Mackenzie Page's Portfolio 2014 by Mackenzie Page

Mackenzie Page Selected works in Landscape Urbanism, Art & Design

2014

Table of Contents 02 Intro 03 Panoptic Alienation/Intimate Dwelling 05 Invasive Remuneration 09 Woodland Cemetery 13

Reversible Destinies

New Orleans Emerging Futures

23 Technical Drawings 25 Clara Tyner Gardens 26 We Call This a Tree 27 Sketchbooks 29 Academic Travel

Hello, my name is Mackenzie Page.

I am currently a master of landscape architecture candidate at the University of British Columbia and a previous graduate of the environmental design bachelor program at the University of Manitoba with a focus on landscape urbanism. My interest lies at the critical intersection of landscape, urbanism, and built form. I am an avid runner, cyclist, and motorcyclist and enjoy reading, drawing, and travelling. The following pages are a collection of my undergraduate, graduate, and personal design endeavours.

LAND ART

Panoptic Alienation/ Intimate Dwelling LAND ART MLA Studio 503 Kris Fox 2013

PROCESS Analogue Multimedia Photoshop Model

This three week studio project took place at Pitt Marsh Ecological Reserve. Under the context of land art we responded to the existing landscape and visitor amenities. In navigating between the dialectics of the scared and profane, I found the existing access infrastructure provided panoptic vantage points and give a feeling of alienation. They do not immerse the user in the wetland itself. My intervention seeks to bring closer the wetland environment through a floating pathway network of partially submerged steel channels. The channels follow the palimpsests of former dredging, failed farming practices, and ecological flux.

PANOPTIC ALIENATION / INTIMATE DWELLING

LAND ART

Infrastructure

Invasive Remuneration LAND ART MLA Studio 503 Kris Fox 2013

PROCESS AutoCAD Photoshop Illustrator Model

The final project of the land art studio saw us study the threshold of the Second Narrows bridge along the Trans Canada Trail in Vancouver. Surrounded by industry, I analyzed the widespread scale of the shipping industry, from local to global. I synthesized my explorations into a spatial response which induced the user into a experience of compression and revelation from a vegetative condition into a barren industrial space. The augmentation of this threshold was aided by the veil of blackberries shrouding the cor ten steel armature.

Local

Regional

Just as the industry remunerates our society, it has negative consequences as it invades existing ecologies. This is made analogous by the planting of Himalayan blackberries, an aggressive invasive species which gives delicious berries.

National

Global

INVASIVE REMUNERATION

LAND ART

Invasive remuneration:

an inquiry into increasing complexities

mackenzie page larc 504

Blackberry Bramble

Corten Armature

Trans Canada Trail

1 : 500

INVASIVE REMUNERATION

view eastward

Rubus armeniacus

average terminal cane propogation

view westward

PRECEDENT STUDY

Woodland Cemetery PRECEDENT STUDY Ends Design Studio 5 Straub + Wilson Baptist 2009

COLLABORATORS Carly Moore

PROCESS Hand Drawn

We were required to research the design of the Woodland Cemetery located in Enskede, Sweden, by Eric Gunnar Asplund as a precedent for this studio. This design plays an important role in drawing on oneâ&#x20AC;&#x2122;s established notions of Nordic archetypes: the forest, the woodland chapel, and the burial mound. In Nordic mythos, forests are associated with mystery and the unknown, while meadows denote the antithesis. Asplund uses each to juxtapose death and life in the landscape. The chapel is the synthesis between temple and traditional home.

0 10

meters

The duality between forest and meadow - dark and light - is enhanced and revealed by a series of liminal spaces. We simplified the images in order to augment the contrasts and liminal spaces. We then found parallels between a passage from Danteâ&#x20AC;&#x2122;s Inferno and the spatial archetypes found throughout the cemetery procession (following pages).

100 200

WOODLAND CEMETERY The contrast between forest and meadow - dark and light - is enhanced and revealed by a series of liminal spaces. These spaces act as intermediate conditions to juxtaposed environments, such as a birch grove in between dark pine forest and meadow. Asplund uses the transitional spaces to produce interest or incentive to the user as they proceed through the site.

