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SUPERSHED
Winner of the AIA Northwest Pacific Region Student Design Award (2012).
I had the honor of participating in the competitive, award-winning Howard S. Wright Neighborhood Design/Build Studio (NDB) taught by Professor Steve Badanes. The NDB team designed and built two tool sheds, a solar greenhouse and a community classroom space that served the varied needs of the University of Washington Farm, Seattle Youth Garden Works, and the Hardy Plant Society of Seattle. The project is located on the perimeter of the Union Bay Natural Area, a 74 acre center (formerly a county dump) dedicated to the study of urban agriculture, ecological restoration and sustainability.
After an initial client meeting and feedback period, the integrated design process unfolded quickly with the decision to combine the varied client programs into a unified and cohesive structure in order to preserve space for outdoor education and habitat. This decision, in conjunction with a high degree of responsiveness to site conditions, became the foundation for the studio’s design strategy. With the nickname “Supershed,” the combined structure became the NBD studio’s most innovative project to date, with a total area of 459 square feet despite a budget of just under $11,000.
The design strategy utilizes a technically ambitious articulated king post truss system (and modular wall panels) that serve to address the client’s security and program needs while maximizing important site opportunities regarding light/sun exposure (solar greenhouse and daylit tool sheds), natural ventilation, rain (roof-water capture devices) and southern views of restored wetlands and Union Bay (classroom). All of the structure’s cladding is either salvaged from on-site materials (e.g., doors constructed from used concrete forms, twig fence organic material sourced from discarded university ground cuttings) or locally sourced and donated, reclaimed cedar (for the classroom). The twelve week project was recently nominated for an AIA Student Award
2012
Architecture, Drawing, Landscape Design
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DECODING THE TIBER
Last fall, I was the recipient of a fellowship to study the Tiber River. The Tiber, caged by 20-ft travertine embankments, is rejected as a social space by most Romans. My work was based on a competition to design a museum, traditionally a static entity, dedicated to the river, a system that is constantly in flux. The design specifically responds to a significant lack of environmental data on the Tiber and its heavily bounded site conditions. “Decoding the Tiber” situates post-industrial sites as data collection and decoding points, as well as newly productive space.
An urban river research center decodes the uncertain ecologies of the Tiber — a testing space for researchers to connect in the lab and on the water to provocatively engage the river and its urban narrative. This decoding is illustrated in designed stormwater data pools, their radical colors linked to water quality at other testing sites along the Tiber, changing temporally based on the health of the river. Opportunities for active physical exploration of the Tiber by Romans is a ways off; therefore, the design presents a digital iPhone application entitled “Tiber Decoder Ring” in which the dots and data between upstream and downstream are connected digitally (forecasts and real-time feeds). Users also have the ability to map their own intersections and investigations of the Tiber, graphically connecting users to their contextual surroundings.
2012
Architecture, Graphic Design, User Interface Design
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ADX
As a fabrication intern I fabricated prototype stools for the ADX shop from scrap metal and cedar logs. Cedar logs were ban-sawed, power, sanded (belt and orbital) planed, and coated with tung oil. Angle iron legs were cut and drilled in the machine shop. Cedar pieces were drilled and filled with a length of dowel to prevent crack expansion as the wood continued to dry over the next few months.
I also worked on several other in-house projects such as sign fabrication and other miscellaneous endeavors.
2012
Furniture Design
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://DIG STUDIO
A collaborative thesis on Indeterminate Landscapes: Although the ultimate focus of DIG Studio was the Lower Willamette River and Port of Portland Superfund Site in Portland, Oregon, Dig Studio began by conceptually siting our work within the context of the Columbia River Basin. Understanding this basin as a network of altered riverscapes, resource extraction zones, and urban and agricultural areas lent an appropriate level of place and relevance to the work. Further analysis concentrated on the last seven miles of the Lower Willamette River.
A hexagonal underlay was employed as both a rhetorical device to challenge the notion of boundary as well as a reference used to index numerous operations in multiple modes and phases. The notion of scripts was developed as a generative notational system to indicate the initiation of site-specific processes. Each script dictates a particular time phase or cycle, with some corresponding to typical site work, and others corresponding to longer term processes.
The final project was presented Spring 2012. A curated, print experience was created via laser-etched hand bound, foldout books. The ://DIG STUDIO totem resides in the offices of the U. of Washington, College of Built Environment, Landscape Architecture Department in a laser engraved box.
Collaborators: J. Bell & D. Tomlinson
2012
Graphic Design, Landscape Design, Packaging
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MVF
MVF situates post-industrial site as a data collection and decoding point, as well as newly productive space. In this collaborative project (another landscape architect and architecture student), we designed an interpretive research center and public landing site to address the challenges of climate change in the urban landscape.
