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INDEX


BUILT

Professional Architectural Projects

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THE FAUX MARTHA RESIDENCE Residential Design Build Project, BrownSmith Restoration, 2015

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EDUCATIONAL SUPPORT CENTER Commercial Architectural Project, SHW Group, 2009

CONCEPTUAL

Academic Architectural Projects

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FOOD MANUFACTORY Second Year Project, University of Minnesota, 2018

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FIRE WATCHTOWER & LUMBER INDUSTRY RESEARCH First Year Project, University of Minnesota, 2017

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NORTH EAST EATERY & MARKET First Year Project, University of Minnesota, 2016

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VERTICAL SPORTS FACILITY Undergraduate 4th Year Project, HKS & Texas A&M University, 2008

OBJECTS

Exhibited and Commissioned Projects

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PRESS BOWLS Exhibited and Sold

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GEOMETRY COLLECTION Exhibited and Sold

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MARBLEIZED SERIES Exhibited and Sold

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BRONZE & CONCRETE TABLE Commissioned Project


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One of the paradoxes of art and architecture is that although all moving works are unique, they reflect what is general and shared in the human existential experience. In this way, art is tautological; it keeps repeating the same basic expression over and over again: how it feels to be a human being in this world.

– Juhani Pallasmaa


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THE FAUX MARTHA RESIDENCE BrownSmith Restoration

One of the forty plus projects I worked on with the BrownSmith Restoration team, the Faux Martha Residence, was designed for a prominent Twin Cities blogger, Melissa Coleman, who is known as The Faux Martha. Coleman works from home and blogs about her passion for baking, home goods, and lifestyle design. Consequently, the BrownSmith team designed a home that functions as a tabula rasa, a flexible open space where Coleman could style, photograph, and write about her varying ideas and projects. Using Melissa’s feedback as a foundation, and working with the BrownSmith team, I produced the schematic design, program layout, 3D models, framing plans, site plan, floor plans, exterior elevations, interior elevations, lighting plans, wall sections, construction documents, perspectives, and renderings for the project. I was also charged with identifying the interior and exterior materials, fixtures, finishes, and furnishings for the Faux Martha House.


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Interior views of the Faux Martha Residence


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EDUCATIONAL SUPPORT CENTER SHW Group Architects

Sited on six acres, the Educational Support Center remodel and addition included renovating fifty thousand square feet of the existing building and constructing six thousand square feet of additional space. Our team's design called for the consolidation of the central administration functions that were originally housed in three places, to now be contained in a single, central location. This new facility holds the board room and other administration functions and serves as the new front door to the local community. The building’s design also includes district-wide staff offices and development spaces. The facility’s emphasis is on the collaboration between the center’s departments and the public. A simple loop plan was established with an accessible board room in the front and shared spaces in the core. The spatial arrangement of the facility, generated by the necessity to fit all administration departments into one space, reflects the philosophy of the central administration building and the district it serves. From a design perspective, the building’s public spaces are accessible and are easily monitored from the reception area of each department suite throughout the circulation loop. Lastly, shared space in the building’s core promotes inter-department collaboration.


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Scale: 1/4" = 10' Educational Support Center - Floor Plan


Educational Support Center - Exterior Elevations


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While these facts are so familiar as to hardly need repetition, we tend to be unaware of the ontological consequences of these differences; that is to say, of the way in which framework tends towards the aerial and the dematerialization of mass, whereas the mass form is telluric, embedding itself even deeper into the earth. The one tends towards light and the other towards dark. These gravitational opposites, the immateriality of the frame and the materiality of the mass may be said to symbolize the two cosmological opposites to which they aspire: the sky and the earth.

– Kenneth Frampton


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FOOD MANUFACTORY A Small Business Incubator for the Whittier Community, Minneapolis

The Food Manufactory weaves together research and design concepts about site, program, structure, material, envelope, and systems. The site plan of the project is in Whittier, Minneapolis, directly off Eat Street on a corner lot. This area is home to a diverse community who, despite having a lot of restaurant options, is lacking in grocery stores and markets. Also, there is a significant unemployment issue in the area which the Food Manufactory attempts to address.


Proposed Building Footprint -

Existing Site Plan


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The Food Manufactory has intentionally low ceiling heights to minimize the total height of the building so that it fits within the existing context. The square footage is spread across the lot so that the rooftop community garden has as much access to sunlight as possible. The holes in the floorplates are the inward facing elements of the building and the outward facing verandas have loggia-like spaces attached to them. The rain screen and large ventilation space between the screen and the building act as a gentle and semi-transparent barrier between the exterior and interior.

