagement Task Force – which is charged with creating the vision for the Boomer Volunteer Engagement Initiative, shepherding the process, and monitoring outcomes. Cultivating a volunteer and staff member to work in partnership as co-facili-tators of this process enhances the effort by:

[ THE FRAMEWoRK ]

Related material in Boomer Volunteer Engagement:

61|

Instructions1. Add candidates’ names to the top row, one name per column.2. Rate each candidate in each area, using a scale of 0 to 3, as follows: “0” = No experience or understanding “1” = Limited experience or understanding; could be stronger “2” = Sufficient experience or understanding “3” = Excellent experience or understanding3. Use the ratings comparisons during the selection meeting.

Experience w/Volunteer Engagement

Previous Experience as Facilitator

Understanding of Facilitation

Understanding of Nonprofit Sector

Problem-Solving Skills

Motivational Skills

Personal Goals for Involvement

overall “Fit” with the other Co-Facilitator

Professionalism

overall Impression

volunteer Co-Facilitator Selection matrix

Candidates Use as a companion to the book Boomer Volunteer Engagement: Collaborate Today, Thrive Tomorrow.

28 new field-tested tools, including meeting agendas, position

descriptions, evaluation tools, and more!


Jill Friedman Fixler and Beth SteinhornIn partnership with VolunteerMatch

“Every member of our Task Force sat around the table, each with a copy of Boomer Volunteer Engagement and these tools. Having the templates right there was invaluable. We were able to fill out the templates, discuss the foundation for volunteer engagement, and determine the right next steps for our organization. Our goal was to be able to model this process and then replicate it in other areas of our organization – and that’s exactly what we’ve done.”

Phyllis Adler, Executive DirectorStepping Stones…Embracing Interfaith Families

“This Tool Kit builds on the success of Boomer Volunteer Engagement by providing the exercises, meeting agendas, and context for utilizing skilled volunteers as facilitators of a capacity-building initiative. With so many individuals seeking ways to serve, there’s no better time than now to harness them as volunteers to lead your organization’s Volunteer Engagement Initiative.”

Greg Baldwin, PresidentVolunteerMatch

“As a Facilitator, I was able to bring skills from my professional experience and apply them to a whole new arena – the nonprofit sector. Facilitating a Volunteer Engagement Task Force at a nonprofit was really rewarding, as I was able to help the organization find new ways of engaging volunteers to measurably extend programs and services beyond what staff alone can achieve. These tools were key to helping the Task Force members assess their needs and their current practice. Being intentional in that way makes all the difference in the world. It’s the difference between getting it done and not.” Margaret Browne, Volunteer Facilitator

“In a time when all nonprofits are facing economic challenges and increased demand for services, this program provides a strategic solution. Through this model of partnering professional and volunteer staff, we have developed and launched several new programs that help local nonprofits recognize and utilize volunteers as a critical resource in addressing societal needs.”

Kristy Judd, Executive DirectorMetro Volunteers

Comments from Tool Kit users

Everything Facilitators Need to Lead a Volunteer Engagement

Initiative at Your Organization

Bo

om

er

Vo

lun

te

er

En

ga

ge

me

nt Facilitator’s Tool K

itJill Friedm

an Fixler and Beth Steinhorn

78

Newsletter Design

ULI Colorado [1] September 2006

by theSQUAREQuarterly News from ULI Colorado

Vol. 5, Issue 3, September 2006

ULI-convened ‘Colorado Tomorrow Alliance’ takes rst leap forward to address metro growth

By 2030 metro Denver’s population will surge by another 1 million residents. Where will they live and work? Get around? Where will the water come from? Will we continue to create a region with a great quality of life including wide-open vistas, open spaces, and wildlife? These are questions a potential steering committee grap-pled with on June 12 at the kickoff meeting of the Colorado Tomorrow Alliance (CTA). Launched in January under a grant from the U.S. Environmental Protection Agency and ULI, the CTA is bringing together voices from opposite sides of the table -- homebuilders, environmentalists, community activists, developers, and government offi cials to name a few — to move forward on common issues. Convened by ULI Colorado, the group included leaders from AIA Denver, the Metro Mayors Caucus, the Colorado Chapter of the American Society of Landscape Architects (CCASLA), Colorado Environmental Coalition (CEC), the Enterprise Foundation/Denver, Home Builders Association (HBA) of Metro Denver, the Denver Regional Council of Governments (DRCOG), Housing Colorado, the National Association of Industrial and Offi ce Parks (NAIOP), the Transit Alliance, and the University of Colorado. Fourteen top leaders shared their top issues and agreed on the need to protect our region’s natural beauty, quality of life, and economic opportunities for all citizens. While many of the groups are working on these issues, they agreed that a central organization focused on smart growth can provide leadership and become a clearing-house for information and education.

