Urban - Rural Interface
Volume 1 Kansas State University, APDesign Design+Make Studio 2020-2021
Urban - Rural Interface
Volume 1 Kansas State University, APDesign Design+Make Studio 2020-2021
Directory
Urban-Rural Interface
Urban-Rural Interface
1
Studio Introduction Meet the Team Studio Mission Project Introductions
5 7 11 13
The Sanctuary Farms
19
Urban-Rural Interface The Wicked Problem Site Analysis Master Plan Proposal Student Stories
25 33 51 61 69
Lone Oaks Farm
79
Introduction Project Background Research Site Analysis Architectural Proposals
Volland Foundation
85 91 103 127 143
181
Project Briefs Exploration Programming Charrette Proposals
187 213 225 255 283
Learning in a Pandemic Acknowledgments Credits
306 308 310
Fig. 1: Concept rendering of Volland road for the Volland Foundation Proposal.
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Urban-Rural Interface Studio Introduction Meet the Team Studio Mission Project Introductions
Fig. 1: KM&G Morris
Cities can no longer be treated as distinct spaces unconnected to the regions surrounding them. United Nations Water Decade Programme on Advocacy and Communication
Studio Introduction Design+Make Capstone Studio The Design+Make Studio at Kansas State University’s College of Architecture Planning and Design is a capstone studio focusing on real world clients with projects that make a difference in communities around the world. In this studio, the students were broken into three groups, each focusing on different projects that address the focus for this year’s Design+Make studio, the Urban Rural Interface. Going into this studio, the students and mentors were faced with the unique challenge of navigating what a capstone studio looks like in the midst of a global pandemic. While there were inherent difficulties in participating in the Design+Make studio in a virtual capacity such as the inability to visit two project sites, interact with clients in an in-person scenario, the studio was able to establish a deeper connection with clients as well as interact with mentors at a higher frequency.
Urban-Rural Interface
Fig. 1-2: Design+Make Studio
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Meet the Team Studio Mentors The Design+Make studio is sponsored by El Dorado, an architecture firm located in Kansas City, Missouri. The studio consists of a team of partners and associates from El Dorado, as well as two visiting guest critics who are AP Design alumni and professionals in the field.
David Dowell, AIA
Brian Michener, AIA LEED AP
El Dorado | Partner
El Dorado | Associate
Part One Urban-Rural Interface
Lauren Harness, AIA LEED GA
Timothy Tse
About the Work | Associate Project Manager
OMA | Architect
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Meet the Team Students The Design + Make Studio is composed of twelve graduate architecture students who are in their final year at Kansas State University. Each member of the Design + Make Studio wrote a six-word story detailing observations that were made about the Urban-Rural Interface throughout the semester.
Krishan Baniqued
Cheyenne Canterbury
Jenna Engel
“The easiest road to programming is...”
“Design for present and future generations.”
“Interactive education inspires generations’ future prosperity.”
Alex Kinnan
Krynne Knopik
Emily LaRocco
“The art of the rural wave.”
“Bringing new meaning to old ways.”
“Alone is dull, together they inspire.”
Urban-Rural Interface
Natalie Grimm
Matthew Ho
Justin Jennings
“Firsthand experience inspires curiosity and creativity.”
“W.E.T. Center; above, beside, between? Within.”
“Robotic procedures choke world changing architecture.”
Kylee Mernagh
Drew Lofton
Larissa Oshima
“Barn burnt down, only subdivisions now.”
“Built for two, artist and landscape.”
“Instability is the precondition to creativity.”
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Fig. 1: Modern Farmer
Urban-Rural Interface
Fig. 2: Ohio City Farm
Studio Mission The Wicked Problem
Worldwide, there is a disconnect between urban and rural communities. While they are codependent on one another, there is a cultural, infrastructural, and social gap between the two groups. The urban-rural interface is often cast to the side and neglected leading to issues that affect both realms. Through architecture, we aim to bridge the gap between these two by creating spaces and environments where people can come together and learn from one another. When the two come together and acknowledge one another, a dynamic platform is created for the exchange of knowledge and ideas. The Design+Make studio strives to utilize architecture to address this disconnect between urban and rural communities at three distinct scales. The studio has studied what the urban-rural interface means at the international, the educational, and the cultural level through three projects of different sizes. Through these three projects, the studio strives to discover how the urban-rural interface could not only create a dynamic connection between communities at a local level, but how this could create an international interface where urban and rural communities can coexist.
Barn burnt down, only subdivisions now. While urban and rural communities have coexisted for centuries, there is a distinct barrier between the two communities physically and culturally. Through architecture, we hope to positively impact rural communities by creating spaces where there can be a healthy interaction between the two. Using architecture as this connecting piece, we hope to create a precedent for communities worldwide. We believe that the urban-rural interface is crucial in moving forward in this world, because without a mutual understanding of each other, there cannot be a healthy discussion about what happens in our communities and how that will affect our day to day lives and the lives of future generations. Page 11
Project Introductions The Sanctuary Farms The Sanctuary Farm located near Tsamaya, Botswana, is a 5200-acre farm that aims to be a new type of public and private institution rooted in a rural environment. The farm strives to connect urban and rural Africa through education, athletics, hospitality, and agriculture. The Sanctuary Farms could become an international example for fostering the urban-rural interface.
Urban-Rural Interface
Fig. 1: Dream Academy
Fig. 2: Design+Make Studio
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Project Introductions Lone Oaks Farm Located in Middleton, Tennessee, Lone Oaks Farm is a 1200-acre property managed by the University of Tennessee’s Institute of Agriculture. The farm serves as a platform for people of all ages and backgrounds to come and learn about rural Tennessee through the lens of education, hospitality, and agricultural production.
Urban-Rural Interface
Fig. 1-2: El Dorado
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Project Introductions The Volland Foundation The Volland Foundation, located in Volland, Kansas, is an organization that is dedicated to preserving the historic structures that still remain in the small town. Through this appreciation for the past, the Volland Foundation intends to expand on the previous renovation of the Volland Store and House #1 and create an artist residency on site.
Urban-Rural Interface
Fig. 1: Otto Kratzer Fig. 2-4: El Dorado
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The Sanctuary Farms Urban - Rural Interface The Wicked Problem Site Analysis Master Plan Proposal Student Stories
Client Group Dream Academy & The Sanctuary Farms The Sanctuary Farms is the vision of Dream Academy Founders, Fikile and Kathy Khali. Dream Academy is a not for profit organization that emphasizes education while utilizing soccer to inspire young players to elite-level athletics in Botswana. Dream Academy has been a catalyst to the vision and mission of The Sanctuary Farms which hopes to continue to inspire young athletes and students by providing unique educational and athletic opportunities (Leadership Team n.d.).
Fikile Khali Dream Academy & The Sanctuary Farms | Co-Founder
The Sanctuary Farms
Kathy Khali Dream Academy & The Sanctuary Farms | Co- Founder
Greg Melvyne Soutter The Sanctuary Farms | Board of Directors Hospitality Division
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Design Team Mentors & Students The Sanctuary Farms design team consists of four students, who worked vigorously on this project until their help was needed for the studio wide design charrette in October. At that point, The Sanctuary Farms project had reached a pause and concluded for the semester. The team also includes two members from El Dorado as well as two guest critics who are professionals in the field.
The Sanctuary Farms
David Dowell, AIA El Dorado | Partner
Brian Michener, AIA LEED AP El Dorado | Associate
Lauren Harness, AIA LEED Green Associate About the Work | Associate Project Manager
Timothy Tse OMA | Architect
Cheyenne Canterbury
Emily LaRocco
Justin Jennings
Kylee Mernagh
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Part One Urban - Rural Interface Density & Growth Urban vs Rural Regional Timeline
Density & Growth Population in Botswana The Botswana population has been increasing at an annual exponential rate of 2.2% and population is highest in urban areas along the eastern border of the country (World Population Prospects, 2019).
Persons Per KM 20+
10-20
5-10
1-5
Less Than 1
The Sanctuary Farms
Fig. 1-2: United Nations Department of Economic and Social Affairs
1,616,550
1,565,400 1,467,315 Population
1,386,171 1,320,976
1,240,192 10
20
12
20
14
20
16
20
18
20
20
20
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Urban vs Rural Population in Botswana A study from the National Public Radio shows that the urban population outweighs the rural by thirty five percent and that the urban population accurately indicates where urban cities reside within the country. This is interesting because Botswana formerly claimed a rural dominated population (Jason Beaubien, 2005).
The Sanctuary Farms
Fig. 1-2: National Public Radio
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Timeline Population in Botswana The population change from rural to urban in Botswana can be pinpointed to the year 1995 when The Kalahari Relocations took place. In this event, thousands of Kalahari Bushmen were forced to evacuate what are now wildlife reservations and integrate into urban areas. Since this event, Botswana has maintained a growing urban population (Jason Beaubien, 2005).
Urban vs Rural Population
Rural 95%
Population
Urban 70%
70
19
The Sanctuary Farms
80
19
90
19
00
20
10
20
20
20
Fig. 1-2: National Public Radio
Regional Timeline
British proclaim a protectorate called Bechuanaland
Diamonds discovered in Orapa
1867
1966
1850
1900
1885
European gold prospectors arrive, mining begins
1995
1950
2006 2000
1967
Bechuanaland is granted independence
A group of Bushmen win a legal battle to keep their ancestral lands The Kalahari Relocations
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Part Two The Wicked Problem A Two Legged Economic Stool Programmatic Solutions
Two Legged Economic Stool Diamonds Botswana is thriving as the country it is today because of the diamond economy that has been established. In 1967, only a year after gaining independence, diamond mines were discovered. At this point, the average per-capita income was 83 USD. Now, Botswana’s government is partnered with De Beers in mining the richest diamond mine in the world. Botswana was transformed by these diamonds, and they are the only country in Africa to secure control of their mineral wealth (“Diamonds Do Good”, 2019). While diamonds are the backbone of Botswana’s economy, their value has started to decrease rapidly in the last several years (Garside, 2016). Leaning too much on the continuation of diamond success could prove unstable for Botswana’s wealth. Economic instability in a country where modernization has just started to occur calls for a diversity in portfolio just like any other shareholder in an economy.
The Sanctuary Farms
Fig. 1-2: Statista Research Department
Diamond Industry Revenue
Other 30%
Diamond Revenue 70%
Diamond Value Over Time
1% -2% -7% -16%
Diamond Value Percent Change
-19% -25%
13
20
14
20
15
20
16
20
17
20
18
20
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Two Legged Economic Stool Cattle Botswana has a long history of raising cattle for a livelihood. For some ranchers, raising cattle is the only way of life they have ever known. Cattle are also seen as the main trading and source of wealth within rural Botswana. The larger the herd, the more influence that individual or family has in their community. Since diamonds were discovered, cattle have no longer been the country’s primary source of revenue as they once were. Cattle farms have also been declining because of drought and disease throughout the country. In a span of only four years, cattle stock in Botswana went from 2.5 million to just 1.7 million (“Botswana Agricultural Census Report”, 2015). Almost half of the herds have disappeared leaving rural Botswana with less and less economic advantage. If the rural lives of Batswana want to contribute to the economic stability of Botswana, then new strategies and investments need to be made.
The Sanctuary Farms
Fig. 1-2: USDA Foreign Agricultural Service
Agriculture Industry Revenue
Agriculture 3%
Other 97%
Cattle Stock Over Time
2,554,364
2,247,893 2,083,847
Total Cattle In Botswana
1,700,00
11
20
12
20
13
20
14
20
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Diamonds aren’t enough, cattle doesn’t sustain, The Sanctuary Farms: Inspires Vocational Pathways Trains Elite Athletes Innovates Sustainable Food Systems Attracts International Clientele Synthesizes Differing Paradigms
Education Inspires Vocational Pathways Currently eighty seven percent of students in the Botswana education system will not go beyond twelfth grade (Khali Fikile, “The Sanctuary Farms�, August 24, 2020). To combat this, The Sanctuary Farms plans to create a sixth through twelfth grade STEAMA (science, technology, education, art, math, agriculture) and vocational school. The vision of Sanctuary Farms education facility is to provide students with vocational pathways within the school system through the diverse programs offered at The Sanctuary Farms. Through hands on experiences offered on site students have the opportunity to pursue a career path in agriculture, hospitality, IT, and athletics.
Education
Teacher
The Sanctuary Farms
Scholar
Professional
Coach
Student at The Sanctuary Farms
Athletics
Referee
Agriculture
Athlete
Farming
Hospitality
Management
Chef
The Kgotla
Service
Weaving
Textiles
Artisan Crafter
Agriculture Research
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Athletics Trains Elite Athletes
The founders behind The Sanctuary Farms have noticed an untapped pool of exceptional athletes in Botswana. The hope is to use The Sanctuary Farms to bring an unseen space for elite athletic facilities to the community. Currently, the country is lacking necessary facilities to support an ever growing generation of young athletes (“Facilities” n.d.). Providing the resources of a top notch facility to the Tsamaya area could prove monumental for the athletic, economic, and tourism sectors of Botswana. The goal of The Dream Academy Program is to cultivate young athletes to achieve excellence in the sport of soccer and in the classroom (Khali Fikile, “The Sanctuary Farms”, August 24, 2020). The hope is to create opportunities for these adolescent Batswana to pursue a collegiate or professional path of life through sports. Development of an elite sports campus within The Sanctuary Farms could become a springboard for these children and teenagers. Further plans to bring in professional teams to the new complex would expose the younger athletes to role models and provide inspiration during their formative years. In addition, this facility would become a common place for the Tsamaya community. In addition to being a place of growth for young Batswana, The Sanctuary Farms plans to employ approximately 100 people in its athletic
The Sanctuary Farms
facilities (Khali Fikile, “The Sanctuary Farms”, August 24, 2020). This would create jobs for the people of Tsamaya and attract young talent to the area as well. Included in this high end athletic campus would be everything that an athlete needs, from the time they first learn to dribble a soccer ball to the time they’re signing autographs as a professional player. Plans include one major stadium fit for a professional game with adequate bleachers, lighting, scoreboards and supporting program like locker rooms, concessions and restrooms. This would attract professional soccer teams from local and abroad for spring training and games. It could also turn into a venue for other events that would require large stadium seating, creating a monetary driver for The Sanctuary Farms. Along with this main stadium, several smaller practice fields would be built, these being more accessible to the local community members and youth leagues. Of course, the current Dream Academy Soccer Club would use this complex as a home base for practices and hosting tournaments and games. In addition to soccer, The Sanctuary Farms envisions tennis courts, volleyball courts, and track and field facilities in this area. Additionally, the hospitality sector contains a high end golf course and golf education program.
Fig. 1: The Dream Academy Fig. 2 : FIFA
Fig. 1: The Botswana National Soccer Team Fig. 2: The Dream Academy Soccer Club.