Proposed East Elevation - Eat Street View


Proposed Building in Context - Garden Level View


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The envelope of the building is carefully integrated with the structure and allows people from the outside to see how the buildingis supported. In otherwords, to express the structure from the outside the structural grid reaches to the edge of the building. The glazing panels that line up with the edge of the grid stop the moisture from coming into the building. The rain screen lets winter sunlight in and diffuses harsh summer sunlight. Also, the screen stops rain and snow from hitting and damaging the building.


West Facing Section - Mass Timber Construction


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Programmatically, I chose to use the hole and the stacking spatial strategies in the Food Manufactory for many reasons. From the beginning, I was interested in working within a specifically generic grid which lent itself easily to stacking floor plates. This grid system works well for both the architect and the engineer and facilitates collaboration between the fields. It also makes it simple to change and replace parts in the building over time. The hole strategy works within the structural grid and allows for a winding walking path to meander through the levels. The path penetrates the floor plates at differing areas of the section within the building allowing people who are on the path to expeirence varying programmatic spaces. The holes on each level serve as gathering spots for people on and viewing areas to see what is happening on the levels above or below.


Path Through Building

View From Ramp


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Basement Level Floor Plan: Root Cellars/Compost Stalls/Mechanical

Main Level Floor Plan: Co-Operative Market/Whittier Bistro


2nd Level Floor Plan: Co-Working Space/Commercial Kitchen

4th Level Floor Plan: Fresh Food Storage/Food Hub/Growing Space


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Above ground, I chose mass timber construction as an assembly logic for many reasons. This building material is light weight, easy to assemble, and it is easily adaptable to new programmatic purposes over time. Also, with the development of dowel laminated timbers a builder can now add pieces of unique wood species together to suit different purposes based on the characteristics of the selectetd species. The wood structure gets lighter as it reaches the sky. At the top level, the community garden, the structure is lightly framed to simply define the space and gently terminate the structure. The subterranean space of the building holds the mechanical room and other programmatic spaces where passive cooling is needed. In the basement, the large sloped retaining walls innately express the force it takes to hold back soil loads. The top of the wall emerges from the earth so that people can feel the weight of the concrete and see the structure below. The concrete wall also acts as a three-foot splash guard to protect the wooden structure above it. A mixture of taconite stone remnants, which act as large aggregate, and concrete are used for the basement material. The stone byproduct is good under compression, it does not rot underground, is inexpensive, and would minimize the amount of concrete used in the walls.


Sections of Select Levels

Garden Level

Main Level

4th Level

Basement Level


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FIRE WATCHTOWER & LUMBER INDUSTRY RESEARCH

For this project, I chose to interview Minnesotan lumber mills to research opportunities within the manufacturing processes. The goal was to integrate specific wood species into production. My research question was: How can undervalued woody plant species, which build up in understories and cause damaging forest fires, be used in the existing lumber manufacturing processes in Minnesota to help mitigate unwanted forest fires in northern Minnesota? To the left is a research based diagram showing the time it takes to manufacture a tree from forest to store and how it could improve understories..


forest understory - Acer Ginnala

newer processors can harvest 600 cords per day

4. felling (branch trimming)

3. felling (direction fall)

less than a minute

a few seconds

5. felling (sections cut for transportation)

6. skidding tree section to road

7. making road stack

8. tree sections in log loader to transport to sawmill

approximately 3 hours

minimal time

minimal time

some mills buy logs in a 200 mile radius of the mill = 3 hours max

circular saw

ban saw

scanner

9. tree sections stored in log decks

10. debarking & bucking

11. calculate cut pattern

12. sawing cut pattern for lumber

less than 6 weeks

25 logs per minute

less than a second per log

CNS processes 25 logs per minute

Waste materials are relocated: planar

at this point bark is sold as mulch, chips and sawdust are either burned as feul or sent to paper paper mills

14. planing & edge rounding

15. separate into grades

16. marking & banding

17. load on delivery truck

140 pieces per minute

up to 200 pieces per minute

1 unit per minute

30 minutes to load

post-harvest & treatment

BRIT LINDSAY

lumber manufacturing - process

2. felling (control cut)

approximately 3 hours

x5

13. kiln drying 22-125 hours

*potential beneďŹ t of understory after harvesting and preventative treatment

UNDERVALUED BUILDING MATERIAL

INTEGRATING INVASIVE SPECIES INTO WOOD MANUFACTURING

1. select trees are marked

Map Credit: Claire Homan

LUMBER INDUSTRY RESEARCH

*Amur Maple (Acer Ginnala) - is on the invasive species list in MN. Ecological Threat: displaces native shrubs and understory trees

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Commercial Sawmills in Minnesota

This symbol represents a twelve hour clock showing how much time a pieces of lumber is at each station.