Coming Next Month!Redford to discuss realities of environ-mental development at ULI Fall Meeting

The Sundance Kid is return-ing to Colorado, where Robert Redford and Paul Newman fi lmed Butch Cassidy and the Sundance Kid with director George Roy Hill in 1969. Robert Redford is one of the star speakers at ULI’s Fall Meeting in Denver October 17-20. Equally prominent guest speakers are General Colin Powell, Boulder-based Good to Great author Jim Collins, and Bill Emmott, former editor-in-chief of The Economist, and Donna E. Shalala, former U.S. Secretary of Health and Human Services and current president of the University of Miami, Florida. Along with ULI’s Fall Meeting planners, some 90 volun-teers from ULI Colorado have been working hard to put on a great series of programs, tours, and special events for more than 6,000 guests anticipated. “We’ve got a great opportunity to show off what Colorado has done while learning from the many experts who will attend the Fall Meeting,” says Marilee Utter, chair of ULI Colorado and co-chair with Buz Koelbel and Jim DeFrancia of the Fall Meeting Local Arrangements committee. “Our own District Council members who attend will get a behind-the-scenes look at their own town and state while rubbing elbows with the best and the brightest from around the world.” The Fall Meeting will also feature numerous events and receptions for Product Councils, Young Leaders, and other ULI committees and activities. This year’s Urban View and Expo will feature displays from cities around the world.

continued on page 4

ULI event roundup: Above left, Patrick Field consensus-building breakfast, June 15; Young Leaders’ Rockies social, August 30. Left: Discovery light-rail tour of TODs, June 15; Meet the Mayors with Centennial’s Randy Pye (center), July 27.

From the ChairI write this while fl ying home from ULI’s Summer Leadership Retreat. Investing your time and spending your own money to meet

for three days in Washington, D.C. —especially in August — is a mighty test of volunteer commitment. Yet more than 150 people from around the country did just that. For me, it was perfect timing to think about ULI Colorado beyond the Fall Meeting, and well worth it. This was the largest turnout ever for District Council and Product Council leadership. I couldn’t help but ponder what engenders such dedication. I decided that ULI’s audacious leadership initiative to improve the quality of life in local communities is a bull’s eye fi lling a major void in America. If there’s anything I have learned in our efforts around the Fall Meeting, it is the inspiration that comes from big, exciting, and meaningful undertakings. Many of us crave personal challenges linked to the opportunity to make a difference in our own backyard. Most real estate organizations are dedicated to serving targeted member-ships. And many do it very well. By contrast, ULI seeks a diverse membership comprising the broadest spectrum of our industry— every sector, age, and profes-sion — brought together in an interdisci-plinary approach to serving and building great communities. ULI’s advisory panels are long-standing testaments to this philosophy, but now the organization is dedicated to reaching out even further. Consider the six priority areas they outlined for us as the national program of work:• Affordable/workforce housing• Infrastructure development and

fi nancing• Sustainable/green development• Placemaking/design• Regional cooperation• Capital markets

Why do you choose to volunteer for ULI Colorado’s Explorer Series?ULI is the nation’s premier real estate organization. Along with ULI national brand and reputation, it is important to me that the Colorado District Council has emerged as one of the top local organizations addressing important issues such as place making, and responsible development such as “green development.”

What do you see as the benefi t to you and for our community? ULI is unique in that its membership includes a broad spectrum of stakehold-ers, including real estate developers, government offi cials, students, lawyers, architects and engineers, etc. It is a wonderful forum to debate and to learn all aspects of projects and to then form best practices that improve the commu-nity and our projects.