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Agriculture Innovates Sustainable Food Systems
Cattle farming has always been a cultural and socio-economic footprint in the lives of Botswana. Not only do they use the cattle for food and clothing, but they are considered a measure of wealth within a community. In most rural towns, cattle are still the main means of trade in value. Generally, the larger the herd size, the more influence the individual has within the community. The problem that Botswana has found themselves in while becoming a modern society is that cattle farming alone cannot sustain a modern lifestyle or diet. Grains, fruits, and vegetables are not being grown in Botswana because of a lack of land for sustainable growth. While almost half of their country is used for agriculture (“FAO”, 2014-2016), only 0.65% is arable (Munumava, 2009). That means half of Botswana is used for a form of livestock, while less than one percent is used for crops like maize, kale, and tomatoes that could help fuel their societies food security. Because of the shortcomings in the land, Botswana has to import most of their field crops and horticulture in order to supply the country with fruits, vegetables, and grains. On a yearly basis, Botswana imports close to $632 million in food alone. From the products of cattle and goat farming, they export only $160 million a year as an offset (Esterhuizen, 2015). If Botswana wants to be food secure and independent, they will need to strategize the industrialized growth of crops to meet their demand each year. In a country where modernization has only just begun, communities are struggling to stay food secure in the new diverging ways of life. According to a recent study by UK Essays (2018), “The recent FAO (2009) statistics indicate that about 500,000 people in Botswana are food insecure mainly because they do
The Sanctuary Farms
not have access to quality food.” This number correlates to one in four Batswana are food insecure, and with less than one percent of arable land in the country, a more sustainable method needs to be sought out. The wicked problem of agriculture in Botswana has now been exposed, which The Sanctuary Farms committee understood, but did not know how to execute a strategy forward. This is where our studio came into play. As mentioned before, the traditional arable land in Botswana, which has harsh soil and carries disease easily, was not a suitable option for mass producing horticulture and field crops in order to sustain the country as a whole. A new strategy was needed to tackle this problem and architecture could be the answer. Our studio researched many strategies that enhance the reliability and consistency of crop cycles through built systems and facilities that could be introduced into the landscapes of The Sanctuary Farms. A few of these strategies include vertical towers of green houses, aquaponics to conserve soil and water requirements, and aeroponics which require significantly less water and soil than traditional farming strategies. A few of these will be explained in greater detail later. Regardless of the strategy, The Sanctuary Farms is looking for a way to not only kick start Botswana into sustainable agricultural strategies, but to inspire and teach future and current generations how to sustainability farm using newer methods. Agro-tourism and education could be the strands between innovating sustainable agriculture, inspiring vocational pathways, and attracting international clientele.
Fig. 1: USDA Foreign Agricultural Service
Horticulture 4% Export $160 Million
Import $632 Million
Field Crops 11%
Livestock 85%
With less than 1% of arable land
1 in 4 are food insecure
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Hospitality Attracts International Clientele Though Botswana currently has a cap on tourism to protect the natural wildlife and ecosystem, The Sanctuary Farms will strive to draw people from a diverse selection of countries, to learn about life and culture in Botswana. This also could create more networking opportunities for students at The Sanctuary Farms.
Current Tourism Demographic
Future Tourism Demographic
The Sanctuary Farms
Fig. 1-6: Botswana Tourism
Safari Tourism
Golf Resorts
Culture
Zip lining
Kayaking
Agrotourism
Tourist Resorts
Existing Hospitality Assets
OKAVANGO DELTA
THE SANCTUARY FARMS
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Kgotla Synthesizes Diering Paradigms
The Sanctuary Farms has a rich complexity of program that is not seen in many projects. With the introduction of hospitality, elite athletics, a vocational education, and an innovative agriculture system, the diversity of people on one site would be rich with experiences. The wicked problem in this scenario is not one that can be solved with stamping an architectural form on the site with all the program resolved. The problem of this pillar is embedded in how differing cultures relate and collaborate with one another in day to day activities. The rural-urban interface is embodied in between each programmatic pillar that The Sanctuary Farms anticipates, and the relationships these pillars form will inform how its users should collaborate with one another. The task was then identified; how do you synthesize different paradigms in one site? In the villages of rural Batswana, there is a traditional meeting place that is respected by all community members. It is always the most significant spot within any village, located in the middle or under the tallest tree. This is called the kgotla. The kgotla is where all social, judicial, and political affairs of the community are discussed, which holds the village together. The
The Sanctuary Farms
idea of the kgotla as the integral stabilizer within the village of The Sanctuary Farms was a crucial component in tying the program and urban-rural interface together. The vision of the center of The Sanctuary Farms as the kgotla was received with excitement from the committee, and it helped solve many problems. The complexity of the program could now tie back into a singular element that governed the site as a governor does his village. It also brings about the possibility of cross-pollinating the urban population of Botswana with the rural populations. Farmers and students from rural towns can be educated through the vocational school, experience high level athletics that they have yet to see, and sell and trade goods that urban cultures treasure. Likewise, travelers who come for tourism and hospitality can experience the local rural lifestyle, learn the trades and crafts of their village, and invest in their future through knowledge and experience of the urban communities.
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Part Three Site Analysis Regional Context Existing Assets
Context Region Sanctuary Farms is located in the Northeast district of Botswana. The Okavango Delta is located to the west, and the capital city of Gaborone to the south. The Sanctuary Farms site is located in the savanna grasslands natural region (David Adjaye 2011, 36).
Southern Africa
Angola
Zambia
Mozambique Zimbabwe Namibia Botswana
South Africa
The Sanctuary Farms
Botswana Transit Map
Okavango Delta Zimbabwe A3
Namibia A1
A2
Gaborone South Africa
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Context Adjacent Communities The Sanctuary Farms site is located along the A1 highway and railroad, connecting the site to Francistown and Gaborone. Sanctuary Farms is situated near many rural communities; the closest of these being Tsamaya, just east of the site.
Northeast District
A1 Tsamaya
A3
Zimbabwe
Francistown
A1
The Sanctuary Farms
Adjacent Communities
Masurga - 16 miles
Ramokgwebana - 9 miles Butale - 7 miles
Senyawe - 6 miles
Tsamaya - 1 mile
Gaborone - 297 miles
Francistown - 24 miles
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Project Site Existing Circulation
The Sanctuary Farms
A1
Page 57
Project Site Existing Assets
Golf Facilities
Granite Rock Overlook
Premium Chalets
The Sanctuary Farms
Education Center
Tantebane Resort + Restaurant
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Part Four Master Plan Proposal Conceptal Framework Site Organization
Conceptal Framework Programmatic Elements The Sanctuary Farms is a complex project that seeks to serve many aspects of the community. The design team reviewed a conceptual framework done by El Dorado Architects, spoke with the clients, and decided to separate the campus into the five programmatic elements seen in figure one. To centralize and order these elements, the kgotla was placed in the center as a launching point for the rest of the site, as seen in figure two.
Fig. 1
The Sanctuary Farms
Fig. 2
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Conceptal Framework Driving Factors
Due to the large variety of programs happening on The Sanctuary Farms, a simple yet sophisticated master plan concept proved to be a challenge. The various programmatic elements are represented by the gray icons in figure one - agriculture, athletics, hospitality, education, and the kgotla. Each sector requires many acres of land and multiple structures which would make up its own smaller campus design. Using clues from the nearby town, Tsamaya, and frequent conversations about approach and experience, the team created the concept seen in figure two. The kgotla is the central space, the heart of the overall campus. It is imperative that every visitor to The Sanctuary Farms pass through the kgotla at least on their first time visiting, as this space will give them a feel for what the rest of the campus is about. From here, way finding exists through the physical program itself, and visitors may continue on to whichever structure they are needing for the day. If visitors are recurring students in either the education or athletics areas, they will have secondary entries for their locations.
The Sanctuary Farms
The layout of the program was reasoned as such: Hospitality, being furthest from the entry, created seclusion, nearness to wildlife, and utilized existing structures. Agriculture, consuming the largest land area, allowed for ample space in tilling crops, and did so at the higher elevations with optimal soil. Further agriculture not owned by The Sanctuary Farms exists north of the site, so placing it here allowed for continuity of the program. Education was located towards the front of the site to allow quick access for students, teachers, or parents coming from nearby towns. The Tsamaya school exists just east of the education zone, which further prompted its placement. Finally, athletics were placed on the southeastern portion of the site, allowing for eye catching views when traveling to The Sanctuary Farms from the south. This also connected with existing sporting fields in Tsamaya, and had ample circulation for vehicular traffic in the event of a soccer tournament or professional game. Written: Kylee Mernagh
Fig. 1: Approach to The Kgotla
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Site Organization Master Plan Proposal Figure one illustrates the placement and programming of the pillars of The Sanctuary Farms. The vast land provides opportunities to expand and grow as the programs do.
Hospitality Hotel Accommodations Golf Course Adventure Center Safari
The Sanctuary Farms
Agriculture Agricultural Fields Agriculture Education Center Hydroponics Facilities Aquaponics Facilities
Education STEAMA School Library Living Quarters Lecture Hall
The Kgotla Community Space Courtyard Market Cafe and Directory
Athletics Professional Stadium Practice Fields Locker Rooms Community Fields
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Part Five Student Stories Culture & Traditional Vernacular Innovative Strategies Renewable Resources
Culture & Traditional Vernacular Botswana
As we approached the Sanctuary Farms project it quickly became important to understand the cultural context of the project. Though restricted to remote learning, readings and collaboration with clients were able to shed light on the important aspects of Botswana culture and tradition. One such concept was the idea of a kgotla or traditional meeting place; another being the use of elements of traditional vernacular. The kgotla has traditionally been the most significant spot within any village in Botswana communities. It is recognized as a place of respect and is often found in the center of the village or under the largest tree (Ian Michler n.d.). As we developed the master plan for The Sanctuary Farms it became apparent that a place that brought people together from the various programmatic areas would be an asset to the many people that would all merge on site. In a conversation with the client, it became clear that the kgotla would likely be successful in attracting local people to The Sanctuary Farms. Another aspect that becomes important through studying and discussing the context is the use of traditional vernacular in a modern way. Traditional Botswana vernacular consists of a wooden structure, sun-dried mud-brick enclosure, and thatched roof (Zoran Markovic n.d.). The use of these materials and construction would help contribute to the vision
The Sanctuary Farms
of The Sanctuary Farms. Additionally, these construction types would use local material and could help contribute to the local economy, aligning the vision of creating new employment opportunities in rural regions of Botswana. The design team took care to study precedents that utilized traditional vernacular in modern ways. The Thread Artists’ Residence and Cultural Center in Senegal by Toshiko Mori Architect uses the traditional vernacular of thatched roof but transforms the traditional pitched roof through a process of inversion, creating an icon in the expansive, flat brush landscape (Toshiko Mori Architect). Not only does the Thread Artist Residence utilize local materials but the project management was coordinated by local villagers (Toshiko Mori Architect). The Wadden Sea Centre by Dorte Mandrup is another precedent that utilizes regional material and traditional craftsmanship in an iconic and sleek form. The centre is a new interpretation of the local building tradition of thatched roofs significant in rural Denmark - the bold and visionary architecture reinterprets this tradition by constructing a centre with thatched roofs and facades (Dorte Mandrup). These were just two of the inspiring buildings that the design team was able to discover. Written: Emily LaRocco
Fig. 1: Daily News Botswana Fig. 2: Toshiko Mori Fig. 3: Dorte Mandrup
Fig. 1: Image of a kgotla Fig. 2: Thread Artist’ Residences and Culture Center in Sinthian, Sengal Fig. 3: Wadden Sea Centre in Ribe, Denmark Page 71
Innovative Strategies Agriculture
Agriculture in Botswana does not have many precedents for successful mass producing operations. In the search for sustainable agriculture solutions that could be implemented into The Sanctuary Farms, many alternatives proved to be worthwhile, but only a few would be achievable in Botswana. Two of these solutions that could be achievable are aquaponics and vertical greenhouses. Aquaponics is a system that utilizes pools of water that are fertilized by fish in a continuous cycle. The plants are able to grow while floating in this pool, being given the nutrients from the fish fertilizer and constant water. No soil is necessary, and the amount of water is six times less than in a regular field. Not only does it require less water, the yield of produce from aquaponics compared to traditional field farming is eight times more (Nelson and Pade, Inc. 2020). Although the start-up costs of aquaponics might be more than the initial labor and resource loads for traditional field farming, the yield over a period of ten yea66rs would far exceed the production of a traditional field. Plus aquaponics are not susceptible to the climate change occurring in Botswana. If a drought were to come, the plants already have the amount of water needed, and stores would remain intact with produce being grown. Disease in soil is another problem aquaponics does not have to worry about, as the plants are only in water (What Is Aquaponics?, 2020).
The Sanctuary Farms
Vertical green houses are another viable option to sustainability produce fruits, vegetables, and depending on scale, grains. The benefit of going vertical is the amount of space saved horizontally for more vertical towers should production demand increase. Vertical green houses have growing seasons that exceed the standard growing season of a traditional field. This would increase production amounts for the country by having towers of food growing all year (Infarm, 2020). Again, the start-up costs for vertical green houses are more expensive than tilling soil for crops, but the protection from disease, climactic destruction, and animals give lossless benefits for the produce. Green houses are also cost effective in consolidating crop types, which can be segregated easily rather than dividing up parcels of land. Soil can be chosen for each tower, rather than finding the best soils in the earth for each crop. Overall, both options could prove to help Botswana in producing the food it needs to be secure. The investments now would provide sustainability for the future. Written: Justin Jennings
Fig. 1: The Aquaponic Source
Traditional Arable Land
Standard Growing Season
Aquaponics Climate-Controlled Growing Season
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Renewable Resources Energy
An interesting study that I was able to conduct was an analysis of Botswana’s energy efficiency performance. This study was sparked by the client’s interest in being part of the change they wanted to see in the world. Botswana is a country that is experiencing climate change impacts firsthand, so this topic was one of the first to come up when discussing project goals with the client. Other topics that came up were deforestation, wildlife poaching, and lack of opportunity in rural areas. After researching Botswana’s energy practices, I found it astonishing how reliant the country is on mining coal, and using oil for energy. The amount of CO2 produced from each of these resources is frightening and Botswana is taking steps to combat past climatically negative energy use habits (James Jakoba Molenga, 2012). According to a study conducted on energy efficiency initiatives in Botswana, the three main sources of energy that the country is
The Sanctuary Farms
looking towards next are solar, wind, and kinetic (James Jakoba Molenga, 2012). These have the potential to drastically reduce Botswana’s carbon footprint to lead them towards a more stable ecosystem. This study inspired me to make these infographics to help convey the importance of sustainability and why it should be a leading design strategy for the project as a whole. It was interesting to create something that needed to be simple enough to understand in one glance, but be able to convey a complex topic such as energy harvesting, conversion, consumption, and CO2 emissions. We used this information to propel our design forward while also creating a design that worked to integrate with the culture of Botswana. Written: Cheyenne Canterbury
Fig. 1: Research Gate
Current Used Energy Resources
Solar Panel Study
Wind Turbine Study
Kinetic Sidewalk Panel Study
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Renewable Resources Waste
Another interesting study that I was able to research was waste recycling in Botswana. Again, the clients were very excited to add positive changes to the project that could inspire the rest of the community. Botswana is one of many countries that are leaders in waste production but not in waste recycling, but they have the potential to become a world leader in this. After researching Botswana’s waste practices, I found that almost all of Botswana’s waste is sent to landfills that take millions of years to decompose, if they ever will. With the introduction of sustainable waste practices, they can turn that fate towards a cleaner and more resourceful future. According to a study conducted on energy efficiency initiatives in Botswana, the main solution to waste production is looking towards spreading awareness of recycling (James Jakoba Molenga, 2012). While this has the potential to significantly impact Botswana’s waste production rate, the best way to combat a problem is to propose new innovative solutions that can solve multiple issues. As a further study, I researched how reusing giraffe waste could not only be utilized as fertilizer, but also to produce energy through bio gas practices. These animals live all across Botswana and have the power to give Botswana resources not yet tapped into. This study inspired me to make these info graphics to help convey the importance of sustainability and why it should be a leading design strategy for the project as a whole. Waste production, recycling, and the possibilities of waste are the new design frontiers of Botswana and were a very engaging aspect of this project. Written: Cheyenne Canterbury
The Sanctuary Farms
Fig. 1: Research Gate
Current Waste Practices
Recycling Initiative
Reusing Giraffe Waste
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Lone Oaks Farm Project Background Site Context Master Plan Architectural Proposals
Client Group University of Tennessee, Lone Oaks Farm & West Tennessee River Basin Authority Lone Oaks Farm, owned by the University of Tennessee Institute of Agriculture is administered by the UT Extension program. The UT Extension program is dedicated to improving the quality of life and solves problems that occur in Tennessee through research and a hands-on educational approach to research and education. Through this dedication to providing educational experiences to Tennesseans, UT Extension strives to enhance the well-being of rural and urban communities. (“About�, Lone Oaks Farm). Lone Oaks Farm serves as a platform for the UT Extension program to truly prosper through the hands-on educational experience. Within the farm, the West Tennessee River Basin Authority has begun stream mitigation efforts on the farm, addressing erosion issues on site.