FIRE PRONE LOCATION

BRIT LINDSAY

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2270’

Eagle Mountain Large Cities

FIRE TOWER [SITE]

Eagle Mountain Trail

Boreal Forest Area

Fire Watch Tower Site

Site at Eagle Mountain: Elevated Viewing Area

ELEVATED VIEWING AREA

Map of the Fire Prone Areas in the Boreal Forest

Superior National Forest


VOLUME STUDIEES + ARMATURE MODELS

VOLUME STUDIEES + ARMATURE MODELS

Process Armature Models for the Fire Watchtower

SPACE + PROGRAM


MATERIAL KEY:

FLOOR PLAN KEY:

Boreal Forest - Aspen, Birch, Fir, Spruce, Cedar

Private Space

Jack Pine Forest - Jack Pine, Red Pine, Oak, Hazel

Public Space

Peatland - Black Spuce, White Cedar, Sedge Fen Great Lakes Pine Forest - Pine, Birch, Aspen Noxious Invasive Tree/Shrub - Common Buckthorn Noxious Invasive Weed - Orange Hawkweed

Level 2. Bedroom 1

Level 3. Bedroom 2

Level 4. Kitchen + Dining

Level 5. Living Room

Level 6. Fire Watch Office

Level 7. Roof Deck

SCALE: 1/8” = 1’

FIRE TOWER [PROGRAM + MATERIAL]

Level 1. Educational Space

PUBLIC / PRIVATE + THICK TO THIN

BRIT LINDSAY

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Public Exterior Private Interior Program in Plan


BRIT LINDSAY

Living Room Upper Canopy View

THICK TO THIN LOGIC + TREE TAXONOMY VIEWS

Fire Watch Office Above Treeline View

Kitchen & Dining Lower Canopy View

Educational Space Understory View

SCALE: 1/8” = 1’

FIRE TOWER [CONSTRUCTION + VOLUME]

Bedrooms & Bath Tree Stem View

Thick to Thin Material Sectional Logic & Integrated Views of the Tree Taxonomy


FIRE TOWER [AXONS + EXPERIENTIAL]

BRIT LINDSAY

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Fire Watchtower Axon Views


FIRE WATCH OFFICE VIEW

View of the Crown of the Canopy on the Top Level

SCALE: 1/8” = 1’


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NORTH EAST EATERY & MARKET

My first inquiry into architecture at the University of Minnesota’s Graduate Program began by investigating an ordinary object, a piece of fruit. By working through this introductory project, I learned that tradition and experience precondition certain norms of thinking about, interacting with, and representing common everyday things. In this studio, I was challenged to interrogate my preconceptions while going beyond what is normal in an effort to defamiliarize the familiar.

This is a photo of the skin of a cantaloupe, which was viewed through a micro lens, and was used my first project at the UMN, 2016.


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Phase 1: Depicting the Unseen: Dynamics/Temporality/Form

Having studied my fruit as a static entity in part one of this project, I was then asked to interrogate its unseen form as it underwent a transformation or mutation. This inquiry was to be a systematic approach to the observation and representation of change.

This series of photos, which are part of a larger time-lapse video, were taken of a cantaloupe being fired in a kiln over a twelve hour period of time. These images were used for part one of my first project at the UMN, 2016.


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Phase 2: The Constructed Drawing: Extracting Dynamic Relationships

In this drawing I explored how rules govern the generation of drawings. My fruit images have been dissolved into a field of dynamic relationships consisting of both the seen and unseen forces that underlie their transformations. The next step in the project was to identify what I considered to be the fundamental rules that govern these transformations. Lastly, I was asked to construct a drawing by carrying out the derived rule-set.

This is a photograph of a graphite drawing that I created for part two of my first projects at the UMN, 2016.


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Phase 3: Material in Formation: Assemblages

Building on part three of the assignment that used rule-sets to generate planar drawings, this exercise investigates the use of rule-sets to govern spatial relationships and material assemblies.

This is a photograph of a plexiglass model that I created for part three of my first projects at the UMN, 2016.


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Phase 4: Restuarant Ready-Made Material Study

This material investigation was part of phase 3 of the Eatery & Market project mentioned before. In the spirit of the previous assignments in this studio, the goal of this study was to take an object that was familiar in the restaurant world and create something unfamiliar out of it by using certain properties within the materials themselves.

These are photographs of a material study that I created for part four of my first projects at the UMN, 2016.


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Phase 5: Building Project Introduction

The final phase of studio one focused on how conceptual explorations become materialized as architecture. Beginning with the givens, a particular program and a specific site, this phase endeavors to develop a building proposition that materializes a set of ideas that you have identified as compelling for an eatery.

These are photographs of a site investigation that I created for part five of my first projects at the UMN, 2016.