The design proposed a track crane that responds to on-site fluctuations in wind, water levels and temperature. The crane is also utilized for (de)constructing laboratory/educational space as well as variable landscape programming elements constructed from designed modular building blocks (e.g. seasonal sauna, vegetable garden plots, classrooms and outdoor galleries). As so many of the real transitions in our environment and health (such as climate change) are rarely accessible or visible to the public, my designs strive to visualize the unimagined, to interpret ecological and social changes via transformative design.
Collaborators: J. Bell & W. Zang
2011
Architecture, Graphic Design, Landscape Design
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URBAN HARDWOODS
Under the mentorship of artist Laura Yeats: green wood turning (from felled urban hardwood trees) of unique bowls and vessels. Bowl featured here is black walnut with live edge and exposed knots.
2012
Crafts, Sculpting
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NEW EYES FOR OLD
Co-curated, designed and installed this exhibit at Suyama's 3X10 Space in downtown Seattle in conjunction with the Next Eco-City Symposium. I designed marketing materials for both events as well.
2011
Copywriting, Exhibition Design, Graphic Design
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NEXT ECO CITY
Print design and production management. 1000 posters printed and distributed nationally to other architecture programs and professionals.
2011
Editorial Design, Graphic Design, Print Design
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TIBER NARRATIVES
A graphic exploration of the layered narratives of Rome's Tiber River.
2011
Architecture, Editorial Design, Graphic Design
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VTECH PACKAGING
Produced and designed product packaging (standard and specialty items) for VTech Communications, Inc. Art directed product/model photography and press checks. In 2009, we hired our ad agency (Ayzenberg) to produce a concept packaging piece, which I then adapted and produced for market.
2008
Art Direction, Graphic Design, Packaging
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FLATPACK COFFEE TABLE
A coffee table that can be flatpacked in less than 5 minutes. As a studio excercise in speed and play of materials, I designed and built a piece of furniture in less than four days using only a sheet of 1/4 plywood (doug fir) and one 2x2x8 (also doug fir). The tabletop is laminated with sunken elevator bolts (6) that attach the lower rails. The secondary shelf slides through routed openings in the table legs, which are angled at varying degrees.
Price tag for lumber and parts is under $25. Dimensions: 24"X48"'X15 3/4" (WXLXH).
2012
Architecture, Furniture Design
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LA FLUX
This studio project focused on investigations and analysis into one of Seattle’s last remaining natural open areas on Lake Washington (a ninety acre capped landfill and wetland on the tip of the fragmented Ravenna watershed). Assigned projects primarily addressed analysis, graphic depiction and GIS mapping of watershed processes, while the final portion of the studio fostered the development of temporal and spatial design interventions.
My interventions were guided more by time and process than by form, responding to the historical and frequent terrain, habitat, and water fluctuations evident in the site analysis. The interventions strive to spatially and temporally integrate on-site and contextual relationships as well as foster ecological literacy through formation of profound physical and emotional connections to the landscape, educational programming, and edible garden resources.
2010
Graphic Design, Landscape Design
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DEEP SURFACE
In this design activism mid-review project, students investigated the role of design in improving living conditions, human health and environmental resilience in the water poor urban slums of Lima, Peru. Students were asked to experiment with particular technologies and processes in an effort to retrofit the community with resilient infrastructure while providing a learning landscape at the potagorus school site.
This intervention serves as an example of wetland filtration that community members could easily implement in other places to catalyze future development of Lomas de Zapallal. I proposed the installation of a test and research based subsurface constructed wetland [combined french system] that treats raw wastewater [125 PE]. The system is sited on a 12% slope currently used as the school dump. The intervention seeks to work with the friction and slippage of the slope, augmenting programatic layers through faceted sections that provide embedded and layered opportunities for ecological resilience, education, respite and play. The unfolded dymaxion is integrated from an adjacent project on poultry production and animal husbandry education.
2011
Graphic Design, Landscape Design
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MODULAR LANDSCAPES
In this Design Activism Studio, students investigated the role of design in improving living conditions, human health and environmental resilience in the water poor urban slums of Lima, Peru.
My collaborative project radically interpreted the final directive, designing a series of small scale experiments in infrastructure that critically engaged current practices in slum upgrading while providing multiple opportunities for insurgent acts on the part of the community. We published a bilingual booklet that engaged the community, (primarily working, single mothers and children) through a playful and graphic manner (the publication is also a children’s coloring book). The booklet serves as a three-pronged tool for education, empowerment and experimental design. The phrase “we provide the framework, you fill it in” serves as a playful reminder that the publication is a grounding resource for the community to make its own informed decisions about alternative sanitation infrastructure and public space.