Ron Blair University of Tennessee Institute of Agriculture | Farm and STEM Director
Lone Oaks Farm
Ben West, Ph.D. University of Tennessee Institute of Agriculture | Director and Professor
Penny Russell Lone Oaks Farm | STEM Program Director
David Blackwood, P.E. West Tennessee River Basin Authority | Executive Director
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Design Team Mentors and Students The Lone Oaks Farm design team consists of six students, two of which joined the group after the studio wide design Charrette. The team also includes three members from El Dorado as well as two guest critics who are professionals in the field.
David Dowell, AIA El Dorado | Partner
Lone Oaks Farm
Brian Michener, AIA LEED AP El Dorado | Associate
Brock Traffas El Dorado | Designer
Lauren Harness, AIA LEED Green Associate About the Work | Associate Project Manager
Timothy Tse OMA | Architect
Cheyenne Canterbury
Jenna Engel
Natalie Grimm
Matthew Ho
Alex Kinnan
Kylee Mernagh
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Part One Introduction Project Goals Semester Timeline
Fig. 1&4: Introducing ChLOE Fig. 2-3: 2016 Master Plan
Lone Oaks Farm
Project Goals Re-imagine the Master Plan
In 2016, El Dorado in partnership with Nelson Byrd Woltz Landscape Architects WMWA Landscape Architects came together with those at the University of Tennessee Institute of Agriculture and Lone Oaks Farm to create a comprehensive master plan for the farm. Together, the team designed the current master plan, envisioning how program such as educational and hospitality facilities could coexist with a working farm. In the summer of 2020, the farm’s mission still remains consistent from the previous master plan, however, a new and exciting opportunity for new programmatic elements brought to light that the previous master plan needed to be revisited in order to address these new structures. Due to this, the Design+Make studio was tasked with revisiting the master plan, incorporating the new program as well as addressing concerns about the previous master plan that have come up in the past several years since the original master plan was completed.
Identify Friction Against Lone Oaks Farm’s Mission
hospitality, and agricultural production did not promote a site where all the program could coexist as a unified element while maintaining separate zones. In addition to this, it was important that the studio addressed concerns about the youth education camp and how the circulation could be streamlined.
Propose Architecture as Solution In following identifying the problems and solutions that currently surround Lone Oaks Farm, one of the biggest takeaways was the importance of introducing thoughtful architectural additions that help bring together the current site and programming needs, along with addressing the environmental challenges facing our world. Lone Oaks is committed to education and innovation through these architectural additions we are able to address, solve and direct impactful educational opportunities through architecture for those young people who will be most impacted by this rapidly changing world. Using architecture as the solution is in keeping with Lone Oaks overall mission and is crucial to the success of the general master plan. Written: Natalie Grimm & Alex Kinnan
When revisiting the 2016 master plan, it was crucial to identify what potential obstacles there were to maintaining Lone Oak’s mission when implementing new program as well as readjusting elements from the previous master plan. Lone Oaks Farm at the heart of it all is an educational facility that provides a variety of services that directly and indirectly educate people about agriculture through the context of a working farm. Recognizing this, it was pertinent for the studio to take a step back and analyze what it was about the previous master plan that was not accepting new program to be introduced. One of the primary obstacles to creating a cohesive site was the fact that the three primary uses of the site, education,
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Project Timeline A Semester of Unique Circumstances Beginning in mid-August, the Lone Oaks Farm project began work with four students as a part of the design team. Working to understand the existing master plan done by El Dorado, the team began a dialogue with the clients in order to create an updated master plan. After two months working with the Lone Oaks Team, the studio was asked to participate in a Volland Design Charrette in mid-October. After the charrette concluded, the Lone Oaks Farm team welcomed two additional student team members.
Lone Oaks Farm
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Part Two Project Background Project Impetus Site History 2016 Master Plan
Project Impetus Re-imagine the Master Plan
Lone Oaks Farm consists of 1,200 acres of woodlands, large bodies of water, and scenic pastures. As it is currently set up there are a wide variety of accommodations available, from the newly updated “The Clays” at Lone Oaks Farm, a shooting sports destination, to growing efforts to increase the STEM education camps offered to K-12 students from around the region. It is clear that Lone Oaks Farm has positively impacted the lives of many, and Lone Oaks Farm strives every day to become a place like no other. This master plan, which will work off of a previous master plan prepared in 2016 by Nelson Byrd Woltz, El Dorado, and WMWA, aims to take the vision of the farm further and present them in an achievable way. Throughout the preparation of this document, there have been consistent meetings with the client groups in order to best understand how to make Lone Oaks Farm the best place it can be, and has been coordinated within the COVID-19 global pandemic. Without being able to visit the site, we have leaned heavily on the thorough work and research done by the group that handled the master plan document of 2016.
An Educational Centerpiece When searching for the driving force for the addition of a youth education facility and 4-H Camp at Lone Oaks Farm, we must start with the closing of the Buford Ellington 4-H Center in Milan, Tennessee. This decision came in the middle of 2009, shortly after the economic depression, and was the result of statewide revenue shortages. Before it’s closing, the UT Extension had recognized a need for the Buford Ellington to be revamped or replaced in order to continue to provide powerful education to youth. After the closure, this recognition was translated to being named a key initiative in UT Extension’s 2010-2020 Strategic Plan. A committee identified Lone Oaks Farm as a property that could fill the 4-H void in West
Lone Oaks Farm
Tennessee, and act as a foundation for the expanding vision (“Lone Oaks Farm Master Plan”, 2016). 4-H is a network of youth organizations delivered by Cooperative Extensions, which is a community of public universities throughout the United States that help to provide young people with hands-on learning experiences. 4-H has a presence in all corners, but it’s presence in rural youth education is clearly the most widespread (“What is 4-H?” n.d.). Lone Oaks Farm has adopted the mission of 4-H and dovetailed it with the rural context of a working farm. Focusing on providing today’s youth with the resources, education, and experience to help make change in the world.
UT Extension 2010-2020 Strategic Plan The UT Extension’s ten year strategic plan was formed through the guidance of a diverse leadership team representing employees from throughout the state, and focused on outlining the goals of the next ten years. Many meetings preceded where roughly 1,000 people were able to voice their opinions on the best ways for the UT Extension to move forward, and 2,000 more provided insights through an online survey. Step one of the 2010-2020 UT Extension Strategic Plan was to “Expand UT Extension partnerships, funding, and infrastructure.” The outcome of this goal was the purchasing of a 4-H facility in West Tennessee, Lone Oaks Farm, which was put to the test with twenty three criteria and vetted along with two other potential facilities. Lone Oaks Farm was acquired by UT Extension in December of 2015 because it met all the requirements set by the visioning committee and had prior development leading to a lower projected cost to convert to a 4-H Center. In addition, the site was projected to be available for education and operation very quickly (“UT Extension Strategic Plan” n.d.). Written: Matthew Ho
Existing Tennessee 4-H centers
Clyde Austin 4-H The Tennessee 4-H Foundation Clyde M York 4-H William P. Ridley 4-H
Existing 4-H coverage
Vacancy of 4-H center in West Tennessee
Lone Oaks Farm
Lone Oaks Farm
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Fig. 1: National Park Service
Lone Oaks Farm
Site History Hardeman County Area History
West Tennessee’s unique terrain can be traced back to over 50 million years ago, when shallow seas receded and gave way to terrestrial plants and animals. The soils that remained are sedimentary deposits of sand, clay, silt, and gravel. This soil is nutrient rich, but can be difficult to work with due to its sandy consistency and vulnerability to wind and water erosion (“Lone Oaks Farm Master Plan”, 2016). Now known as the “hardwood capital of Tennessee,” a more recent history of Hardeman County involves Isaac Shelby and Andrew Jackson, who signed a treaty with the Chickasaws in October of 1818. The next year, settlers from the Carolinas, Virginia, Alabama, and Middle Tennessee started to move west, into Hardeman County. A piece of natural infrastructure that allowed Hardeman County to progress so quickly was the Hatchie River. Carving into the soft sediment so characteristic of West Tennessee, the Hatchie saw rapid settlement along its banks with most being farmers. Hardeman County and its county seat of Bolivar are located between the Hatchie River and the Mississippi Central Railroad. The Civil War and its outcome played an important role in the destruction and rebuilding of Hardeman Country in the years following. Many large farms were replaced by smaller ones because of the emancipation of slave labor (“Hardeman County History”, n.d.). Written: Matthew Ho
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Fig. 1-2: 2016 Lone Oaks Farm Master Plan
Fig. 1: Land use along Lower Hatchie watershed Fig. 2: No-till technique
Lone Oaks Farm
Site History Agricultural History
The promise of 640 acres to settlers coming to West Tennessee drew a lot of farmers farther west. The land was made available through early land grants and echoed calls for westward expansion within America. The rich soils and large flat open geography allowed the high yield crop industry to boom, becoming the identity for the region. Wide spread farming and rapid settlement began to change the landscape of West Tennessee. Tilling the land was already common practice, but the soils of West Tennessee were suffering from major erosion due to the sandy sediment-like consistency. In 1962, the University of Tennessee’s Research & Education Center in Milan was established, with a majority of their research going into soil science specifically in West Tennessee. They found that a no-till farming technique could heavily reduce the amount of soil lost to erosion, as vegetation was allowed to grow on top of the soil outside of the crop growing season forming a sort of protective barrier. The no-till technique is still used today and this willingness to change farming practices to fit the region was a big step in Hardeman County becoming the agricultural powerhouse it is today. The Hatchie River is the only major stream of West Tennessee that has remained protected. Today land use within the Hatchie River watershed is primarily pasture land, row crops, deciduous forests, and woody wetlands. Hardeman County as a whole is about onethird cleared farmland and about two-thirds wooded. History shows that the economy of Hardeman County relies heavily on agriculture and lumbering, with the county still leading hardwood production in West Tennessee (“Lone Oaks Farm Master Plan”, 2016). Written: Matthew Ho
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Site History Ledbetter Era
The identity of Lone Oaks Farm as it is known today was curated by Kathy and Scott Ledbetter. Both Kathy and Scott are from West Tennessee and share a fondness of Hardeman County. The Ledbetters purchased their first piece of what would become Lone Oaks Farm in 1998, and eventually would purchase twenty six more parcels that would become the full 1,200 acres (“Lone Oaks Farm Master Plan”, 2016). When Kathy and Scott purchased the land, there was almost nothing on it. They could imagine and realize their own dream of what Lone Oaks would become. Immediately it was seen as a cattle farm. They started a hay business to gather some money to establish a Black Angus herd of cattle. The hay would feed the cattle and they could focus most of their time on the farm, which is where they loved to be, preferring it to the urban draw of Memphis. One of the main reasons for purchasing and assembling Lone Oaks Farm in Hardeman County was the natural beauty of the landscape. Kathy and Scott viewed it as their responsibility to keep up the various ecologies of the land, and to enjoy the process of transforming the
Lone Oaks Farm
land themselves to work for the farm. There were no roads on the property, and Kathy and Scott did not know where to begin. They worked with Ben Page, a well known landscape architect from Nashville, to help plan out the farm and determine where the roadways would travel. Page’s proposal was successful, and now limestone gravel drives gently guide their way through the landscape and lead to small clearings in the natural hardwood forests, where you can find moments of pure bliss. All of this happens behind the scenes of a successful working farm. The Ledbetter Era of Lone Oaks Farm was what allowed the farm to be designated as the site for a new 4-H and STEM Education center. Without the loving care of Kathy and Scott, there wouldn’t be an opportunity for K-12 students to experience a STEM education facility situated on a working farm. Their work and passion for the land has built something larger than life, and with the help of the UT Extension, a place like no other (Lyda Kay Ferree, 2015). Written: Matthew Ho
Fig. 1-3: 2016 Lone Oaks Farm Master Plan
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Master Plan History 2016 Master Plan
The 2016 Master Plan for Lone Oaks Farm was the result of the UT Extension’s then recent purchase of Lone Oaks Farm and designation as the new 4-H Center of West Tennessee. There were multiple focus points for the master plan, with three key programmatic zones of hospitality, agricultural production, and youth education outlined. This plan presented what the UT Extension had imagined for the 4-H camp, but also included additional ideas like a shooting sports complex and full executive hospitality experience. For the hospitality zone, the central building complex would become the executive inn with a full service commercial kitchen, spa, and beds for thirty to forty people . This area was to be designated to corporate retreats, weddings, family events, or any other medium to large event that public and private parties would use the space for. In recent discussions with representatives from Lone Oaks Farm, the idea behind this hospitality portion has shifted to now be more geared toward educational context with support program for the W.E.T. Center and STEM Center. Included in the 2016 Master Plan was also plans for The Clays at Lone Oaks Farm, which is a hunter’s education and clay target shooting facility which was completed in late 2020.
Lone Oaks Farm
The agricultural production zone of the master plan intended to preserve the existing working farm on site and use some of its facilities to house the youth education program while the UT Extension worked through plans for a more comprehensive and dedicated youth education sector. Most of the land toward the center of the site is used for hay production or as pastures for the Black Angus cattle. The youth education portion of the master plan outlined a 4-H camp with an adjacent STEM Education center to the north. These were to be close in proximity and intended to share users between longer stays at the youth camp and shorter visits at the STEM Center. Phase one of the STEM Center and youth cabins began construction in early 2021. There are many parts of the 2016 Master Plan which have not seen further interaction, and other parts that were omitted entirely. The KSU Design+Make studio was tasked with stepping in and reimagining the work previously done to accommodate new visions and new program for Lone Oaks Farm (“Lone Oaks Farm Master Plan”, 2016). Written: Matthew Ho
Fig. 1: 2016 Lone Oaks Farm Master Plan
Hospitality
Youth Education Agricultural Production
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Part Three Research Urban-Rural Interface Agricultural Analysis Infrastructure Analysis ChLOE Initiative Architectural Precedents
Fig. 1-2: El Dorado
Lone Oaks Farm
Research Overview
After hearing the goals and mission of Lone Oaks Farm, the design team decided to conduct in-depth research on food scarcity and alternative agricultural solutions. Realizing the projected population growth and access to readily farmable land in Tennessee, the group quickly noted that there would be strain on the agriculture industry very soon. There simply won’t be enough food to feed everyone, or enough land to grow that food as we currently do. To combat this, innovative ideas for growing crops in a more sustainable and productive way have been developed. After multiple rounds of research, the team honed in on vertical farming and hydroponics. Vertical farming could be a helpful solution as it will vastly increase the available “land” that societies can work with. According to the USDA, produce grown in vertical farms only travels a few miles to the grocery stores, streamlining the farm to table timeline. These vertical farming systems offer a sustainable way to potentially meet the growing global food demands (USDA, 2018).This is important and applicable to Lone Oaks Farm as well. On Lone Oaks Farm, through the growth of the educational and hospitality program and the implementation of a stream mitigation area, the available land area for farming and crop production is rapidly decreasing. Hydroponics
is another innovative and exciting solution to produce shortages. The design team took precedent from DeWitt Clinton High School in The Bronx. Partnered with the Teens for Food Justice, DeWitt High utilized hydroponics to create an indoor farming system rooted in STEM education. This hydroponic farm has been able to produce over 25,000 pounds of crops a year which are distributed to students, faculty, local food pantries, and used in the
Lone Oaks Farm is a special place, we call it; “A Place Like No Other.” Ben West school’s cafeteria (Diego Barcacel, 2018). These are just two solutions to the ever growing challenge of feeding future America. The design team believes that Lone Oaks Farms could be a pioneer in the region for striving for more sustainable solutions. Written: Kylee Mernagh
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The Urban-Rural Interface At Lone Oaks Farm
At Lone Oaks Farm, there is a distinct platform for the urban-rural interface. With the inclusion of STEM education, agricultural production, and hospitality on site, Lone Oaks is a dynamic place where people of all backgrounds can come together and experience different program within the context of a working farm. While not everything on site is specifically designed for educational purposes, Lone Oaks’ mission of creating an environment where people can come and learn about agriculture is evident throughout the site. Due to this, in all aspects, Lone Oaks Farm creates a one of a kind experience, enhancing and serving as an example for others as to how to administer the urban-rural interface successfully.