We were required to interpret the design intentions and communicate them both graphically and verbally to our classmates. We simplified the images in order to augment the contrasts and liminal spaces. We then found parallels between a passage from Danteâ&#x20AC;&#x2122;s Inferno and the spatial archetypes found throughout the cemetery (next page).

0 10

100

200

meters

PRECEDENT STUDY

Woodland Chapel Midway in our life’s journey, I went astray from the straight road and woke to find myself alone in a dark wood. How shall I say what wood that was! I never saw so drear, so rank, so arduous a wilderness! Its very memory gives a shape to fear Death could scarce be more bitter than that place! But since it came to good I will recount all that I found revealed there by God’s grace. Way of the Cross

How I came to it I cannot rightly say, so drugged and loose with sleep had I become when I first wandered there the True Way. But at the far end of that valley of evil whose maze had sapped my very heart with fear! I found myself before a little hill and lifted up my eyes. Its shoulders glowed already with the sweet rays of that planet whose virtue leads men straight on every road,

Way of the Seven Wells

and the shining strengthened me against the fright whose agony had wraked the lake of my heart through all the terrors of that piteous night. Just as a swimmer, who with his last breath flounders ashore from perilous seas, might turn to memorize the wide water of his deathso did I turn, my soul still fugitive from death’s surviving image, to stare down that pass that none had ever left alive.

WOODLAND CEMETERY

And there I lay to rest from my heartâ&#x20AC;&#x2122;s race till calm and breath returned to me. -canto I: the dark wood. the inferno. dante alighieri.

The burial grounds are described as follows. The concrete pads of the major industrial area are crushed for the procession of tree plantings as the main building is redefined as a ceremonial space and crematorium. The cemetery is defined by a swale containing red vegetation that thrives in the existing condition. Tailing ponds are reinterpreted into the ponds which cleanse the storm-water from local

Reversible Destinies

The abandoned Manitoba Sugar Beet Factory was the site of this intervention. We used the information gained from researching burial practices and from the precedents studied, in partners, to design a cemetery. The postCOLLABORATORS industrial site contained remnants of its industrial Carly Moore including storageThe silos, buildings, and We were required topast, design the entire burial grounds area described unique limestone. Site Frame Burial Grounds industrial site (bottom right),landscape asProcession well of crushed as follows. The concrete pads of the

FINAL PROJECT

Ends Design Studio 5 Straub + Wilson Baptist 2009

Reversible Destinies

PROCESS as design the main burial grounds major industrial area are crushed for Analogue Multimedia in detail (left page). We designed the procession of tree plantings as Land left destabilized from the production Photoshopburial an open-ended procession the main building is redefined as a processes stretches out beyond the iconic within a functional landscape, both ceremonial space and crematorium. silos. Left unused nature has following the existing geometries of for years, The cemetery is defined by a swale found ecosystems to thrive on the site and the concept of a fluctuating containing redextreme vegetation that thrives The abandoned Manitoba Sugar Beet Land leftthese destabilized from the homeostasis. We expressed the spatial in the existing condition. Tailing ponds The site adapts to theprocesses disturbances Factory was the site oflandscapes. this intervention. production stretches out experience the bereaved may have are reinterpreted into the ponds which We used the information from to itsbeyond thestate. iconicThere silos. is Left unused for and gained never returns previous throughout the procession (next page). cleanse the storm-water from local researching burial practices, and from years, nature has found ecosystems to a constant search for a state of homeostasis; theActive precedents studied, in partners, to thrive oninthese Retaining Ponds Recreation Paths a site learning to adjust, aand city flux,extreme aHydrology personlandscapes. design a cemetery. The post-industrial Civic InterfaceThe site adapts to the disturbances overcoming loss. site contained remnants of its industrial and never returns to its previous state. past, including storage silos, buildings, There is a constant search for a state of and a unique landscape of crushed homeostasis; a site learning to adjust, a limestone. city in flux, a person overcoming loss.