What have you accomplished that you’re proud of?The development of the Environmental Protection Agency’s Region 8 headquar-ters is a great accomplishment for our team. Balancing the requirements of the federal government and respecting the historic LoDo district, all while bridging new technologies with forward-thinking design, is a very challenging equation. I am proud that the project addresses many of those important development issues focused upon by ULI. It has been rewarding to develop a project that is fi lling multiple objectives, including recognition of its connections to LoDo and the Central Platte Valley, its proxim-ity to the future hub of Denver mass transit, and its function as a model for green development (seeking LEED Gold certifi cation).

Does networking through ULI Colo help your career or your company?Clearly. Business networking follows the more important goal of building strong individual relationships within the ULI community.

Describe what you do in your job.I manage the real estate group for Opus’ Denver offi ce. Opus develops, designs, builds and manages offi ce, retail, industrial and residential projects, with over 1.5 million square feet currently under develop-ment in Denver. My job is to help establish a vision for our projects and then to avoid being in the way of our talented team at Opus. Nationally, Opus has completed over 2,300 projects across the country, with over 35 million square feet currently under development.

How much time do you spend working on behalf of ULI Colorado? Where does the time come from?With respect to time, ULI is able to draw excellent and devoted volunteers (ie, “doers”) to its committees, creating an atmosphere that builds business relationships through committee activities. As the co-chair for the Explorer Series Committee, I share the responsibility with my co-chair Ron Von Luhrte and committee members and the result is successful programming for our members and constituents.

Volunteer Spotlight

Marshall Burton, Opus Group

ULI Colorado [2] September 2006

continued on page 6

Join ULI Colorado, Go to

http://www.ulicolorado.org

by Kacey Wilkins

ULI Colorado [3] January 2007

Committee NewsCommittee NewsCommunity Outreach, Jim Mulligan and Dianne Truwe, group chairs

Colorado Tomorrow Alliance, Richard Epstein and Randy Pye, co-chairs. In December the 15-member CTA steering committee appointed Centennial Mayor Pye as co-chair. Now meeting monthly, the CTA plans a September conference and hopes to launch a smart growth certifi ca-tion program this year.

Technical Assistance Programs, Frank Cannon and Al Colussy, co-chairs. The committee has an advisory panel tentatively scheduled for a Gold Line transit-oriented development site in February

Workforce Housing Initiative, Susan Powers and Jamie Fitzpatrick, co-chairs. In December the committee met with ULI research fellow John McIlwain to discuss joining the Workforce Housing program being created under a $5 million grant by former ULI chair J. Ronald Terwilliger.

Meet the Mayors, Peter Kenney, chair. The committee plans to host eight lunches in 2007, including several outside metro Denver.

Education, Denise Balkas and Mike Ermisch, group chairs

Explorer Series, Rich Von Luhrte, chair. On December 5 the committee hosted a successful Explorer Series at the Museum Residences, followed by the ULI Holiday Party at the Denver Art Museum attended by 220 members.

TOD Best Practices series, Peter Kenney and Randy Pye, co-chairs. On November 9 the committee hosted a session on TOD fi nance with guest

speakers including Christopher Leinberger, Steve Moyski and Bill Mosher. More than 150 attended.

Quality Growth Education Committee, Mike Ermisch and Stuart Miner, chairs. The committee met on January 9 to plan new programs that will raise public awareness of ULI Colorado’s programs. The committee may seek funding for a public opinion poll on growth issues in metro Denver.

TODay Committee, Nanci Kerr and Renee Martinez-Stone, co-chairs. See page 1 update.

Marketing, David Miles, group chair. In 2007 this committee plans to coordinate the look and message of ULI Colorado’s newsletter, brochure, web site, fl yers and advertisements under a new “brand.” The committee welcomes new members Elaine Jensen, Lori Cady, Ben Kelly, James Shaffer, and Cynthia Kemper.

Public relations, Jenny Shapiro, chair. The committee has continued to generate positive press in the Denver Post, Rocky Mountain News, Colorado Matters, Colorado Biz, Denver Business Journal, and other media.

Membership, open chairs. This committee is regrouping under Kacey Wilkins, ULI Colorado’s coordina-tor and director of development. A “Get Involved” event for new members and volunteers is planned for spring.

Sponsorship, Don Gendall and Larry King, group chairs. After assisting Fall Meeting sponsorship that exceeded $800,000, the committee is planning thank-yous for 69 sponsors who currently support ULI Colorado. The committee also plans to increase event sponsorship in 2007-08.