Infrastructure Challenges Drawing visitors from urban centers and schools in nearby areas to Lone Oaks Farm begins the urban rural interface. Coming to a working farm with an educational program opens these urban residents to the world of agriculture through an immersive educational experience. Places like Lone Oaks are important in areas like West Tennessee where there are challenges to construction infrastructurally due to the erosive
Lone Oaks Farm
soils that are native to the area. Due to this, it is important to create a place where urban and rural communities can come together and learn how to improve the overall infrastructure of homes and communities.
Agricultural Challenges The urban-rural interface is a crucial platform to the education of agricultural production. Within this education of agriculture comes the shared discussion of how agriculture can be a solution to many of the issues the world faces (Jim Collins, August 2020). In places like Lone Oaks, the urban-rural interface can serve as a way to introduce agricultural concepts into urban communities, inciting a passion for how our food is grown and where our food comes from, creating a healthier lifestyle. It is through this cross-pollination of knowledge that we can begin to think of innovative ways to make farming more efficient and figure out ways to increase the amount of food we produce locally as well as globally. Written: Natalie Grimm
Fig. 1-4: Lone Oaks Farm
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Population Growth & Production Crisis Looking toward 2050 According to a 2014 National Geographic study, as it stands, the current food production rate does not match the rate in which the population is growing. We need to effectively double our crop production in the next thirty years in order to accommodate this growth. Given the short time-frame that this growth must occur, it is imperative that we find alternative ways to make up this gap in crop production needs. If we do not, there will be an additional 2.45 billion people on this planet with no access to food (Jonathan Foley, 2014).
Present Day Growth by 2050
Lone Oaks Farm
Fig. 1-2: National Geographic
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Agricultural Analysis Farmland in Tennessee As of 2017, there were approximately 70,000 farms in Tennessee covering 10.9 million acres of land - about 40% of the land area of Tennessee. According to the Tennessee Department of Agriculture, Tennessee loses approximately 60,000 acres of farmland each year due to urban sprawl. At this rate by 2050, Tennessee will lose 1.8 million acres of farmland. The typical farm in Tennessee is roughly 156 acres meaning that in 2050, approximately 11,538 farms will be lost. With this rapid loss in viable farmland, there will need to be a significant investment in alternative agricultural production technologies in order to accommodate the inevitable growth in population (“Farmland Legacy Resources�, n.d.).
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Fig. 1-2: Tennessee Department of Agriculture
Fig. 1: 40% of Tennessee’s total land area is farmland. Fig. 2: Tennessee loses approximately 60,000 acres of land a year. By 2050, it will lose 1.8 million acres of land.
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We can be more eďŹƒcient about where we grow, what we grow, and how we grow. Jonathan Foley, National Geographic
Fig. 1: Latham Seeds Agronomy Team
Lone Oaks Farm
Infrastructure Analysis Flooding and Erosion
No-till techniques for farming are commonplace in West Tennessee now but as recent as fifty years ago areas like Hardeman County had some of the highest soil erosion rates in the U.S. The soil in this region can be compared to talcum powder, so silty that normal rain and wind events can severely impact the environment. Even at Lone Oaks Farm the West Tennessee River Basin Authority has taken action to restore some streams that have over eroded the landscape and caused issues in the environment. This unstable soil condition can be especially troublesome when it comes to infrastructure like roads, culverts, and dams. Lone Oaks Farm is always in the process of repairing its extensive network of limestone gravel roads. Special attention must be paid to these elements to ensure safety and effectiveness (Brittany Stovall, 2020). Fig. 1: Till technique erosion
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Fig. 1-3: Introducing ChLOE Fig. 4: Lone Oaks Farm
Lone Oaks Farm
ChLOE Children Learning Through Outdoor Experiences
At Lone Oaks Farm, STEM education through hands-on experiences with agriculture as the context is at the forefront of their mission. Due to this, the University of Tennessee has created a program titled ChLOE: Children Learning Through Outdoor Experiences. This new approach to K-12 STEM education allows for kids to connect concepts that are taught in the classroom through a hands-on experience with nature (Ben West, August 2020). Through this type of immersive education, Lone Oaks hopes to teach children about agriculture and begin a generational cycle of knowledge. By teaching youth about agriculture, kids will find inspiration, creating future farmers and scientists who have a deep-seated passion for agriculture. Through ChLOE, children in K-12 education can learn about a wide variety of sciences through kinesthetic experiences.
We don’t teach science, we don’t teach agriculture. We do science, and we do agriculture. Ron Blair The ChLOE initiative at Lone Oaks Farm is a new type of educational experience that begins to introduce kids to concepts that ultimately begin to deal with world issues like food scarcity. “It is important to introduce kids [to agriculture] when they are very young” (Avat Shekoofa, August 2020) as it incites a passion for these topics that will ultimately influence their decisions and life paths later in life. Without these experiences early in life, children lose the opportunity of being exposed to rural ecosystems and lifestyles. ChLOE serves as a way for children from urban and rural settings to learn about science and our planet in a once in a lifetime way. Written: Natalie Grimm
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Fig. 1-4: Carmody Groarke
Lone Oaks Farm
Precedents Windermere Jetty Museum - Carmody Groarke The Windermere Jetty Museum is a complex of buildings located lakeside in England. As a study of form, this project adapts the local vernacular and places compact buildings with a topographical relationship along the lakefront. These simple forms were adapted to fit the program, like the covered wet dock which allows boats to be displayed in the water. Along with being lakeside, the site has a history of agriculture. That agrarian building type is interpreted through the simple shed-like forms with shallow pitched roofs and deep eaves to create exterior space. Large windows and openings allow for views out to the land and lake, as well as easy movement of boats in and out of the buildings (Alyn Griffiths, 2019). Written: Matthew Ho
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Fig. 1-4: Herzog & de Meuron
Lone Oaks Farm
Precedents Parrish Art Museum - Herzog & de Meuron The Windermere Jetty Museum is a complex of buildings located lakeside in England. As a study of form, this project adapts the local vernacular and places compact buildings with a topographical relationship along the lakefront. These simple forms were adapted to fit the program, like the covered wet dock which allows boats to be displayed in the water. Along with being lakeside, the site has a history of agriculture. That agrarian building type is interpreted through the simple shed-like forms with shallow pitched roofs and deep eaves to create exterior space. Large windows and openings allow for views out to the land and lake, as well as easy movement of boats in and out of the buildings (Alyn Griffiths, 2019). Written: Matthew Ho
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Fig. 1-4: gh3*
Lone Oaks Farm
Precedents Borden Park Natural Swimming Pool - gh3* This natural swimming pool nicely organizes large exterior program and water tanks around the building and landscape. Keeping the building form simple and as a visual barrier of entry from the parking lot, the building is in control of human and water circulation. A natural swimming pool requires many purifying tanks and testing areas to ensure the water is clean enough to swim in. These pieces of large exterior program should not be directly accessible to the public, and relate nicely to the program required with the WET Center facility. The subtle visual engagement shows the purifying system without demanding the attention of the visitors. The linear organization of the building allows for a division of public and private program by utilizing a breezeway entry (Kristine Klein, 2019). Written: Matthew Ho
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Fig. 1-3: Effekt
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Precedents Camp Adventure Park - Eekt
Located in Denmark at the Gisselfeld Klosters Forest, this tower allows visitors to walk through the treetops and further explore and understand the site via a circular winding ramp. This winding ramp is supported by an hourglass diagrid structure and is made up of weathered steel while the walkway is made from locally sourced oak, allowing it to further blend in with its surroundings. Designed by EFFEKT architecture studio, this tower is forty five meters tall and is a part of the Camp Adventure Park, which promotes interaction and discovery with nature. The architecture studio claims that, on a clear day, it is possible to see Copenhagen. (Amy Frearson, Dezeen, 2019). Written: Alex Kinnan
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Part Four Site Analysis Location Context Infrastructure Existing Architecture
Location Adjacent draw areas Lone Oaks Farm has a clear focus, through its connections to the University of Tennessee and its own history, on implementing the most modern methods of farming. A new mission of the farm is to educate the public about the global food scarcity problem and how our changing world climate is directly affecting both rural and urban communities. A unique aspect of the location of Lone Oaks Farm is it’s proximity to nearby urban areas and draws people of an urban lifestyle to learn about agriculture. This creates a dynamic urban and rural environment that bridges the gap between these two lifestyles.
Lone Oaks Farm
St. Louis 4hrs 30 min
Louisville 5hrs Nashville 2hrs 45min Knoxville 5hrs 30min
Memphis 1hr 15min Little Rock 3hrs 30min
Atlanta 5hrs 30min Birmingham 3hrs 15min Jackson 4hrs
Fig. 1: Draw area of Lone Oaks Farm Fig. 2: Nearby urban areas Page 129
Context Lone Oaks Farm Lone Oaks Farm property includes 1,200 acres of scenic pastures, large bodies of water, and protected woodlands. It has various programs and activities that make up the mission of the farm. A complex site, the farm can accommodate for the needs of each vital component of the program: hospitality, agricultural Production, and education. The hospitality sector includes the Central Building Complex and other small lodging on the western portion of the site. The eastern portion of Lone Oaks Farm is where a variety of educational programs sit. This leaves the agricultural production in the middle as well as some fields located on the farm’s edges.
Lone Oaks Farm
Fig. 1-3: Lone Oaks Farm
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Topography Lone Oaks Farm High points of Lone Oaks Farm tend to be on the eastern and western sides of the site with the highest point located in the western forested area. Buildings are dispersed around the farm on average ranged elevations. On one of these middle elevations, the central building complex sits on a plateau. Low points, where the bodies of water gather, occupy the center of the site as well as along the northern boundary line. Knowing how the grade changes occur as well as high points and low points influenced the placement of the proposed architecture on the site.
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Fig. 1: 2016 Lone Oaks Farm Master Plan
544’
414’
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Hydrology Existing Streams Water movement on the site is very important, especially when incorporating new architectural proposals into the landscape. With the southern side being a low point in the topography, streams are abundant and water levels fluctuate depending on the rainfall. Most of these small streams could be dry during average and low precipitation periods. The southern streams run off into the main lake in the center of the site. From the lake, the spillway releases water into northern streams that then take the water off site in the northeast corner.
Lone Oaks Farm
Water Management Along the northern edge of the property line, the streams have many portions that become straight. When this happens in a stream, the current can have a higher velocity and can cause erosion. David Blackwood has redesigned and reconstructed stream routes and has dedicated a fifty foot wetland zone on either side of the streams that is a no build area. The purpose of this is to eliminate erosion and to conserve the ecologies and vegetation around the streams. As a result overtime, this zone is able to grow and flourish into a healthy system.
Fig. 1: 2016 Lone Oaks Farm Master Plan Fig. 2: West Tennessee River Basin Authority Page 135
Road Network Existing During the Ledbetter era of Lone Oaks Farm, the Ledbetters would often explore their property and make new paths across the land. Most of those paths are still existing today as secondary gravel roads or tertiary dirt paths, therefore the site’s circulation is complex and spread out among the entire site. At more public portions of the site, main roads are used for circulation. The central building complex has main roads for access from Lake Hardeman Road. At the beginning of the semester, simplifying the site circulation for security, maintenance, and expense purposes became a goal in the master planning of Lone Oaks Farm.
Lone Oaks Farm
Fig. 1: 2016 Lone Oaks Farm Master Plan
Public Roads Main Roads Gravel Roads Pathways
Fig. 1: Existing Road at Lone Oaks Farm Fig. 2: Existing Road Network
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Existing Architecture Central Building Complex
It is important to understand the nuances and feeling of the site to create a design that best serves the mission of Lone Oaks Farm. Peeling back the layers of the existing architecture allows for analysis of what has come before, and offers potential foresight of what is to come. The existing architecture on site can be used as building blocks to expand the program of Lone Oaks Farm. We chose to examine a few existing structures to gain a better understanding of the architectural vocabulary already in place to give context to future architectural elements. The distinguished architecture of West Tennessee is present within Lone Oaks Farm, and is best on display in the central building complex, which currently acts as the heart of all operations on the farm. Our intention is to allow these contextual and historic building typologies to work their way into the re-imagined master plan to help Lone Oaks Farm grow into a thriving educational resource.
Lone Oaks Farm
Fig. 1-6: 2016 Lone Oaks Farm Master Plan
Tractor Shed
Shop
Implement Shed
Hay Barn
Sale Barn
Stable
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Fig. 1-2: 2016 Lone Oaks Farm Master Plan
Lone Oaks Farm
Recent Architectural History
The Clays One of the newer additions to the Lone Oaks Farm is The Clays. This group of structures, used to train and educate users on hunting safety and practice techniques, was designed by El Dorado and has just completed its final construction phase. The Clays are a series of exterior structures that serve as tools for target practice, precision training, and gun safety awareness. This part of Lone Oaks Farm is located on the western edge of the site, immersed into the forested area while also maintaining a secure location. The STEM Education Center, also designed
STEM Education Center by El Dorado, is located just north of the 4-H camp center in the education zone of the site. This is a place we long-stay and daily visitors to gather, participate in lab setting and handson learning courses, and engage with the adjacent demonstration garden. The STEM Center utilizes the Lone Oaks Farm vernacular architecture while also serving it’s unique program.
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Part Five Proposals Master Plan W.E.T. Center STEM Barn
Lone Oaks Farm
Proposals Overview
Over the course of the semester, the design team focused on revisiting the 2016 master plan as well as worked with the client to realize four design proposals. Throughout the design process, the team introduced the idea of positive infrastructure into the master plan in order to unify the site as well as further enforce Lone Oaks’s Mission of creating an educational centerpiece on site. In addition to this introduction of infrastructure on site, the team was asked to assist David Blackwood from the West Tennessee River Basin Authority in realizing a new type of educational facility focusing on roadway construction in Tennessee and how the regions erosion issues can begin to cause infrastructural issues called a W.E.T. Center. This task challenged the design team to create a new type of building that has never been built before, resulting in various meetings with the clients and numerous iterations of what this facility could look like. In addition to this rigorous challenge of the W.E.T. Center, the team was also tasked with designing a barn that would be an addition to the STEM Center on site. This barn was initially proposed as a typical barn type, but the team pushed it further, utilizing research exercises done early in the semester studying alternative agricultural technologies and applied that knowledge to the STEM Barn. The STEM Barn posed its own set of challenges as it is an addition to the STEM Center and STEM garden that are nearing construction on site. Dealing with this set of pre-existing conditions challenged the team to approach the project from various angles, resulting in numerous design iterations and site approaches. Written: Natalie Grimm
Fig. 1: Proposed W.E.T. Center Fig. 2: Proposed STEM Barn
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Master Plan Proposed Site Plan At the start of the master planning process, the team was asked to simplify and streamline the circulation on site. In order to achieve this, there had to be a way to unify and circulate the site while simultaneously preventing easy access to the youth education camp from other programs on site such as The Clays shooting range as well as the hospitality sector. To do this, the site is broken up into three localized chip seal road networks with independent entrances, allowing for each zone of the site to have access to well managed road systems. As a way to unify these three localized chip seal road networks, there are gravel access roads introduced as connecting points throughout the site for maintenance purposes.