Studio5|Mackenzie Page+Carly Moore|2010

Site Frame Site Frame

Procession Procession

Burial Grounds Burial Grounds

communities and retain it for use in the nursery. Production and retail space for the nursery overtakes existing buildings and fills the civic interface along the highly populated edge shared with Pembina trail. Existing recreational trails such as Bishop Grandin Greenway are connected to and extended throughout the site. These elements together form an We were required to design the entire unchanging core while the surrounding industrial site (bottom right), asflexible. well space remains undefined and as design the main burial grounds 0 15 60 300 in detail (left page). We 150 designed an open-ended burial procession meters within a functional landscape, both following the existing geometries of the site and the concept of a fluctuating homeostasis. We expressed the spatial experience the bereaved may have throughout the procession (next communities and retain it for use page). in the nursery. Production and retail space for the nursery overtakes existing buildings and fills the civic interface along the highly populated edge shared with Pembina trail. Existing recreational trails such as Bishop Grandin Greenway are connected to and extended throughout Bishopelements Grandin Fwy the site. These together form an unchanging core while the surrounding Site Frame space remains undefined andProcession flexible. 0 15

150

Burial Grounds

300

meters

Recreation Circulation Active Recreation Paths

RetainingPonds Ponds/Housing Hydrology Retaining and Hydrology Civic Interface

Active Recreation Paths

Retaining Ponds and

Hydrology

Pem bina Hwy

Not to scale

Bishop Grandin Fwy

comm nurser the nu and fill highly Pembi such as connec the site unchan space r 0

Pem bina Hwy

We were required to design the entire FINAL PROJECT industrial site (bottom right), as well as design the main burial grounds in detail (left page). We designed an open-ended burial procession within a functional landscape, both following the existing geometries of the site and the concept of a fluctuating homeostasis. We expressed the spatial experience the bereaved may have throughout the procession (next page).

REVERSIBLE DESTINIES A A

We were required to design the entire industrial site (bottom right), as well as design the main burial grounds B in detail (left page). We designed an open-ended burial procession within a functional landscape, both B following the existing geometries of the site and the concept of a fluctuating homeostasis. We expressed the spatial experience the bereaved may have throughout the procession (next page).

150

300

meters

Procession

Burial Grounds 0

meters 0

meters

Active Recreation Paths

Retaining Ponds and Civic Interface

Bishop Grandin Fwy

150 Pem bina Hwy

C Site Frame

150

Hydrology

A A B B

Not to scale

FINAL PROJECT

Cemetery Procession

Reception of Elms the grid of elms stand solemn a composed welcome shrouded by their shaded veil the silos lurk above their canopies they rise strongly sentinels of the site

Contextual Still Frame the breathing city is watched from its agrarian ruins mnemonic landmarks litter the ground with photographic impression the city reads as a palimpsest

The Approach order appears white trees guide the way the pace slows the sky fades away as shade takes over a division occurs between realms

REVERSIBLE DESTINIES

Cemetery Procession

Dark Forest dense spruce forms the dark unknown mystery unfolds into vastness the smell, the carpet the shadowy path is illuminated perpetually dark

Submerged Forest itâ&#x20AC;&#x2122;s a pause away from the world enclosed by willows in a bed of wet ferns focused, enclosed the dead rest in the scatter garden the dead rest in the wall of urns protected silence and reverence ensues

Plinth the solemn geometry rises from the ground a shearing tectonic plate of compact limestone forms the expanse the aftermath of industry the context is revealed again it was always there it never stopped

FINAL PROJECT

New Orleans: Emerging Futures FINAL PROJECT Ends Design Studio 6 Eaton + Perron 2010

COLLABORATORS Patrick Oystryk Logan Littlefield (analysis only)

PROCESS GIS AutoCAD Photoshop Illustrator

Our studio travelled by train to New Orleans to study the political, environmental, and cultural conditions existing in the wake of Hurricane Katrina. In groups we were required to analyze the city and region in many dimensions, including the infrastructure, ecology, music, food, culture, and history. My group researched the ecology of New Orleans. We explored how the Louisiana wetlands are integral to the protection of New Orleans. Our analysis assisted in understanding this foreign and complex environment. Subsequently, we responded indiviudally to our experiences through self-directed study in a studio setting. My focus fell on augmenting the levee wall in the Lower Ninth Ward into both park space as well as remediatative infrastructure for the vernacular ecology.