This particular project won the WASLA (Washington Society of Landscape Architects) Merit Award (2011). The studio's body of student work (titled Escuela Ecologica Saludable Initiative, Parque Primaria, Lima, Peru) was the 2012 SEED (Social Economic and Environmental Design) International Competition Winner.
2011
Architecture, Editorial Design, Landscape Design
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ADX FABRICATION PORTFOLIO
As a fabrication intern at ADX, I produced and designed both the print and web experience for their fabrication portfolio. The portfolio is a limited print run, with cards enclosed within a cardboard envelope. Sample pages left (including envelope).
2012
Editorial Design, Graphic Design
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A WELL HUNG LANDSCAPE
This experiment was conceived for a materials studio final that required students to make a vessel for water and windborn seeds using natural and mechanical materials that responded to specific site conditions of Seattle alleyways. My partner and I interpreted the challenge in a playful manner, both in terms of the flexibility of constructed materials and the visual/ephemeral qualities of the piece. The piece immediately established a dichotomy of experiential views [soft top, hard bottom], but also strived for transparency, thinking about how the sod and moisture might interact with the metal, and the process of those materials as they decayed.
We eagerly anticipated how the flooring beneath the piece would become stained due to the constant drip of water. This area and the layering of stains and rust patterns would become a part of the object, and a part of the process. The piece was constructed of alternating steel contour plates with sod inserted and bolted between the steel at select points. Hanging elements were TIG welded to strategically placed double length bolts.
Collaborator: J. Bell
2011
Architecture
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VTECH
Marketing Collateral, Product Catalogs & Press Kits.
2009
Art Direction, Graphic Design, Packaging
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EXPERIMENTING IN PUBLIC SPACE
Co-curated and designed exhibit. Designed marketing collateral (postcard, posters, and catalog).
2012
Editorial Design, Exhibition Design, Graphic Design
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COLLEGE OF BUILT ENVIRONMENTS
Design of 4/color print poster and invite to Masters of Landscape Architecture thesis reception.
2012
Editorial Design, Graphic Design
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SENECA THREAD
This infrastructure studio focused on the design of the Seattle waterfront in combination with the new seawall and the tear down of the deteriorating Alaskan Way Viaduct. The framework consisted of manifold threads that served to strengthen the Seneca street "strand" and enliven public space by thickening ecological, social, economic, and infrastructural threads. The proposal provided a series of visual and physical insertions and extensions that projected water, light and pier planks inland, while pulling people into physical contact with the ecology and drama of Elliot Bay.
Collaborator: J Bell.
2010
Architecture, Graphic Design, Landscape Design
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AVA ACADEMIA PRESS
Content and graphics research. graphics management and design.
2010
Graphic Design, Writing
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ELLE GIRL
Under the tutelage of Marie Suter, assisted production and editorial design of front of book pages and the occasional spread.
2005
Editorial Design, Fashion
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NEW YORK CHORAL SOCIETY
Co-design and production with Keith D'Mello for 500 invitations to the NYCS Benefit (2007).
2006
Graphic Design
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METROPOLITAN HOME
Under the tutelage of Art Directors Keith D'Mello and Jeffery Felmus, I assisted in the design and production of met home as well as special projects.
2007
Architecture, Copywriting, Editorial Design
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THICK SECTIONS
Scholarly paper collaboration (Dr. Way) to be submitted to the Journal of Landscape Architecture (JOLA) titled “Thick Sections of Gas Works Park: Remanufacturing Post-Industrial Sites.”
2012
Graphic Design
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PLATFORM 20X20
I founded and organized Platform as a quarterly pecha kucha series investigating work on varying themes in order to create dialogue and transdisciplinary networking opportunities between U. of Washington College of Built Environment students (LA, ARCH, Engineering, Urban Design, Construction), college faculty and (local/visiting) professionals.
The first informal event investigated DESIGN ACTIVISM in a variety of forms and interpretations in the Spring of 2011 and featured invited scholars from the Danish School of Design, local artists, CBE faculty and students. The space allowed for informal conversation and exploration of experiments in the field from disparate vantage points.
2011
Print Design, Writing
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UNFOLDING TERRAIN
REGRADE PARK
2010
Architecture, Graphic Design, Landscape Design
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THE ODD COUPLE
Infographic
2010
Graphic Design, Writing
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FIELD RECORDINGS
Detail drawings, sketches and patterns from recent sojourns across the seas. The use of thin, semi-transparent paper is intentional, creating a layered effect between one drawing and the next. In the end the recordings are considered as an accumulation rather than individual pieces.
Drawing