Hospitality
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Lone Oaks Farm
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STEM Education Center Page 147
Master Plan Circulation At the start of the master planning process, the team was asked to simplify and streamline the circulation on site. In order to achieve this, there had to be a way to unify and circulate the site while simultaneously preventing easy access to the youth education camp from other programs on site such as The Clays shooting range as well as the hospitality sector. To do this, the site is broken up into three localized chip seal road networks with independent entrances, allowing for each zone of the site to have access to well managed road systems. As a way to unify these three localized chip seal road networks, there are gravel access roads introduced as connecting points throughout the site for maintenance purposes.
Lone Oaks Farm
Gravel Roads Chipseal Roads
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Fig. 1-3: Lone Oaks Farm 2016 Master Plan
1. Lake Cabins
2. Forest Cabins
3. Meadow Cabins Lone Oaks Farm
Master Plan Youth Education Camp Located in the northeastern portion of the site lives the 4-H camp. Currently, the STEM Center and a group of youth cabins have been designed and built by El Dorado Architects. The students’ job was proposing ideas for the remaining two groups of cabins, as well as a STEM Barn. After research of the site and consultation of the El Dorado 2016 Master plan, the design team decided to adjust the layout of some cabin groups previously proposed, but otherwise maintain the idea of giving each ecology its own lodging quarters. A youth camp center was also proposed as a central meeting place for these young campers. The design team further looked into the current road systems on the Lone Oaks Farms as well, and reworked the main entry sequence to the youth education area. This ensured further security for the youth area and a clearer entry sequence as well.
Location map
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Master Plan Field Stations Inspired by ranger stations in national parks, these field stations have the ability to not only activate Lone Oaks but also leave it better off. Through positive infrastructure these stations are able to act as outdoor classrooms, data collection points and wayfinding devices depending on their location on site. In the outdoor classroom proposal, this station takes the form of a covered pavilion located in the 4-H camp’s forest ecology, allowing students to gather and learn. In the bridge proposal, use a low point of elevation prone to flooding to integrate a water testing measuring with a bridge crossing point. This allows Lone Oaks to gather relevant water health information while also providing users a piece of infrastructure to use in the event of heavy rainfall. In total we are proposing nearly twelve stations across the site, to further help unify Lone Oaks, between programs that are not able to be physically connected.
Fig. 1: Field stations as unifying element on site Fig. 2: Floor plan of education pavilion field station Fig 3: Section of educational pavilion field station
Lone Oaks Farm
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Master Plan Field Stations
Fig. 1: Data collection bridge at various levels of water levels Fig. 2: Data collection bridge on site Fig 3: Plan of data collection bridge Fig 4: Section of data collection bridge
Lone Oaks Farm
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Lone Oaks Farm
W.E.T. Center Understanding
Managing storm water, erosion, and flooding is required by municipalities, counties, state and federal agencies, universities, and private landowners. Simple structures like road culverts, in order to perform successfully, need an understanding of basic principles in hydrology and erosion. However, often the people constructing and/or repairing these structures lack this knowledge. This often results in these projects suddenly failing during heavy rain events, leading to localized flooding, heavy erosion, and temporary closures of roads and highways. Lone Oaks Farm in partnership with the West Tennessee River Basin Authority feels an urgent need to educate landowners about how water moves across the landscape. The proposed solution to this infrastructural issue is the creation of a completely new building type. A Water Education and Training (WET) Center is an educational program and facility to teach the basic concepts of hydrology, erosion, and green infrastructure to the people responsible for constructing water related infrastructure. Because the core ideas of these applications are best learned first-hand, the WET Center will deal with this education at a real world scale. This way participants can experience water in volumes and velocities relatable to actual heavy rain and flood events. Written: Matthew Ho
Fig. 1: Proposed Farm Center W.E.T. Center Fig. 2: Proposed Spillway W.E.T. Center
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A
Lone Oaks Farm
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Site Option A - Farm Center
Site Option B - Spillway
-Ample on site topography -Water source already on site -Adjacent to support program -Independent from Youth Education -Awkward entry sequence -Not visible to other visitors
-Adjacent to dam and spillway -Adjacent to largest body of water -Visible to more visitors at Lone Oaks -Clear entry sequence -No adjacent support program -Requires major site grading
W.E.T. Center Program Introduction
Site criteria for the WET Center includes access to water to be used for full scale simulation, a way to drain excess water out of the site, topography and grading that can accommodate roughly twenty to thirty feet of elevation change, access for visitors and earth moving equipment, and proximity to support program. Programs and classes held at the WET Center have the potential to last multiple days, so support space will be necessary in order to accommodate meals and breaks. Programmatic criteria for the WET Center includes a one million gallon water reservoir, two to three flooding flumes used to efficiently simulate floods, a lower demonstration basin roughly the size of a football field and capable of being flooded, a fifteen to twenty space parking lot, and a building to house interior program. The ideas outlined in a WET Center relate directly to the larger mission at Lone Oaks Farm. Originally, the youth education zone of the farm contained all of the STEM education elements and used agriculture as the context. With the addition of the WET Center, those same ideas of STEM education and learning by doing will be translated to use infrastructure as the context. This widens the participant pool to include everyone from K-12 students, to rural road builders and landowners, to geotechnical engineers. The design team proposed two site locations and schematic design options for the WET Center at the final semester meeting. One was situated near the Farm Center, and the second near the spillway of the dam. Written: Matthew Ho
Fig. 1: Map Showing Site Options
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W.E.T. Center Farm Center Location
W Bu ate Ba ildin r sin g
The Farm Center location is a previously vetted potential site that meets all the site criteria; in addition it is centrally located within Lone Oaks Farm and kept separate from the shooting sports complex and youth education realm. The site organization prioritizes the water as the primary piece of program: the holding, movement, flooding, and recirculation of water becomes the driving factor. The upper reservoir is placed to the north. Placing it here allows the flooding events to be powered by gravity much like real world flood events. The lower basin is placed on the south end of the site, or at the lowest elevation. Culverts, dams, and levees constructed in the lower basin will be flooded with the water from the upper reservoir and after this flooding, the water flows to a designated pumping pit in the lower basin. From here it is allowed to settle and then is pumped back up to the upper reservoir.
Lone Oaks Farm
Acting as the floodgate that will control this flow of water is the building. This building houses all of the interior program for the WET Center like equipment and material storage, administrative offices, mudrooms, indoor and outdoor classrooms, and a data monitoring room. Since the main experience comes from the exterior hands-on learning, the interior building can remain simple and modular. Similar to the newly proposed buildings at Lone Oaks Farm, the WET Center is organized along a linear axis with exterior covered circulation between a series of spaces. This circulation path is located on the southern side of the facade to provide sun shading during the summer months and views to the lower basin from within the building. This proposal aims to help the visitor understand the latent power of one million gallons of water by damming the upper reservoir with the building. This damming leads to monumental flood events when the water is released from the upper basin and travels through the building on its way to the lower basin. Feeling the rush of water beneath and hearing the rushing water signifies the power that this water has and keys the student into understanding the importance of hydrology, erosion, and stream mitigation education. Written: Matthew Ho
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W.E.T. Center Farm Center Location
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Lone Oaks Farm
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Lower Basin
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Parking
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W.E.T. Center Spillway Location
While the Farm Center location had already been vetted and determined to be adequate by the clients and outside design firm, the students wanted to push one completely new idea. This proved to be challenging, given there are no precedents for a W.E.T. Center. After many discussions of what the water needs to do, the environmental impacts that this building could have, and one comment from the client saying “What if the water went through the building?”, the idea to activate the spillway was proposed. In this scenario, the architectural building would live out of the existing dam, and utilize the spillway water as the upper reservoir for the W.E.T. Center. The direct benefits of this were that there was no need to pour a massive tank of concrete to hold one million gallons of imported water, and after the water had been used, it could be filtered back into its natural stream,
instead of being pumped back up to be used again. This eliminated the need for massive pumping machinery. Beyond the natural benefits of this location, its interaction with the rest of the site was deemed interesting as well. Creating a beautiful piece of architecture atop the dam would attract interest to the W.E.T. Center, as this location is very visible from the main entry, and easy accessible. It is also very relevant to the education sector of Lone Oaks Farms. The team felt this could be beneficial as children traversing the site could use the W.E.T. Center as a gathering point, education space, bathroom break, and way-finding device. The architectural proposal consists of an upper and lower deck housing ‘clean’ and ‘dirty’ program respectively. Both decks hold education spaces and open air patios that are perfect for outdoor demonstrations, and could be filled in with further program as the building’s needs expand. On the upper deck, two roof forms create canopies that harvest rainwater and drop it into the spillway or the flume for construction simulations. Written: Alex Kinnan & Kylee Mernagh
Fig. 1: Proposed Spillway location Fig. 2: Spillway adjacency Fig. 2: Accessing water from spillway for use in flumes Fig. 2: Utilizing water harvested from spillway for demonstration
Lone Oaks Farm
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W.E.T. Center Spillway Location Fig. 1: Spillway lower level plan Fig. 2: View of W.E.T. Center from dam road Fig. 2: Sections through W.E.T. Center and lower basin
Lone Oaks Farm
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STEM Barn Purpose of STEM Barn
In order to create a fully functioning STEM educational demonstration garden, there was a realization that there would need to be significant storage associated with it. As Lone Oaks prepares to begin construction of the STEM Center designed by El Dorado in the Spring of 2021, the need for a barn to accommodate the storage required by the garden became pertinent. Ideally located at the terminus of the existing STEM center axis, the STEM barn is an unconditioned facility that is primarily used for the storage of materials, equipment, as well as provides hands on workspace. Throughout the semester, the design team pursued research regarding the various alternative agricultural technologies that exist in the world and how these can have a great effect on the world. With this in mind, the studio saw the STEM barn as an opportunity
Lone Oaks Farm
to incorporate this important research into the program of the STEM center. Due to the nature of the facility the barn will be worked into, the STEM barn serves as its own platform for the urban-rural interface, creating opportunities for students to be exposed to real world applications of what they learn in the classroom. It is through Lone Oak’s mission of creating an educational centerpiece that this expansion of program for the STEM barn is feasible. Within the STEM barn, the studio proposes that in addition to the required storage space needed for large and small equipment, that the STEM barn also house programs such as a greenhouse (also referred to as the Lantern), a workshop for hands-on demonstration, an area for compost education, as well as a covered gathering space for classes and a barn-style conditioned restroom area. We believe that the introduction of this additional program would allow for students at Lone Oaks the opportunity to learn about complex world issues through the context of hands-on experience. Written: Natalie Grimm
Fig. 1-3: Lone Oaks Farm
Fig. 4: Mail Tribune
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STEM Barn The Missing Piece of a Triptych
trip.tych | \ ‘trip-(,) tik \ : something composed or presented in three parts or sections : Synonyms: trilogy, triad, trinity
When tasked with designing the STEM barn addition to the STEM center, the studio struggled to see a way that this secondary support structure would be incorporated into the existing design of the STEM center. After many iterations, the studio stepped back, and began to approach it from a site level. Upon doing so, it became evident that the idea of the triptych was present throughout the entirety Fig. 1: A triptych in art Fig. 2: The triptych of site zoning Fig. 3: The triptych of education Fig. 4: The incomplete triptych of the STEM Center
Lone Oaks Farm
of Lone Oaks Farm. Beginning at the site level, Lone Oaks is organized by three programmatic zones. Within these zones, we can begin to focus in on the education zone which houses the STEM Center, the 4-H camp, and will eventually include the W.E.T. Center. This at its base level, is a trinity within the education zone of the site. Taking it one step further, when analyzing the STEM Center, it is evident that the trinity of the center is incomplete. While the STEM center has it’s own internal language, formally and architecturally, the triptych is incomplete. After several further steps of analysis, it is clear that in order for the STEM barn to fit into the STEM Center, it has to be the missing piece to the incomplete triptych that is the STEM Center. Written: Natalie Grimm
Fig. 1: Simon Dinnerstein | The Fulbright Triptych
?
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STEM Barn The Kink
The first of two schematically designed proposals for the STEM Barn is “The Kink”. This design takes many cues from the STEM Center by creating a structure that responds directly to the landscape, speaks to the Lone Oaks Farm vernacular, and furthers the mission of Lone Oaks Farm through agricultural education program. This design acts as an end cap to further define the demonstration garden area while also creating exterior gathering spaces, much
Fig. 1: Site Plan of The Kink Fig. 2: Creation of way-finding element at corner through addressing the contour Fig. 3: East elevation
Lone Oaks Farm
like the STEM Center. By responding directly to the landscape, just like the STEM Center, a “kink” is formed which gives opportunity to design a corner piece that stands apart from the two wings. The “kink” can then serve as a way-finding element for the education zone, containing program meant to create awareness of alternate agricultural opportunities. A lantern that can house aeroponics, aquaponics, and plants that are not native to Tennessee can provide a wide range of agricultural knowledge to students who may have not otherwise known about these types of farming. The Kink design sets priority on innovative education that is generationally passed down. Written: Cheyenne Canterbury
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STEM Barn The Kink Fig. 1: Internal triptych of program Fig. 2: View of approach from 4-H camp Fig. 2: View of exterior gathering space between garden and STEM barn
Lone Oaks Farm
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STEM Barn The Shell
The second architectural proposal for the STEM Barn is “The Shell.� This design becomes the end cap and missing link to the STEM Center as it is located across the demonstration garden. By repeating the orientation and form of the STEM Center buildings as the first formal move, The Shell integrates the language of the STEM Center in its design. The form is then carved out to make a hollow mass. Most of the program for the STEM Barn does not need to be climate controlled, however, this design pulls all the programs together under one shell allowing the non-climate controlled spaces and climate controlled spaces to have an intimate relationship. Openings are cut out of the shell to mark and separate equipment entries and pedestrian entries. The pedestrian entries are in alignment with the pathways in the demonstration garden on the east side of the building whereas the equipment entries are three bays on the west side of the building. The primary entry is the more dominant opening and is on the major axis of the STEM Center.
Lone Oaks Farm
The second subtraction from the form is on the southern end of the barn to house the lantern program. The lantern is placed strategically at the end of the STEM Center axis for termination . Thus the lantern becomes a way-finding element that draws people approaching the STEM Barn from the STEM Center. In addition to being seen from the STEM Center, the lantern is seen from the 4-H camp approach, becoming a beacon to the rest of the education program. Looking in the STEM Barn, the triad program of storage, workshop, and lantern, are clearly split up by circulation. The primary circulation running north to south creates a main corridor. The secondary circulation, stemming off the garden paths, runs perpendicular to the corridor. Large storage on the west is for equipment while small storage is dedicated to tools and is next to a single stall restroom. The workshop is a multi-use space for gathering students, examining equipment, overflow greenhouse and garden work, and other uses as well. The lantern program is split up between a more climate controlled space for year round crops and non-native plants and a non-climate controlled space for compost and other crops that do not need controlled temperatures. Written: Jenna Engel
Fig. 1: Site Plan of The Shell Fig. 2: Creation of way-finding element through the lantern Fig. 3: West elevation
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STEM Barn The Shell Fig. 1: Internal triptych of program Fig. 2: View of approach from 4-H camp Fig. 2: View from main axis through demonstration garden
Lone Oaks Farm
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Volland Foundation Project Briefs Exploration Programming Charrette Proposals
Client Group Volland Foundation & Grimm-Schultz Farmstead The Volland team interacted with the owners of the Volland Foundation, Jerry and Patty Reece as well as their various accomplices with numerous specializations. They provided the passion and insight that helped guide and ground the students in retention of vision for the Volland campus. Various consultants and faculty joined intermittently throughout, providing insight and commentary during interactions with students. The owner of the Grimm-Schultz Farmstead, Laurie Hamilton welcomed the students from the beginning, leading tours over her recently acquired land. Laurie established the importance of preservation towards the farmstead, and emphasized the history and value that can be learned from Grimm-Schultz.