New Orleans

Studio 6 | Mackenzie Page In January of 2010, our studio travelled by train to New Orleans, Louisiana to study the political, environmental, and cultural conditions existing in the wake of 2005â&#x20AC;&#x2122;s Hurricane Katrina. In groups, we were required to analyze the city and region in many dimensions, including the infrastructure, ecology, music, food, culture, and history. My group researched the ecology of New

Orlean from c We ex wetlan of New oursel in und comp to our directe

Ecology

Loss of Wetlands

EMERGING FUTURES (group)

1,875 sq. mi

Protection

It goes without saying much of what distinguishes the way of life of New Orleanians, Louisianians and Americans at large depends on the state of coastal wetlands. This culture and way of life is at risk in many ways because of the continued loss of coastal wetland.

coastal wetland lost in the 20th century

23-35 sq. mi

annual coastal wetland loss

from storms

515 - 675 sq. mi

projected coastal wetland loss 2000-2050

Coastal wetland has the ability to act as a natural barrier to storm surges , protecting much human settlement and industry. However, for every 2.7 miles of wetland that disappears, an extra foot of water from the Gulf of Mexico is allowed to surge inland, threatening all communities and adding additional stress to the already inadequate infrastructure of urbanized areas such as New Orleans.1

of industry

Though the oil and gas industries have in many ways contributed to the accelerated degradation of the deltaic plain, the health of these industries is, interestingly enough, also completely dependent upon the restoration of the wetlands. This is evident in that 34 percent of the United States’ natural gas supply and 30 percent of the crude oil supply are produced within the wetlands or offshore and are transported via 30,000 square miles of pipeline that also traverse the wetlands.2 This is all not to mention, the commercial fishing and hunting, recreational and tourist industries that the wetlands support. influencing both economy and cultural way of life.1 Coastal land loss 1930-2050

Image adapted from: National wetlands research center. Depicting Coastal Louisiana Land Loss. Retrieved from <nwrc.usgs.gov/factshts/2005-3101/2005-3101. htm> on January 23, 2009

Logan Littlefield

Indian village

Logan Littlefield

Isle St. Catherine

http://media.nola.com/politics/ photo/brown-pelicans

Brown Pelican

1 Campanella, Richard. (2006). Geographies of New Orleans: Urban Fabrics before the storm. University of Louisiana. Lafayette, LA. 2 Dunne, Mike. (2005). America’s Wetland: Louisiana’s Vanishing Coast. Louisiana State University Press. Baton Rouge, LA.

Habitat

Though the unregulated hunting and deforestation practices o twentieth century caused extensive wildlife population loss, m conservation efforts such as the banning of certain pesticides harvesting regulations and incentives have been very success establishing many species. However, Now that populations o as the alligator and the brown pelican are restored, they face habitat loss. On a greater scale, Louisiana’s wetlands are a m resting stop for 75 percent of all birds making their annual mig the Mississippi flyway.2 Hence, efforts of both species and we are by no means mutually exclusive. Therefore, if the wetland the species cease to exist. This works vice-versa and creates which very quickly reaches the human population, as our clim and recreational needs as well as the economic systems that on the health of the wetlands.1

FINAL PROJECT

stri

al c ana

MRGO canal

indu

lower ninth ward mi

The failing infrastructure lacks more than functionality; this barren landscape offers a blank canvas for opportunity.