Young Leaders Group, Jeff Fisher and John Livaditis, group chairs. The YLGs will soon nominate a new co-chair as John Livaditis is “retiring” after three years of service. This winter, the YLGs will host a Discovery series with James Carberry. YLG Peyton Fullerton is developing a “Partnership Forum” to link YLGs to moderators.

Get involved to help us Build Better Communities! http://www.ulicolorado.org

ULI’s December 5 Holiday Party at the Denver Art Museum drew 220 members to enjoy food, music, prizes and a celebration of a successful year.

Denver Museum of Natural History: Space Science development newsletter

Urban Land Institute: Colorado Chapter newsletter

79

National Renewable Energy Lab: Green Building Council competition newsletter

Product brochure for Semitool, an international semi-conductor fabrication company. There were five distinct product brochures.

80

Important tasks for any project are documentation and communication. With over 20 years of design experience, Lisa has extensive project facilitation and management skills, which insures that a project team can expect participation and communication managed in a professional and timely manner. Lisa’s design pro-cess takes the team through conceptual design, design development, and final design and fabrication phases that are consensus-driven and transparent. Documentation at each phase is provided to insure that all participants are aligned. Her fabrica-tion and construction supervision knowledge guaran-tees that the installation meets all expectations and requirements for the project regarding engineering, materials specifications, maintenance, and safety. She also have extensive experience in creating vision books, marketing materials, funding docu-ments, and any other graphic needs required for a successful project.

Documentation

82

“ I have worked with Lisa McGuire on several exhibition projects ranging in size from small gallery shows and rotations to a much larger special exhibition. The depth of her talent as a graphic designer is impressive. She has a full design range from modern and minimal to classic, immersive and elaborate. As a museum client, I have valued not only her design work, but also the value she places on the application of that design to the exhibition format. Her knowledge of environ-mental graphics, its execution, and the visitor experience has been invaluable. She works well with curators and other exhibition team members while maintaining the highest professional standards. Her attention to detail and deadlines is unsurpassed. Lisa works tirelessly to achieve a successful product and has been an asset to our team as a graphic designer.”

— Kara Kudzma, Exhibits Project Manager Exhibitions and Collections Services, The Denver Art Museum

“ Lisa McGuire has worked with us on several projects, including our feature permanent exhibition, Globeology. Lisa’s attention to detail is impeccable, and her standards are very high. It is one of the many reasons we continue to work with Lisa on any project we can. She is very easy to work with, making revisions until the product is just right. One of her greatest skills is that of the design concept. I am a biologist, and can pencil sketch an idea and Lisa turns it into some-thing amazing. On every project, one of her first designs has always been the one selected. She listens and is very in-tune with client needs, and has excellent project management skills as well. I would recommend her to anyone that is looking for a top-notch designer.

— Jessy Clark, Director of Programs, The Wildlife Experience

“ Lisa McGuire was by far and away the best graphic designer that I have ever worked with in my 10 plus years at Fineline. Lisa is very precise, in depth and accommodating to our print needs. The file and layout preparation was very thorough and easy to print from. The Cities of Splendor was a very large printing project (5000 square feet) and went extremely well. My production team had nothing but compliments about how smoothly the project went.”

— Stephen Harris, Account Executive, Fineline Onestop Printing

Testimonials

83

“ Lisa knows museums and is one of the finest graphic communicators I’ve ever had the opportunity to work alongside. She will show

you samples of her beautiful design products and hopefully those will adequately reflect how truly successful her graphics are in

helping to create environments that satisfy the needs of museum users. What may not be as visible in Lisa’s portfolio is her ability

to support and build productive, efficient teams and processes, from project conception to completion.

I had already worked with The Wildlife Experience as a label writer for several months when Lisa came on as an independent

graphic designer. Lisa immediately saw what was needed and filled in all the gaps—she made schedules and lists of graphic

components that the diverse group working on the project could utilize. She understood production needs and costs and helped

bring all the players together to mutual understanding. Her attitude was not only constructive it is also always pleasant. I am not

exaggerating when I say that Lisa is one of the most dedicated and reliable professionals I know.”