Volland Foundation
Jerry and Patty Reece Founder | Volland Foundation
Laurie Hamilton Owner | Grimm-Schultz Farmstead
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Design Team Mentors & Students The Volland team was assisted in conjunction with El Dorado faculty, as well as APDesign alumni and working professionals from prior graduating class. The team has also evolved from the original four (Krishan, Krynne, Drew and Larissa) to include members from the Sanctuary Farms team (Justin and Emily) midway through the semester following the Volland Charrette. Alex Kinnan also worked in both the Lone Oaks and Volland team in the later half of the fall.
David Dowell, AIA El Dorado | Partner
Brian Michener, AIA LEED AP El Dorado | Associate
Brock Traffas El Dorado | Designer
Lauren Harness, AIA LEED Green Associate About the Work | Associate Project Manager
Timothy Tse OMA | Architect
Alex Kinnan
Volland Foundation
Krishan Baniqued
Justin Jennings
Krynne Knopik
Emily LaRocco
Drew Lofton
Larissa Oshima
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Part One Project Briefs Project Impetus Site History Arts & Humanities Prior Work
Project Impetus Climate Change & the Anthropocene
Anthropocene an • thro • po • cene The current geological age, viewed as the period during which human activity has been the dominant influence on climate and the environment.
Volland Foundation
Fig. 1: Earthzine
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Fig. 1: Hannah Postlethwait
We are living in an age where we are faced with difficult questions regarding our future as human beings on this planet. We have the power to shape our environment for the bad, or for the good. The “wicked problem” of the Volland Artist Residency is to provide artists a haven of community in a beautiful landscape to work towards solving the great problems we face as a species today.
Fig. 1: Tom Parish
Volland Foundation
Site History Volland, KS
The story of the town of Volland, Kansas, began when an influx of German immigrants purchased land and established cattle ranching farmsteads due to the flint hills soil being too shallow and rocky to cultivate agriculture. The original prairie settlers envisioned farming instead of livestock production as a means of providing for the family and building a lasting business. After observing the wild bison, settlers quickly adapted and learned how to best work the land. This began the tradition of working in balance with the prairie and allowing the unique tall grasses local to the flint hills to regrow each year to feed cattle. Right before 1887, residents in this area began to sell parcels of land to the Rock Islands Railroad. The following year the train station was built in Volland between Alma and Alta Vista to supply coal and water to the passing trains. The golden age of ranching and agriculture in Volland began soon after the completion of the train station. Cattle were brought in on the train to graze in the nutritious prairies that increased the quality of the goods produced from the animals. Residents of the surrounding towns would travel via the train to Volland to do their socializing and shopping on the weekends. Volland soon became the urban hub of the local ranching farmsteads and their connection to the greater Midwest. A general store, owned by the Kratzer family, opened with a post office in 1891 and new plans for a brick store began only twenty years later.
The post office was moved to the new brick store after its completion. An “end� phone was also installed here, meaning that residents of Alma would not be able to make a direct call through to Alta Vista; they were required to travel to Volland to do so, and the same in reverse. In 1920, the railroad was expanded to a double track and a gas pump was installed on the east side of the new store, providing yet another modern and urban service to the residents of Volland. The Great Depression hit the nation hard, especially small ranching towns like Volland. This began the decline of the prosperity of the town. After World War II, the railroad depot in Volland was closed and torn down, and in 1955 the post office in the store was shut down as well. The population of the town continued to decline, yet the brick general store was still occupied by the descendant of the Kratzer family, Otto, and continued to operate until his death in the early 1970’s. His relatives attempted to maintain the building, yet it soon fell to ruin like the other buildings within the town. The roof collapsed after several years of a bad leak, allowing the surrounding landscape to rush in and occupy the space. Most of the brick construction stood sturdy against the test of time, showcasing the craftsmanship. The brick store remained in this state until Patty and Jerry Reece bought the store from the Kratzer family. They then re-imagined the General Store as an art gallery, revitalizing a unique piece of history local to the flint hills. Since its grand opening, the Volland Store has hosted more than two dozen art exhibits, lectures, and many other public events. This sparked the formation of the Volland Foundation in 2017 and led to the future collaborations between El Dorado, George Terbovich Design, and the Design+Make Studio at Kansas State University to expand the Volland Artist Residency. Written: Larissa Oshima
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Fig. 1: Drew Lofton
Volland Foundation
Site History Grimm - Schultz Farmstead
In 1862, Henry Grimm and his wife were registered in the federal census as residents of Alma Township, located just Northeast of Volland. The first dwelling on their land west of Volland sat near Mill Creek and was simple wood construction, but they soon moved to a limestone I-House completed in 1880. Henry Grimm continued to build structures out of the natural limestone found in the nearby creek beds with great craftsmanship and skill. These outbuildings were placed based on their use and function within the farmstead, creating a unique organization that was defined by the land and the purpose. Grimm anticipated the growth of the local economy and continued to build upon his landholdings. The growth of Volland in the first two decades of the twentieth century also impacted the local cattle ranchers, including the Grimm family. The introduction of the railroad connection in Volland allowed for the ranchers to purchase more cattle to graze, therefore producing an excess of goods to be sold in town. Prior to the arrival of the railroad, Grimm had no means of marketing his cattle. Soon, the homestead went from semi-subtenancy to full production. George, the second oldest son of Grimm's eleven children, moved to Alma after the death of his father Henry in 1904. In 1908 he sold the I-House to Lincoln B. Willets. Being more diversified in business than Grimm, Willets decreased the size of the original landholdings yet maintained the grasslands for cattle production. The next owner of the Grimm farmstead was the Charles Horne Sr., family
and they continued the livestock production of the farmstead. Both Willets and Horne shaped the farm and ranch functions to respond to the larger agricultural issues as well as those of a local nature. After changing ownership several times since Henry Grimm’s death, the farmstead finally came into ownership of the Schultz family in 1931. Gustav L. “Gus” Schultz was only twenty years old when Volland was established as a town in 1891. By 1919, his landholdings increased to approximately 1,470 acres surrounding the property of the Grimm farmstead, inherited from his ancestors. He took advantage of the Great Depression and the slump in the market in 1929 and purchased the Grimm Farmstead. At this point, most of the land was being leased out to local ranchers to turn a profit at the end of the season. In 1939, Gus placed his youngest son William “Bill” Schultz, in the I-House upon his marriage to Mary Hyde of Alta Vista. Bill worked under his father until the Grimm farmstead was gifted to him and Mary in 1944. They spent their early years on the property without electricity. Their youngest child, Leland, was born in 1954. Bill and Mary Schultz experienced a change in the scope of their community with the loss of the train depot in Volland, however Leland continues to work the cattle pastures to this day. Due to the farmstead remaining a functioning cattle ranch over the course of its lifetime, it retains the title of the largest intact working farmstead in the Flint Hills with over ten original structures and outbuildings integral to the historic framework. In January 2020, the Volland Store supporter Laurie Hamilton purchased the historic GrimmSchultz Farmstead. Hamilton plans to remodel the farmstead for use by the Volland Foundation and intends the entire property as a planned gift to the Foundation (Fieldworks Consulting). Written: Larissa Oshima
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I began the week with one simple goal. Get away for a bit and paint. I ended the week having experienced so much more than I expected. Everyone I met was friendly, welcoming and wanted to make sure I had everything I needed. They were super supportive and curious about my art. And they are proud to call the Flint Hills home. I totally understand why. It’s strikingly beautiful and unique. Elaine ‘Laney’ Haake, October 8th, 2020
Fig. 1: Wassaic Project, Res. Artist
Volland Foundation
Wassaic Project Wassaic, New York
the monthly artist talks and sign up for studio visits to involve those outside of the residency program. Creative professionals are brought in several times a month to work with the residents of the program and the local community. The artistic facilities that the residency offers to the artists are exhibition spaces, library and research resources, ceramic workshops, woodworking tools, and printmaking facilities. The residential facilities can vary depending on the artist's preference. Shared accommodations, space for partners, families and pets, internet, and computers are offered to the artists. The studios are within easy walking distance of the accommodations. The different disciplines that the program caters to
The growth of Volland in the ďŹ rst two decades of the twentieth century also impacted the local cattle ranchers, including the Grimm family. The Wassaic Project, founded in 2008, is all about art and community. Using art and arts education they facilitate positive change within their local community. This artist run organization focuses on bringing in artists and installing them in an entirely unique setting of rural Wassaic in upstate New York. The residency also works to stem the urbanrural divide that plagues America. Working in conjunction with local communities, the Wassaic Project ensures accessibility to rural art. As the Wassaic Project focuses on the community and not just the outside artists, they require each resident of the program to work eight hours per month of community service. The artists can either be working alongside staff members, helping with installations, tending to the community garden, office organization, or take part in projects in the larger community. The Wassaic Project seeks artists working in a diverse range of media who want to challenge themselves and expand on their current practices while participating in a grass roots, community-based arts organization. The artists are highly encouraged to participate in
are: visual art, sculpture and ceramics, dance, theatre, printmaking, performing arts, textile art, music, literature, new media, film-making, and curatorial work. The artists work out of and gather within refurbished historic buildings that connect the past with the present. The studio spaces are raw and located in a historic livestock barn, however there is also a workshop and the option to work outside. The program encourages artists to find new methods and ways of creating. At the end of their time at the residency, the artist can either complete an installation or contribute work to the Wassaic Project Summer Festival. Written: Larissa Oshima
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Fig. 1: Corwin Levi
Volland Foundation
Art Farm Marquette, Nebraska
“Art Farm’s mission is to support artistic vision, which may be impractical, obscure, and independent of commercial recognition—where failing is no less welcomed than succeeding. To offer artists, writers, performers, and others: studios, time, and resources for pursuing their range of expression, for experimenting, for developing projects in a vibrant environment of cooperation rather than competitiveness, but most of all, for distilling the promise and potential of their creative enterprise, while working and living in a rural environment. Art Farm’s physical presence is in its buildings and land. More elusive to describe is the ambiance—the subtle influence of the environment’s impact on time and space. The sun and stars measure your time, not clock and calendar. Space is shaped by proximity to sound and silence. The sky: your eyes: your ears will fill with the sound and shapes of an incredible number of birds and bugs. And, like it or not, the weather will be your collaborator in all undertakings,” (Art Farm). Located in central Nebraska, this 60-acre farm-turned artist residency is composed of seventeen building moved to the site since 1974. These buildings would have been demolished by their owners, but were instead organized into supporting building for the residency. They followed traditional vernacular based on pragmatic observations and function. In the center of the residency is the 12,000 square foot barn complex made of five separate barns joined into one massive unit. This is known as “The Mutant Little House on the Prairie.” Written: Larissa Oshima
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Fig. 1: Ron Fondaw
Volland Foundation
Djerassi Resident Artists Program Marta Salas-Porras, California
Djerassi is a nonprofit established in 1999. It's rich history has been derived from artists of all mediums who lived and studied here, surrounded by the historic land which was originally settled by the Salson Tribe of the Ohione. Dr. Carl Djerassi originally purchased the land to raise cattle, inviting his family to build homes nearby in the vast 583 acre land south of San Francisco. Tragedy struck when their daughter commited suicide at the age of 28, yet Dr. Djerassi and his wife were inspired to honor her memory. They supported women artists and began reusing the various ranch structures as administration spaces while erecting cabins for the new artist residency program. Their goal was to emphasize as little abrasive action towards the land as possible. After the program was founded, they eventually established a conservation easement that imposed strict development limits on their property to protect the land in perpetuity. Scientists are included in the types of artists they invite to the residency in the summer. A program of guided hikes, scheduled from spring to autumn, lets the public experience both the extraordinary landscape and the thought provoking outdoor art created by past residents. The facilities include four separate living spaces, a large artists barn holding several studio options, and four live/work studios for artists with tidy or tiny projects. Written: Larissa Oshima
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Fig. 1: Elaine ‘Laney’ Haake
The Volland Foundation provides artist residencies and community programming in a historic village setting in the Flint Hills of Kansas. The Foundation aims to be recognized as a world-class residency program of the highest calibre, serving a mix of regional and international artists. The Volland Foundation will bring high quality arts and culture practitioners and events to the Flint Hills while sharing the majesty and history of this unique and underappreciated landscape with individuals from around the world. Its site and facilities will celebrate and showcase the simple architecture and gentle sublime landscapes characterizing the region. The Volland Foundation’s activities will bring together artists, residents, and visitors with members of the local community in a village environment, enhancing the region’s economic vitality and nurturing community connections and open dialogue. Beyond a focus on ecologically oriented artistic practices, The Foundation’s programs aim to celebrate and share local life-ways and the complex history of the Flint Hills region and its peoples.
Prior Work House One House No. 1 started its life as “The Edison,” a ready-to-build kit house commonly sold by the Gordon Van-Tine company. It is likely that the house was delivered in the 30’s to Volland, KS on a train and assembled in its current position. The Edison was a two bedroom bungalow, described in the Van-Tine catalog as a “snug little home . . ., compact, easily heated, and with a room arrangement that is a wonderful space utilizer.” It was designed to be built anywhere and by anyone, regardless of local site conditions, limitations or qualities. The house today is being rehabilitated from a generic and common bungalow into a very specific and purposeful new artist studio and accommodation space for The Volland Foundation. Customizing the home is both careful and complicated requiring attention to detail and subtle moves that expound upon the home’s original features. One such move is a custom designed and fabricated window box that replaced the two smaller windows on the south elevation, framing the view toward the The Volland General Store. The design was in collaboration with a previous Design+Make Studio and the second structure on site to be rehabbed. (El Dorado, 2018)
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Fig. 1: El Dorado Fig. 2-7: Mike Sinclair
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Prior Work Volland General Store On October 18, 1913, Kratzer Brothers Mercantile opened in Volland, built by brothers Otto and Bill. Filled with merchandise and serving as a post office with two telephone lines, the store quickly became a cultural hub for the surrounding community. After the store closed in 1971, the building sat empty for 40 years. In 2013, a couple from Kansas City (Jerry and Patty Reece), purchased the building, deciding to turn it into an art gallery with a small living space serving as an artist’s retreat. While the roof, second and third floors had collapsed, the masonry shell was left structurally intact. The design team laid out a floor plan similar to the original: a large, open space at the front for events and exhibitions where the general store was, and a second-story living space at the back, above a catering kitchen and restrooms. (El Dorado, 2015)
Volland Foundation
Fig. 1: Wabaunsee County Historical Society Fig. 2-5: Mike Sinclair
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Prior Work Grimm-Schultz I-House The Grimm-Schultz I-House began as a simple yet easily recognizable structure in the landscape that can be found throughout the Flint Hills and greater Midwest. An extension was added some hundred years after the original structure was built and the footprint of the house became that of an “L.� At several points in its existence, the house held several generations of a single family living under the same roof. In January of 2020, Laurie Hamilton purchased the seventy acre property the house sat upon and began renovations. At this point, the upstairs level has been completed and incorporates a separate residence as well as two small studios. The main floor of the house is still in process, but the large kitchen and dining space will provide a central meeting location for both Grimm-Schultz and Volland.