EMERGING FUTURES (solo)

“Any element, any bit or piece of anything, does not exist in isolation always relates to other bits and piec the same kind and those of other ty Meaning is not inherent in the singl but fixed by its relationship to other Thus an element acquires meaning has its meaning defined only within specific context. In Language, a wor ultimately defined only when used not while standing alone in a diction In a landscape, it is the context prov by all the elements as a group and system that structures them; these interrelationships ultimately define element.”

“Any element, any bit or piece of anything, does not exist in isolation; it always relates to other bits and pieces of the same kindthat and those other types. - one does of not need breaching, just an understanding. Meaning is not inherent in the single bit, but fixed by its relationship to others. On one side the industry reigns and humans are absent. Rationality Thus anand element acquiresare meaning logistics the or governing principles. has its meaning defined only within a specificIt context. Language, a word is makesIn sense. ultimately defined only when used and On standing the other residents live in a unique and dynamic cultural not while aloneside, in a dictionary. climate in which the loyalty and resilience of the residents is In a landscape, it is the context provided paramount. by all the elements as a group and system that structures them; these It makes sense too. interrelationships ultimately define the element.”

It is a Divide

There are disparities between wher the residents returned and where they did not after Katrina. Through t mapping of the interaction betwee the returning residents and the leve wall, a relationship is formed; from t investigation of context, the respon was the Lower Ninth Ward Park.

“Any element, any bit or piece anything, does not exist in iso always relates to other bits an the same kind and those of ot Meaning is not inherent in the but fixed by its relationship to Thus an element acquires me has its meaning defined only specific context. In Language, ultimately defined only when not while standing alone in a In a landscape, it is the contex by all the elements as a group system that structures them; t interrelationships ultimately d element.”

There are disparities between the residents returned and wh they did not after Katrina. Thro mapping of the interaction be the returning residents and th wall, a relationship is formed; f investigation of context, the re was the Lower Ninth Ward Pa

(Mark Treib. Settings and stray paths,

(Mark Treib. Settings and stray p writings on landscapes and gard (Oxford: Alden Press, 2005), 37)

There are disparities between where the residents returned and where they did not after Katrina. Through the mapping of the interaction between the returning residents and the levee wall, a relationship is formed; from this

(Mark Treib. Settings and writings on landscapes an (Oxford: Alden Press, 2005

writings on landscapes gardens. There is andstill a dividing line between the residents and rationality (Oxford: Alden Press, 2005), 37)

Lower Ninth Ward Park extends from Claiborne Avenue to Florida Avenue along the Industrial Canal Levee. It straddles either side of the levee, providing an acknowledgement of the divide, both physically and culturally, that the levee creates. On the eastern side Live Oaks are planted in a single row, providing shade while respecting

the attitude of permanence expressed by the residents. The western side, along the Industrial canal, is placed under a strategy that employs the tidal fluctuations of the canal, which aims to enhance erosion resistance, while increase the biodiversity of vegetation and wildlife.

FINAL PROJECT

t=100

t=0 ecotone

low-elevation grasses

mid-elevation grasses

ecotone

Batis maritma maritma Batis (turle weed) weed) (turle

Monanthochloe littoralis littoralis (shoregrass) Monanthochloe Spartina spartinae spartinae (gulf (gulf cordgrass) Spartina Andropogon glomeratus glomeratus (bushy bluestem) Andropogon

Spartina spartinae (gulf cordgrass) Spartina anglica (common cordgrass) Spartina pectinata (prarie cordgrass) Andropogon glomeratus (bushy bluestem)

Sabal minor (palmetto) Opuntia spp. (prickly pear cactus) Cephalanthus occidentalis Oplismenus hirtellus (basket grass) (buttonbush) Ampelopsis arborea (peppervine) Sabal minor (palmetto) Ilex decidua (deciduous holly)

mesic mesic hammock hammock forest forest

woody-herbaceous layer sediment deposition

Quercus virginiana (live oak)

the rise and fall of the tide tide deposit fine clay and silt particles in between the concrete concrete berms. This action, over time, time, results in a ground plane that that increases in elevation. The vegetation composition thus changes changes with the shifting topographies. topographies.