—Beth Kaminsky, Manager of Exhibit Initiatives, History Colorado Center

“ In 2010, I had the opportunity to collaborate with Lisa McGuire on two distinctly different interpretive trails on the Stanislaus National Forest in California. As the lead graphic designer, Lisa approached the project(s) in a creative and professional manner. She determined our needs, what messages the design should portray and how to tell the story. She actively contributed to the project by conducting personal research on the story line and helped with finding appropriate images. Her facilitation skills set us at ease as she demonstrated a clear understanding of the process and the need to stay within or below budget. She provided us with choices of color schemes, font styles and other visual element options, saving us days, if not weeks, had we attempted a project like this on our own. Throughout the process, Lisa and I shared a lively give and take over the phone and via email. Lisa’s vision kept us on track, while she was always ready to consider my ideas giving me a voice in the process. Lisa has a delightful way with people. She has a spark and positive attitude that is uplifting to those around her. Her expertise in graphic art and pro-duction and her authentic rapport with others make her an ideal member of a creative graphic design team.

I would welcome any future opportunity to work with her.” —Phyllis K. Ashmead, Public Service Program Area Leader, Mi-Wok Ranger District, USFS

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Images from front to back, left to right:

Storm coming in the San Luis Valley

Eye of the storm (NASA image), old wood siding, Molly’s eye

View inside old clock

Thunder clouds, nautilus shell, Windy River Range in Wyoming, waves on the North Sea

Gamble oak leaf, Jill Soukup’s painting of iris, peeling wallpaper in old miner’s cabin, lichen

Stamped tin, nautilus shell, butterfly wing, caterpillar, new born calf, Bighorn lamb

Hothouse flower, sunset in Wyoming

Chilean poncho, Mexican lace agate, pheasant’s feathers

Autumn seeds, pinecone, fossil leaf

Lady Liberty, tribute to John Lennon in NYC

Keyhole in old lock, discarded ladies shoe from 1800s, Irish coin

Taos church, Taos church, raven

Water rushing over rocks in Glacier National Park

Spring snow, summer Beech tree leaf, fall frost

Water reflections on Marshall Pass

Lisa and Scruffy

View from the cabin

Images by Charles Stirum

Remember the first time you found a seashell on the beach? All those beautiful shapes, colors, and patterns make shells fun to collect. We’ve collected thousands!

Soft-bodied animals called mollusks make these shells for protection and support. The Museum’s conchology collection contains the former homes of five different classes of mollusk.

More than 100,000 mollusk species—including clams, octopuses, and snails—live in the ocean, in lakes and streams, even trees!

All mollusks have the same basic body plan, with slight differences according to lifestyle. Most have a shell made of calcium carbonate.

Conchology Collection

• Shell protects the soft body

• Mantle lines and secretes shell

• Foot or arms for locomotion or grasping

• Gills absorb oxygen from water

• Digestive track processes food

• Radula grinds food or drills shells

• Gonads are reproductive organs

Shell

MAntle

heARt

Mouth

DiGeStive tRAck

GonADS

RADulA

GillS

Foot

PolyplacophoraIt’s easy to see why chitons are called “coat of mail” shells. Like Medieval knights, they wear flexible armor made of overlapping plates. A leathery girdle binds the shell plates together. When threatened, chitons can roll up to protect their soft underside. Chitons eat algae, which they scrape off the rocks with their hard, iron-coated radula.

Gumboot chitonCryptochiton stelleri Mopaliidae Japan to California ZC.12031 Stacey Collection Lunas Collection 71

chambered nautilus Nautilus pompiliusNautilidaePhilippines and Palau IslandsZC.12093 Fletcher Collection

shell with girdle

shell plates

ScaphopodaScaphopods have a tapered, tusk-shaped shell that’s open at both ends. With its typical mollusk foot, the tusk shell burrows head-first into the sand or mud and hunts microscopic food in the sediment. Scaphopoda, which means “shovel-footed,” actually refers to the head!

elephant tuskDentalium elephantiumDentaliidaePhilippines to Japan ZC.12013 Stacey Collection

vernede’s tuskDentalium vernedeiDentaliidaeEast AsiaZC.12002

On the underside of this gumboot chiton you can see the characteristic mollusk foot in the center, flanked by the gills, mantle, and dark, leathery girdle. The mouth is at upper left.