Volland Foundation
Fig. 1: Bill and Mary Schultz Fig. 2-7: Larissa Oshima
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Part Two Exploration Grimm-Schultz Farmstead Town of Volland
Grimm-Schultz Site Visits Walking the land with owner Laurie Hamilton and regular site visits to the still functioning farmstead shed light on the operations and the preservation of the historic structures. Despite the geographical proximity of Grimm-Schulz and Volland, the studio found that the physical, cultural, and historic relationships were disconnected. Each structure was examined for potential expansion of the Volland Foundation artist residency.
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Fig. 1-4: Larissa Oshima
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Grimm-Schultz Cemetery Clean Up The team spent a Saturday morning with Laurie Hamilton unearthing the grave site. The burial site of the original Grimm family had been neglected for years and the overgrown trees and brush had made it an obsolete element of the farmstead. The group uncovered various headstones belonging to members of the family, and wonderful stories from Laurie about the whereabouts of the descendants of the Grimm family.
Volland Foundation
Fig. 1-4: Krishan Baniqued
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Volland Site Visits The team took weekly site trips to Volland to gain a more thorough understanding of the project location and its defining characteristics like land movement, arrival sequences and existing built and natural relationships. Whether it was walking out potential trail routes, staking out building placements, surveying trees or uncovering hidden tunnels, becoming familiar with Volland was prioritized as a way to answer difficult design questions.
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Fig. 1-2: Larissa Oshima Fig. 3-4: Matthew Ho
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Volland Building Placement During the process for a final site proposal and building locations and orientations, the team staked out the buildings to study the actual scale. This two dimensional process precedes full scale mock-ups of the buildings. This helped taper the scale of the programs as they were finalized.
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Fig. 1-4: Alex Kinnan
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Fig. 1: Larissa Oshima
Volland Foundation
Lexicon Key words and phrases that encapsulate the authenticity of the site, and integral to keep applicable during decisions and proposals.
Mulligan Stew made from odds and ends of foods stemming from trust in the community. Enjoyed during a communal gathering of neighbors around Volland in late September.
Brew No yes or no, right or wrong, left brain or right brain way of thinking, but a brew of emotions that make up each person’s experience.
Calving Season Mother cows are giving birth and extra sensitive to people. Don’t get near the babies!
Dry Creek A creek that has little to no water flow most of the year, but can become turbulent under heavy rain.
Anthropocene The geological period where human activity has dominated the earth’s climate and environment.
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Part Three Programming Master Planning Adaptive Reuse
Master Plan Dilemma The stark difference in character of Grimm-Schultz and Volland can be seen in the histories and functions both sites served. The largest dilemma for integration rises out of that difference. The Volland Foundation has a vision of a community of creatives utilizing both sites. This difference also stands to be highlighted as a valuable asset to keep intact, through careful evaluation and ultimate implementation.
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Master Plan 1300 ft Volland + Grimm-Schultz Trail The initial dilemma of connection was triggered through the disconnect the range of trees and the creek that splits 1280 ft both Volland and Grimm-Schultz. The development of new circulation was crucial for connection, developed from historical existing trails on the Volland site. This new circulation would reclaim the North-West portion of the enclosed cattle pen, reintroduced as native tall grass prairie.
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Fig. 1: Larissa Oshima
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Master Plan Inspiration from Circulation
The vision for the connection of Volland and Grimm-Schultz emerged from the necessary integration of both sites. The existing connection between the two sites is lacking, only existing through a vehicular road that disconnects artists from the inspiration from the Flint Hills. With a concept developed around existing and natural circulation, artists can now draw inspiration from both sites. The inspiration created is the catalyst for creativity, with artists often inspired to construct installations from local materials found in the landscape (found art). The collage opposite expands on one such artists often taps into the locality of his installation, Andy Goldsworthy. Expanding on an installation he developed for the Nelson Atkins Museum in Kansas City, the collage showcases an installation if Andy were to be inspired and create from found nature walking through these proposed paths. The proposed circulation also enhances the heritage of both sites, expanding to include important relics such as the Grimm Cemetery. Other installations to educate the public could also be constructed along the proposed path, especially pieces calling to the importance of the Flint Hills. Through the development of these points of rest along the proposed trails, work and reflection was envisioned as expansion of inspiration occurred through exploration. Written: Krishan Baniqued
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Fig. 1: Larissa Oshima
We often forget that WE ARE NATURE. Nature is not something separate from us. So when we say that we have lost our connection to nature, we've lost our connection to ourselves. Andy Goldsworthy
Adaptive Reuse 1300 ft Grimm-Schultz Farmstead With the acquisition of the Grimm-Schultz Farmstead in the near future, the task in front of the team was1280 to provide ft a vision of integration without loss of character. This vision was inspired by the locality of the structures on GrimmSchultz, as they are often built out of locally sourced limestone. Secondly, some structures still utilized, lent to local farmers and ranchers. A study on the value of adaptive reuse provided the team insight and ideas, imagining new functions for some existing structures on site.
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Fig. 1: Existing Granary, two floors not in use. Fig. 2: Hay Barn, functional structure still in use. Fig. 3: Barn, in use with lofted storage. Fig. 4: Existing Corncrib, not in use.
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Fig. 1: Drew Lofton
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Adaptive Reuse Volland + Grimm-Schultz
The different paths Volland and Grimm-Schultz took evolved into the different strengths both sites have to offer, overlapping through the shared belief of education and inspiration. While Grimm-Schultz retains a majority of it's original functioning structures, Volland has transformed in the initial stage of the an artist residency in the Flint Hills. Prioritizing character retention for Grimm-Schultz, adaptive reuse offers a variation of preservation that holds fast to the visual cues to the farmstead's past while offering an expanded program to the Volland Foundation. This expanded vision with the residency in mind takes into consideration a future with more varied studio spaces, community spaces and amenities for visiting artists and creatives. Written: Krishan Baniqued
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Adaptive Reuse Granary
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This underutilized outbuilding on the Grimm-Schultz Farmstead was once a milking and inoculation pen, held 1280 ft the storage of grain and housed an additional double height corn crib. The spatial volume of the second floor is restricted by the slope of the roof, limiting the amount of available functional space. This was envisioned to host another resident artist after rehabilitation, with the ability to host artist seminars lead by the visiting artist.
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Fig. 1-2: Larissa Oshima
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Adaptive Reuse Granary This outbuilding on the Grimm-Schultz Farmstead is an abandoned structure that was once a milking and inoculation pen, held the storage of grain and housed an additional double height corncrib. The spatial volume of the second floor is restricted by the slope of the roof, limiting the amount of available functional space. Exploration of this building led to ideas for transformation of the space while maintaining the original structure.
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Adaptive Reuse Corncrib
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The original function of this structure was holding corn. Corn would be deposited from the highest door1280 and would ft gather in the lower level built into the side of the hill. The smaller attached space on the east side of the building is limited in size by the height of the ceiling and pitch of the roof, indicating that it was most likely used for storage. The re imagined would now hold the ceramics workshop and all equipment associated, such as a kiln and pottery wheel.
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Fig. 1: Drew Lofton
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Adaptive Reuse Corncrib To re-purpose the corncrib as a ceramic studio, the double height volume would have to maximize its height for studio storage due to limited ground area. The insulative properties of limestone and the earth of the ground floor create an optimal atmosphere for the ceramic making process. Locating the kiln room in the upper addition would ensure that the heat would not affect the workspace in the lower level. Because the original stone massing has limited exterior openings, the north pitch of the roof would incorporate a skylight to make the workspace more functional.
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Adaptive Reuse Barn
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The barn was originally used as a structure to hold horses and hay. The main level was the sleeping chambers 1280forftthe livestock, while the hay loft, that spanned the middle bay of the barn, was extra space that was able to store hay in a dry manner, keeping it away from the elements that would ruin it. Evaluating the lack of large open spaces for equipment for wielding and woodwork, the barn was envisioned as a workshop that would hold specialty equipment for artists.
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Fig. 1: Krynne Knopik
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Adaptive Reuse Barn The old barn that is located on the Grimm-Schultz Farmstead was once used to hold horses and hay. It was considered a house for the animals while the hay loft was storage space for the hay, in order to keep it dry. Not wanting to stray too far from the original purpose, the same idea could be applied to the design for a woodshop and wielding studio in the old barn. The 'home' for the machinery would reside on the ground floor and the hay loft would be turned into storage for materials, in order to keep them dry.
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Adaptive Reuse Hay Barn
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The hay barn is original to Grimm-Schultz, still utilized today as a shelter for hay that the farm uses to feed various 1280 ft livestock. When the farmstead transferred ownership with the intent of integration into the larger Volland Foundation in the future, the Hay Barn was one of the structures considered for adaptive reuse. Inspiration for the proposal as a digital studio was derived from its context on the edge of Grimm-Schultz, harbored by landscape on all sides with no obstruction of structures.
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Fig. 1: Krishan Baniqued
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Adaptive Reuse Hay Barn The hay barn's value rests in it's open space. To keep this space lovely, the proposal is to simply implement a porch and retrofit a digital studio on the interior. This digital studio would also allow any creative to develop or capture film on the edge of the Grimm-Schultz campus, adjacent to the prairies.
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Part Four Charrette Background Architectural Proposals
Background Program A two week long Design+Make studio wide charrette arose from the need to develop a more focused program and campus on Volland. The proposals were led by the original members of the Volland Team. The program resulting from the charrette included adaptive reuse of House Two as well as new construction to accommodate five artists, a collaborative studio “barn” as well as office space for Volland Foundation employees. The adaptive reuse as well as new construction would approach with respect to all existing structures on site.
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Fig. 1: Justin Jennings
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Team Krynne Preserve the Unknown
Volland deserves to be preserved as the hidden gem that it is. If no preservation occurs, the memories and history of the place will be lost. In order to keep Volland relevant in modern times, our team chose to prioritize preservation through adaption of historic structures to our current needs. The tool shed adjacent to the old store is the first timeless structure that was evaluated, which we proposed to preserve and adapt to the benefit of artists as a working studio and communal space. This adaptation also invigorated the Eastern portion of Volland, which our team insisted was crucial in unifying the future of the town around Volland Road. Lastly, by listening to Volland’s architectural vernacular, our team proposed to reinstate the importance of the pitched roof form in the design of additions and adaptations in the new residence, art barn, and House Two. Through the unifying form of Volland vernacular and connection between east and west, Volland will be preserved as the hidden gem that it is. Written: Krynne Knopik
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Volland Charrette Team Krynne Site
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Fig. 1: Addition of studio space through repetition of original form. Fig. 2: Encapsulation of original shed with new programs located in addition. Fig. 3: Connection of studio spaces to nature through placement. Page 263
Fig. 1: Emily LaRocco
Volland Foundation
Team Larissa Ordering the Back Door
Inspired by the identity and vernacular of Volland, our proposal seeks to strengthen the existing assets. This is done by recreating the historic relationship between “the shed” and “the home” while maintaining the site specific vernacular of the front facade of Volland. The exterior identity frames Volland as a distinct community within the Flint Hills. Within this framework Volland is able to become a collaborative and flexible space that serves arts and humanities. Written: Larissa Oshima
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Volland Charrette Team Larissa Site
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Fig. 1: Adaptive reuse of House Two, with addition of support sheds West. Fig. 2: House Three utilizes the language of dormers to signal the third. Fig. 3: Utilization of the Art Barn to the Nortwest as support for House Three. Page 269
Fig. 1: Drew Lofton
PICTURE FROM NARRATIVE
Volland Foundation
Team Drew The In Between
Volland and Grimm-Schultz work as two focal points with land in between. Inspired by the two sites, the In Between proposal uses mass, extrusion and void to create spaces in between. The new programs use the in between to create urban and rural relationships that set up the connections to one another and to the landscape. Written: Drew Lofton
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Fig. 1: Separation of Art Barn from consideration of studio and admin. Fig. 2: Integration of residency in the landscape to activate inspiration. Fig. 3: Repetition of House Two form capturing outdoor space in between. Page 275
Fig. 1-3: United States Department of Agriculture
Volland Foundation
Team Krishan The Prairie is Burning
The inspiration and concept arose from the historic significance and unique vernacular the Flint Hills offers as an arts and humanities residency. The concept was inspired by the prairie burnings that can often be seen in the Flint Hills annually, with the poetic rise of new vegetation invigorated by old. This reinvigoration can be seen in Volland today, with the evolution of a once functional town tied directly to the modern needs of the community. As its original function disappeared, the shell of Volland stood as an artifact of a past time for decades. Historical photos of Volland's past design implementations such as the tree lined street and limestone retaining walls parallel to the street showcased a defined boundary that kept the town clustered around its source of life (the road). As it stands today, the artifact of Volland retains all original structures such as House One, House Two and the General Store to signal the underlying layout of the town. This existing layout of Volland as well as the vision of reintroduction of limestone walls and trees encapsulated the respect the past required. Respect to the existing structures was also kept prioritized with our introduction of new construction through a third residence (House Three) and a collaborative studio space fitting to Volland’ s new function as a Arts and Humanities Residency. The street acted as
the spine of the community, while a existing perpendicular street running north of the Volland General Store acts as the outreach to Grimm-Schultz to be developed in the future. This intersection also acted as a “gateway” for activities happening on the interior of Volland, which justified the placement of the collaborative “Art Barn” on that intersection. One goal of the Volland Foundation is to support artists' immersion in the landscape. This can be done through prioritizing pedestrian traffic on the site. This justifies the addition of a pedestrian walkway introduced to serve the artists, side of the intersection. The combination of privacy that the Art Barn serves as the gateway to the residences as well as the definition of boundary reintroduced into Volland through the limestone walls and line of trees paints a duality of old and new. This is while adaptively reusing existing structures without sacrificing character through retention. There was also a great emphasis taken on the materiality of the new structures versus existing, where a visitor or artist can easily discern between new and old but all construction speaks the same language. Written: Krishan Baniqued
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Volland Charrette Team Krishan Site
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Volland Charrette Team Krishan Program
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Fig. 1: Art Barn as the gateway to the residencies, with a shared roof. Fig. 2: House Three placed at entrance, with way finding north Limestone wall. Fig. 3: Utilization of the original form as a lofted double height space. Page 281
Part Five Proposals House Two Exploration Program Studies Architectural Proposals
Fig. 1: Larissa Oshima
Volland Foundation
House Two Exploration First Impression
The program and direction for House Two has inspired countless conversations from the team in respect to the master plan. Initial impressions immediately imprint a time of low ceiling heights, intimate bedrooms and the luxury of heating, modern amenities and standards at the time (1960s). Through conversation about the origins of House Two, a story starts to formulate on the movement of the house, origins elsewhere on site. This starts to paint a story localized to Volland- one of abnormal beginnings such as the materiality of the Volland Store, or the catalog quality of House One. House Two continues the transformation of Volland to an artist residency with its character intact, its mission to keep a sense of origin to the history of Volland and the Flint Hills. The case could be made that House Two retains the most romantic spaces of Volland, on the second floor bedrooms where a visitor experiences the intimacy of the rooms and interaction with the gable of the roof line. Written: Krishan Baniqued
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House Two Exploration Existing Conditions With House Two being a timber-built farmhouse from the 1800’s, there are several conditions that provide unique characteristics to the house. The entrance has a wide porch that almost spans the whole east façade, creating a smooth transition from exterior to interior. Directly inside the front door, steep stairs exist creating the only vertical circulation path through the house. The two bedrooms on the second floor, on either side of the stairs, give a tight cozy feeling due to the gable interfering with the ceiling pitch and the use of wood ceiling panels. This creates a lower ceiling height and a unique spatial volume. Dormers on the second story allow the eastern light to come into the bedrooms since there are not windows located on the bedroom’s west walls. Windows are placed on both the north and south walls of the main floor, allowing views out towards the other buildings in Volland. An addition that was built later was added to the northwest side of House Two, which is where the current kitchen and bathroom are.