high tide tide high

high tide

low tide tide low

low tide

As As more more vegetation vegetation establishes establishes itself, itself, erosion erosion is is mitigated mitigated while while providing providing habitat habitat to to many many species species of of animals animals and and specifically, specifically, endangered endangered migratory migratory birds. birds.

ecotone

low-elevation grasses grasses

mid-elevation mid-elevation grasses grasses

Batis Batis maritma maritma (turle (turle weed) weed)

Monanthochloe Spartina spartinae spartinae (gulf (gulf cordgrass) cordgrass) Monanthochloe littoralis littoralis (shoregrass) (shoregrass) Spartina Spartina Spartina Spartina anglica anglica (common (common cordgrass) cordgrass) Spartina spartinae spartinae (gulf (gulf cordgrass) cordgrass) Andropogon Spartina pectinata pectinata (prarie (prarie cordgrass) cordgrass) Andropogon glomeratus glomeratus (bushy (bushy bluestem) bluestem) Spartina Andropogon Andropogon glomeratus glomeratus (bushy (bushy bluestem) bluestem)

ecotone ecotone

Quercus Quercus virginiana virginiana (live (live oak) oak) Ulmus Ulmus americana americana (american (american elm) elm) Salix Salix nigra nigra (black (black willow) willow) Quercus Quercus hemisphaerica hemisphaerica (laurel (laurel oak) oak) Sabal Sabal minor minor (palmetto) (palmetto) Morella Morella cerifera cerifera (wax (wax myrtle) myrtle)

Quercus Quercus virginiana virginiana (live (live oak) oak)

Sabal Sabal minor minor (palmetto) (palmetto) Cephalanthus Cephalanthus occidentalis occidentalis (buttonbush) (buttonbush) Spartina Spartina pectinata pectinata (prarie (prarie cordgrass) cordgrass)

horizontal horizontal scale scale 1:200 1:200 vertical vertical scale scale 1:100 1:100

The rise and fall of the tide deposit topographies. As more vegetation fine clay and silt particles in between establishes itself, erosion is mitigated the concrete berms. This action, over while providing habitat to many time, results in a ground plane that species of animals and specifically, EMERGING increases in elevation,FUTURES which would (solo) endangered migratory birds. The eventually consume portions of the planting strategy corresponds to berms. The vegetation composition changes in the elevation, and ideal thus changes with the shifting habitats for the specific vegetation.

t=0 t=0

ecotone

low-elevation grasses

mid-elevation grasses

ecotone

Batis maritma (turle weed)

Monanthochloe littoralis (shoregrass) Spartina spartinae (gulf cordgrass) low-elevation grasses Andropogon glomeratus (bushy bluestem)

Batis maritma (turle weed)

Monanthochloe littoralis (shoregrass) Spartina spartinae (gulf cordgrass) Andropogon glomeratus (bushy bluestem)

Spartina spartinae (gulf cordgrass) Spartina anglica (common cordgrass) mid-elevation grasses Spartina pectinata (prarie cordgrass) Andropogon glomeratus (bushy bluestem) Spartina spartinae (gulf cordgrass)

Sabal minor (palmetto) Opuntia spp. (prickly pear cactus) Cephalanthus occidentalis Oplismenus hirtellus (basket grass) ecotone woody-herbaceous layer (buttonbush) Ampelopsis arborea (peppervine) Sabal minor Sabal minor (palmetto) Opuntia spp.(palmetto) (prickly pear cactus) Ilex decidua (deciduous holly) Cephalanthus occidentalis Oplismenus hirtellus (basket grass)

ecotone

Spartina anglica (common cordgrass) Spartina pectinata (prarie cordgrass) Andropogon glomeratus (bushy bluestem)