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Phase 6: Eatery & Market Mission Statement

In an increasingly fast-paced world, our expectation for food service matches the speed of a bullet train. One solution to this problem is satiated by fast-food or off the shelf packaged products, which we know are non-nutritious and generally bad for our health. In opposition to fast food came the slow food movement, which encourage local farming and regional cooking as a solution. Ideally, we would all have a small farm in our back yard, would have the time to grow and raise our own produce, and the luxury to cook every meal with the finest and most nutritious ingredients. But in reality, few of us have the time nor the money to put towards this type of lifestyle. So, how do we solve this problem and is there a solution for an eatery that is both fast and healthy? My proposition is an eatery and market where the chefs work with local farmers to use seasonal ingredients to create an inexpensive breakfast, lunch, and dinner. The menu changes along with the rotation of the produce that comes from the local farmers so each meal is different everyday. The food will be served quickly, for today’s fast paced lifestyle, and the chef will prepare several readymade options to choose from that are full of nutritional value and under ten dollars.

This photograph is of a mass model representing the milk crate construction for part six of my first projects at the UMN, 2016.


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Phase 7: Ready-Made as Building Material

Following the same concepts mentioned in the previous phases of the project, I chose a familiar ready-made object, the milk crate, to use as an unfamiliar building material for the Market and Eatery. There is a humbleness and transparency to these objects that resonates with the essence of the design aspirations of the building.

These are photographs of a building material exploration that I created for part seven of my first projects at the UMN, 2016.


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Phase 8: Eatery & Market Site Plan & Perspectives

The following drawings are conceptual renderings of the site/floor plan and exterior perspectives of the Eatery & Market. The site/ floor plan shows how the program operates and relates to the neighborhood context and the exterior views show the two buildings in dialogue. Both the Market and Eatery grow vegetation on the exterior of the building to emphasize the freshness of the food, connect the building to the landscape, and reduce the heat gain inside the building.

This drawing and the following are the site plan and perspectives for the design proposal for part eight of my first projects at the UMN, 2016.


Site Plan Scale: 1/8" = 10'


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Eatery & Market Exterior Perspectives


Design is people.

– Jane Jacobs


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VERTICAL SPORTS FACILITY

Inspired by Houston’s problem with obesity in the early 2000’s, select students at Texas A&M University partnered with HKS Architects to create what we called the Vertical Sports Facility. Taking note from Rem Koolhaas’ theoretical Downtown Athletic Club written about in Delirious New York, we too wanted to redefine the typology of the skyscraper. Seth Brunner, my project partner, and I decided our goal was to design a socially-active sports facility that focuses on wellness in the heart of downtown Houston. The vertical orientation of the stacked spaces allows for a small footprint that fits inside the dense downtown landscape.

The levels were organized in descending order of the amount of square footage needed for each activity. This system created a sloped spatial mass. The sloped form of the building and its orientation on the site allows for soft natural daylight to enter at every level. There are green spaces every nine levels to promote relaxation and wellness. There are twenty-six community spaces within the sports facility to encourage social interaction among guests. The circulation system includes elevators and central stairways at every level so that the guests can get exercise while traveling between stories. The public space on the street level is open, transparent, and welcoming to guests.


Scale: 1/2” =View 100’ Vertical Sports Facility Site Plan and Perspective


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The Vertical Sports Facility Interior Perspective


The Vertical Sports Facility Exterior Perspective


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Architecture tames and domesticates space and time in the flesh of the world for human habitation. It frames human existence in specific ways and defines a basic horizon of understanding. In their widest and general meaning, architectural structures “humanize� the world by giving it a human measure and cultural and human meanings.

– Juhani Pallasmaa


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PRESS BOWLS

The Press Bowls are designed to synthesize two divergent design ideologies: the hand crafted, unique or authentic way of making objects with the ultra-streamlined, inauthentic and mass-produced approach. In order to combine these opposite methods in my work, I chose the currently used and industrial technique of press-mold casting to make the products. I then manipulated a part of the casting process to create a unique or one-of-a-kind object each time as opposed to a reproduction.Â

The Marbleized Series was exhibited at the 2015 American Craft Council Show in St. Paul.


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GEOMETRY COLLECTION

The Geometry Collection is a formal study of rudimentary shapes and their seemingly innate functions. To achieve rigid forms, I hand crafted this collection out of b-clay using a more structured technique called slab building.

The Geometry Collection was exhibited in the Hands-On: Conceptual Craft Research show at the 2013 International Contemporary Furniture Festival (ICFF) in New York. The show can be visited online: www.cranbrookhands.com.


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MARBLEIZED SERIES

The Marbleized Series was designed to combine the processes of a hand-made object with the processes of a mass-produced product. In this series, I chose to start with the more industrial technique of slip casting and then manipulated a part of the casting process to create unique results each time.

The Marbleized Series was exhibited at the 2015 American Craft Council Show in St. Paul.


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BRONZE & CONCRETE TABLE

The concrete and bronze dining table was a commissioned furniture piece that I designed for an art collector in 2014. The idea behind the project was to explore uncommon and exposed materials for the construction of a common furniture type while still serving the needs of the client.


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