Volland Foundation
Fig. 1-6: Krynne Knopik
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House Two Study The Addition This scheme re-imagines House Two by addition and subtraction. The original form is stripped of all interior walls, floors, and stairs to create a pure hollow volume that would become the studio workspace. Larger art cold be accomplished in the double-height space where light from the dormers would reach the studio floors. By removing the 1960’s kitchen addition in the rear of the house, a noncompeting addition will take its place as a bedroom and support space.
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House Two Study The Loft This particular scheme for House Two focused on the idea of combining two floors into one volume. As the main living quarters resided on the ground floor and the private bedroom was placed on the second floor overlooking the service areas, the loft allowed for a visual and spatial connection between the two volumes while remaining under one roof. Maintaining the idea of a main service core and views to the natural prairie.
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House Two Study The Nest This scheme for House Two takes a unique approach to the service core and creates an entirely new space above. The nest acts as a stationary nook to engage the landscape in a new way. A skylight directly over the nest brings natural light and curiosity into the space.
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New Program House Two The simple form of House Two has been replicated in the town of Volland many times in the past. This proposal designates the duplicate form as the main residence and living space for a single artist or an artist and their family. The original volume of House Two acts as a gathering or work space with a dramatic interior that compliments the historical exterior.
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New Program House Three The third residence, House Three, holds two artists separately yet provides a common porch space between the living areas. This common space emulates the skeletal structure of a local barn frame. The front facade of the house continues the rhythm of the roofs of the other residences, yet the central volume of the common space does not inhibit the view to the prairie beyond.
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New Program Art Barn The art barn addresses the The Volland Foundation's need for staff office space and a larger studio workspace. The form of the office and studio are directly inspired by the relationship they have to the blacksmith shop. The long plan creates a boundary edge between the southern community center of Volland and the residential sites to the north.
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House 2
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New Programs Mission The Volland Artist Residency is not only a retreat to escape an urban setting, it is a place to collaborate with the land, people, and other traveling artists in a way that promotes the growth and awareness of the importance of local arts and humanities.
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Instability is the precondition to creativity. Larissa Oshima
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Learning in a Pandemic A Student’s Story
Studio Mate 1: “What abou” Studio Mate 2: “Well mayb” Both Simultaneously: “Oh, sorry, go ahead” “No really, ope okay, well I was going to” “Oh, wait you go ahead.” *5 second pause* *Laughter to conceal annoyance* Studio Mate 1 (hurriedly): “Okay I was going to say what about this idea?” Studio Mate 2: “Oh Yeah I was going to say that too, good idea.” “Alright, can you see my screen? No? Hmm let’s just see here… maaaaybe if I try… this one… Any better? Can you guys see it? Okay great! Let’s start. Wait, how do I go to the next slide?” “Hold on, what time is it in New York? What about Botswana?” The 2020 Design+Make Studio this fall semester has traversed through three projects in five states, four time zones, and two continents. We are twelve graduate students who despite three positive COVID-19 cases and eighty two total days of quarantine, are able to deliver this one big comprehensive book. I’d say this book is testament to our idea of solving the “wicked problem” our whole world seems to be facing right now: how do we connect, cultivate and create? Our challenges were just that- connecting with each other, cultivating relationships with real clients, and creating architecture that solved their wicked problems. Doing these things is hard enough when you have hands-on desk crits and can share snacks in studio. But doing all of that without communal snacks? Nearly impossible. Nearly. We still managed to come through on the other side, mostly unscathed, only removing our masks for quick sips of water. But, we did make it. And while we discovered at least part of the answer
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to this now global issue of online academia, some of the wicked-est problems we (or maybe I) faced this semester were, “What the hell is a wicked problem?” and “Why is my eyesight deteriorating so quickly?” With World War II-turned-coronaviruspropaganda pasted to the walls of Seaton Hall, the psychological challenges of an intense architecture education were heightened. Personally, I found relief from this in baking an obscene amount of cookies, and applying to jobs with the willingly naive mindset that the architecture market had somehow bypassed the economic crisis. Over the summer, the architecture department hosted a panel with graduates of the college from 2008-2009. The topic? Graduating during a market crash. While the information was helpful, it wasn’t exactly hopeful. However, upon reflection, I’m realizing that it might be the perfect time to graduate. I thought February of 2020 would be the perfect time to study abroad. I thought planning a wedding this year would go seamlessly. (That’s right, grad school and engaged during the biggest pandemic in 100 years. Bring it on, world.) I thought that 5th year would be filled with studio pot luck dinners & nights in Aggieville. Instead, study abroad was cut short. Wedding planning consists of multiple backup plans. Most nights were spent at home, with the cat and a glass of wine. But, there is something gained here. I have an appreciation for time as it is, not dwelling on the past or wishing for the future. I have learned to be adaptable in ways I didn’t know existed. And I’ve taken great joy in a three-person charcuterie board filled with mostly off-brand wheat thins. So, graduating in May might not lead to what I expected. However, if 2020 and this studio have taught me anything, it’s that spinning your wheels a little bit is okay. Spinning your wheels a lot is okay. Just be grateful you have wheels to spin. Written: Kylee Mernagh
Fig. 1: Design+Make Studio
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Acknowledgments on educational experience at Lone Oaks has inspired us throughout the semester, and has allowed us to approach design from another perspective. We would also like to thank David Blackwood from the West Tennessee River Basin Authority for giving us the opportunity to collaborate on a new type of educational test facility at Lone Oaks Farm. His cooperation and willingness to sit with us and discuss the semantics of his vision has been a truly unique educational experience.
We would first like to thank the College of APDesign at Kansas State University for giving us the opportunity to participate in such a unique capstone studio under the supervision and guidance of El Dorado. Under circumstances outside of our control, APDesign and El Dorado have worked to make our final year at Kansas State as normal as it could be. We would also like to thank the Department of Architecture for their generous donation to our studio and their support of this body of work. We would like to thank Fikile and Kathy Khali for giving us the opportunity to be a part of their vision for The Sanctuary Farms. Your passion for making a difference in people’s lives has inspired us and we know many others. Not only does your vision for Sanctuary Farms bring opportunity to students but you’ve chosen to use the process of realizing that vision to help us gain experience. We also want to thank Greg Soutter for helping us understand the site and culture of Botswana from afar. We truly appreciated the opportunity to collaborate with you all and help make your vision a reality. We would also like to thank our clients at Lone Oaks Farm for giving us the opportunity to help re-imagine the master plan as well as for the opportunity to collaborate and integrate the new program into the fold. While we wish the studio was able to visit and get to know those at Lone Oaks Farm as well as familiarize ourselves with the site, the team has truly done their best to help us understand Lone Oaks Farm and their mission in a remote fashion. The passion Ben West and Ron Blair have for creating a hands-
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We would like to thank our clients Patty Reece, Jerry Reece and Laurie Hamilton for the opportunity to collaborate in the integration and vision for the Volland Foundation Artist Residency. The invitation to explore the historic Volland and Grimm-Schultz has helped invigorate the drive needed to propose a vision of arts and humanities local to the Flint Hills. The locality of the site’s history and challenges has helped ground the unique goals of the Volland Artist Residency, with the vision of preservation and emphasis on the character of Volland and Grimm-Schultz. The passion our clients bring to every conversation has transpired into a fruitful semester stemming from rich conversation about the goals, vision and future of the residency. While the semester has been unorthodox in collaboration and presentation, our clients have given us the fullest extent of their attention and tools needed to be well immersed in the goal of bringing a successful arts and humanities residency to the Flint Hills. We would finally like to thank our professor David Dowell and the team members from El Dorado who have dedicated time challenging us to think critically, explore various avenues of the creative process, and have helped guide us towards the schematic designs presented in this body of work. We would also like to thank our guest critics Lauren Harness and Timothy Tse who have graciously participated in countless late-night meetings, helping guide us to successful design development. We appreciate their time, and are grateful that the extenuating circumstances of participating in a studio during a pandemic has given us the opportunity to have guest critics that work fulltime in New York City.
Fig. 1: Watercolor Site Image
Fig 2: Lone Oaks Farm
Fig 3: El Dorado
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Barcacel, Diego, -, and Diego Barcacel. “Clinton’s Hydroponic Farm Teaches Healthy and Sustainable Living.” This Is The Bronx, May 26, 2018. https://www.thisisthebronx.info/clintons-hydroponic-farmteaches-healthy-and-sustainable-living/. Beaudien, Jason. “Botswana to Relocate San Bushmen from Kalahari”. October 21, 2005. https://www.npr.org/templates/story/story.php?storyId=4968597 “County History.” Hardeman County Tennessee. Accessed December 10, 2020. https://hardemancounty.org/about-us/county-history/. Crouch, E. “Wildfires – Annual 2012 | State of the Climate | National Centers for Environmental Information (NCEI).” 2017. Digital image. http://www.ncdc.noaa.gov/sotc/fire/201213. “Culture and Traditions of Botswana.” Accessed December 8, 2020. http://www.botswana.co.za/Cultural_Issues-travel/cultural-peoplebotswana.html. Dirk Esterhuizen, Agricultural Economic Fact Sheet for Botswana. PDF file. 2015. https://apps.fas.usda.gov/newgainapi/api/report/ downloadreportbyfilename?filename=Agricultural%20Economic%20 Fact%20Sheet_Pretoria_Botswana_6-9-2015.pdf Dr. Burton Mguni, Botswana Agricultural Census Report 2015. PDF file. June 8, 2018. https://statsbots.org.bw/botswana-agricultural-census-report-2015 El dorado inc. 2018. Digital image.
Frearson, Amy. “Parrish Art Museum by Herzog & De Meuron.” Dezeen, May 6, 2015. https://www.dezeen.com/2012/11/14/parrishart-museum-by-herzog-de-meuron-2/. Garside, M. “Diamond Prices 1960-2016.” Statista, November 2, 2016. https://www.statista.com/statistics/279053/worldwide-sales-ofpolished-diamonds/. Goldworthy, A. “Andy Goldsworthy Quotable Quote.” 2020. Quote. https://www.goodreads.com/quotes/364058-we-often-forget-that-weare-nature-nature-is-not Government of Botswana,(FAO) Country Programming Framework for Botswana. PDF file. 2014-2016. http://www.fao.org/3/a-bp626e.pdf Graves Adams, Paula. “Ranching in the Kansas Flint HIlls: Exploring the Built Forms of a Family Cattle Ranch,” 1997, 1–242. Griffiths, Alyn | 21 March 2019 Leave a comment. “Carmody Groarke Completes Boat Museum on the Shore of Windermere.” Dezeen, March 21, 2019. https://www.dezeen.com/2019/03/21/windermerejetty-museum-carmody-groarke-architecture/. Haake, E. “Along Volland Road.” 2020. Digital image. https://images. fasosites.com/71114_3821554l.jpg?cv=202010181345 Haake, E. “Along Drovers Trail Road.” 2020. Digital image. https://images.fasosites.com/71114_3821617l. jpg?cv=202010181345
Eldorado inc. 2015. Ho, M. 2020. Digital Images Eldorado inc. 2018. El Dorado Architects. “Lone Oaks Farm 2016 ” KSU Student Introduction. Lecture, August 24, 2020. “Facilities”. Botswana National Sports Commision. Accessed September 23, 2020. http://www.bnsc.co.bw/bnsc-facilities “Farmland Legacy Resources - Farming Heritage - Farms Agriculture.” Farming Heritage - Farms - Agriculture - TN.gov. Accessed December 11, 2020. https://www.tn.gov/agriculture/farms/ heritage/ag-farms-farmland-legacy.html.
“How Diamonds Transformed Botswana & Empower Its Youth,” December 6, 2019. https://www.diamondsdogood.com/diamondstransform-botswana-empower-youth/. Infarm. “Infarm - A Few of Our Most Frequently Asked Questions.” Medium. Medium, July 22, 2020. https://medium.com/@infarm.com/ infarm-a-few-of-our-most-frequently-asked-questions-5221e9f65ae0. “Ilimelgo · Vertical Farm.” Divisare. Accessed December 9, 2020. https://divisare.com/projects/343773-ilimelgo-vertical-farm. Jennings, J. 2020. Digital images.
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Klein, Kristine | 20 August 2019 Leave a comment. “GH3 Designs Naturally Filtered Outdoor Swimming Pool for Canadian Park.”
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Lofton, W. 2020. Digital image.
United States Department of Agriculture. “Root Systems of Prairie Plants.” 2020. Digital image. https://www.nrcs.usda.gov/wps/portal/nrcs/il/plantsanimals/ NRCS141P2_030726/
Markovic, Zoran. “Traditional Cultural Elements in Built Environment Design in Botswana.” Accessed 2020. http://design-cu.jp/iasdr2013/ papers/1955-1b.pdf. Michler, Ian. “Culture and Traditions of Botswana.” Culture & Traditions of Botswana. Accessed December 9, 2020. http://www. botswana.co.za/Cultural_Issues-travel/cultural-people-botswana.html. Molenga, James Jakoba. “Renewable Energy Situation in Botswana”. Powerpoint PDF. February 20, 2012. Munumava, Miriam. “FAO.org.” Botswana | Global Partnership Initiative for Plant Breeding Capacity Building | Food and Agriculture Organization of the United Nations, July 17, 2009. http://www.fao.org/ in-action/plant-breeding/our-partners/africa/botswana/en/. Oshima, L. 2020. Digital images. Parish, T. “Gathering at Old Kratzer store.” 2016. Digital image. https:// thevollandstore.com/wpcontent/uploads/2016/09/volland_rephotographic_vv_store-front_flat_72dpi_6x10.jpg Patterson, Hannah, and Name *. “Tennessee Agriculture Overview.” Farm Flavor, August 21, 2020. https://www.farmflavor.com/tennessee/ tennessee-crops-livestock/tennessee-agriculture-overview-2/.
“Venn Diagram.” 2020. Digital image. http://thevollandstore.com/ruralurban-invitational-ii/#jp-carousel7286 “Wassaic Project.” 2017. Digital image. https://resartis.org/wpcontent/uploads/job-manageruploads/main_image/2019/06/ wassaic-project-location-mill-2017-07-15-18-53-39-533x800.jpg “What Is 4-H? - 4-H.” 4, November 30, 2020. https://4-h.org/about/ what-is-4-h/. “What Is Aquaponics?” Nelson and Pade, Inc. Accessed December 9, 2020. https://aquaponics.com/aquaponics-in-schools/aquaponicsinformation/. World-O-Meter Live Botswana Population Count. Accessed December 9,2020, https://www.worldometers.info/world-population/botswanapopulation/ “World Population Prospects - Population Division.” United Nations. United Nations, 2019. https://population.un.org/wpp/.
Postlethwait, H. “Collapsed grain bins South of Ames, Iowa.” 2020. Digital image. https://miro.medium.com/max/700/1*3G172V_K7fN2jsytebj3kQ.jpeg Schultz, Bill and Mary. Photographs from personal collection reprinted by the author, 1994. Sinclair, M. 2015. Digital images. https://eldo.us/volland-general-store Sinclair, M. 2018. Digital images. https://eldo.us/volland-house-1 Stovall, Brittany, and Name *. “How Farmers Are Saving the Soil in Tennessee.” Farm Flavor, August 21, 2020. https://www.farmflavor. com/tennessee/tennessee-environment/how-farmers-save-the-soil/. “The Wadden Sea Centre, Denmark.” The Wadden Sea Centre, Denmark | Dorte Mandrup. Accessed December 9, 2020. https://www. dortemandrup.dk/work/wadden-sea-centre-denmark.
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December 2020, Volume 1 Thanks to Kansas State University & El Dorado Architects Š Design+Make Studio 2020 No part of this publication may be reproduced, in any forms or by any means, without written permission.
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