As it grows, Nautilus adds new, larger living chambers to its perfect spiral shell. Nautilus changes depth by adjusting the amount of gas in the old chambers. In this slice you can see tiny tubes connecting them. The tubes hold the tissue siphuncle, which regulates the gas-water ratio.

A channeled tun marine snail creeps along on its oversize foot, hunting clams and oysters to eat.

Gastropods are the only mollusks that live on land.

cone snails— beautiful but deadly

This textile cone snail could kill you! Cone snails kill their prey—small fish, worms, or other snails—by injecting them with venom. Only a few species are threats to humans, though.

In fact, venoms of other cone snails contain remarkable chemicals that could turn into new treatments for pain and epilepsy. Researchers worry that as pollution, disease, and climate change destroy the cones’ coral reef habitat, many potential drugs may be lost forever.

textile coneConus textileConidaeThailandZC.10421 Fletcher Collection

This female argonaut washed ashore in Florida, still holding her egg case with the two specialized flat arms that made it.

CephalopodaCephalopods aren’t typical mollusks. Only a few species, the nautilids, have outer shells. Most, including octopuses, do not. Cephalopods have arms instead of a foot. They’re jet-propelled too. Contracting the muscular mantel forces water out through a directional “funnel” jet.

GastropodaHave you ever seen slugs in your garden? Those are snails (gastropods) without shells. Eight out of 10 mollusks are gastropods, and they live everywhere! Many of these animals with the colorful spiral shells are carnivorous and eat other snails or worms.

imperial voluteAulica imperialisVolutidaePhilippinesZC.10220

venus comb murexMurex pectenMuricidaeIndo-Pacific Lunas Collection 43

BivalviaBivalves have two shells (valves) hinged with an elastic ligament. They live only in water. Most attach permanently to rocks, or dig into the sand using their mollusk foot. Scallops and other free-swimmers can move through the water by flapping their valves.

noble scallop Chlamys senatoria nobilisBivalvia, PectinidaeJapanZC.12487 Anderson Collection

Pacific thorny oyster (spondylus) Spondylus princeps SpondylidaeGulf of California to Panama Lunas Collection 91

8 Shell PlAteS

MouthcAPtAculA

Foot

RADulA

Argonauts are related to octopuses. The female secretes a paper-thin, shell-like case in which she lives and broods her eggs.

common paper nautilus Argonauta argoArgonautidaeWarm seas worldwide— open ocean (pelagic)ZC.12086 Anderson Collection

This giant clam is about the size of the large shell below. With the mantle extended, the siphons are clearly visible.

Scaphopods capture microscopic food with sticky-tipped feeding tentacles called captacula. Inside the mouth, the large radula grinds it up.

This scanning electron microscope photo of a scaphopod radula is from an animal only one centimeter long!

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Bivalves take in and expel water through siphons. The gills absorb oxygen from the water and in most species trap food particles in mucus. The “spent” water is then expelled.

SiPhuncle

Funnel

Mouth

RADulAMouth

tenticleS with eyes

SEE SHELLS by the SEASHORE

Lisa lives with her husband Charles and two furry friends in a renovated 1860s mining

cabin, high in the Rocky Mountains.

Xu Beihong is a key figure in 20th century Chinese art. Drawn from the Xu Beihong Memorial Museum, the exhibition featured 61 works including Chinese ink brush paintings, oil paintings, drawings, pastels, and calligraphy. Visitors explored Xu Beihong’s career from early works including a 1918 landscape painting, drawings and paintings created during his studies in Europe, and several of his well-known and loved horse paintings. Lisa worked closely with the curator to provide just the right amount of interpretive moments in the galleries. Most American audiences are unfamiliar with Xu Beihong, so a minimal story line was included and placed discretely along the edges of the gallery walls. Lisa also designed the paint plan for the exhibition. Many of the pieces were dwarfed by the soaring gallery walls, so she devised a horizon line for the paint plan so that the painting and drawings were shown in a more appropriate and intimate scale. A complementary exhibition Threads of Heaven: Silken

Legacy of China’s Last Dynasty showed along side of Xu Beihong, and Lisa provided the exhibition graphics as well.

Xu Beihong, Pioneer of Modern Chinese PaintingDenver Art Museum, Colorado

Lisa McGuire Communication & Design

[email protected]

lisa mcguire portfolio 2014

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