(buttonbush)

t= t=

woody-herbaceous layer

Ampelopsis arborea (peppervine) Sabal minor (palmetto) Ilex decidua (deciduous holly)

high tide

sedim

the rise deposit f particles berms. Th results i increases vegetatio the rise with thef deposit particles berms. Th results i increases vegetatio with the

sedim

Quercus virginiana (live oak)

high

Quercus virginiana (live oak)

high tide low tide

high low t

low tide

low t

t=100 t=100 sediment deposition

the rise and fall of the tide deposit fine clay and silt particles in between the concrete berms. This action, over time, results in a ground plane that increases in elevation. The vegetation composition thus changes the rise and fall topographies. of the tide with thefine shifting deposit clay and silt particles in between the concrete berms. This action, over time, results in a ground plane that increases in elevation. The vegetation composition thus changes with the shifting topographies.

sediment deposition high tide

mesic hammock forest

ecotone

low-elevation grasses

Batis maritma (turle weed)

Monanthochloe littoralis (shoregrass) Spartina spartinae (gulf cordgrass) Spartina anglica (common cordgrass) Spartina spartinae (gulf cordgrass) Spartina pectinata (prarie cordgrass) Andropogon glomeratus (bushy bluestem) mid-elevation low-elevation grasses grasses Andropogon glomeratus (bushy bluestem) Monanthochloe littoralis (shoregrass) Spartina spartinae (gulf cordgrass) Spartina anglica (common cordgrass) Spartina spartinae (gulf cordgrass) Andropogon glomeratus (bushy bluestem) Spartina pectinata (prarie cordgrass) Andropogon glomeratus (bushy bluestem)

ecotone

As more vegetation establishes itself, erosion is mitigated while providing habitat to many species of animals and specifically, endangered migratory birds. As more vegetation establishes itself, erosion is mitigated while providing habitat to many species of animals and specifically, endangered migratory birds.

Batis maritma (turle weed)

mid-elevation grasses

ecotone Sabal minor (palmetto) Cephalanthus occidentalis (buttonbush) ecotone Spartina pectinata Sabal minor (palmetto) (prarie cordgrass) Cephalanthus occidentalis (buttonbush) Spartina pectinata (prarie cordgrass)

Quercus virginiana (live oak) Ulmus americana (american elm) Salix (black willow) mesicnigra hammock forest Quercus hemisphaerica (laurel oak) Quercus virginiana (live oak) Sabal minor (palmetto) Ulmus americana (american elm) Morella cerifera (wax myrtle) Salix nigra (black willow)

Quercus virginiana (live oak) Quercus virginiana (live oak)

Quercus hemisphaerica (laurel oak) Sabal minor (palmetto) Morella cerifera (wax myrtle)

high tide low tide

horizontal scale 1:200 vertical scale 1:100

low tide

horizontal scale 1:200 vertical scale 1:100

DRAFTING

Technical Drawing FINAL PROJECT Site Grading 2008-Present

PROCESS AutoCAD

Drawing not to scale Drawing not to scale

I have produced technical drawings that responded to various contour manipulation, site drainage, and site planning tasks. These assignments gave me the technical skills as well as the understanding of how landscapes are designed, drawn, and constructed.

Drawing not to scale

TECHNICAL DRAWING

Drawing not to scale

DESIGN - BUILD

Clara Tyner Gardens DESIGN - BUILD Community Initiative 2012

COLLABORATORS Clara Tyner Elementary

A local elementary school was given a grant to incorporate a tactile learning component to their waste and plant growth curriculum. I was contacted to design raised planters and combined compost containers. The students grow and harvest the crop while contributing to the compost year round, allowing students to actively participate in and learn about the life cycle of their food products.

INSTALLATION

We Call This a Tree INSTALLATION Midnight Bazaar 2012

COLLABORATORS Katie Dolphin

The installation intended to decontextualize the content of the projected image and render it in a foreign manifestation in order to explicitly separate the relationship between form and semantics. This was an attempt to further engage the viewer in understanding the mind’s projected constructs onto physical forms in a temporary gallery setting by projecting a video loop of an aspen forest onto 10’ tall paper strips.

‘Landscapes are formed by a series of relationships. However, if some of these relationships can be removed, how does one experience that which we call a tree, a forest, a city? A flat, blank canvass is cut, jarred, layered. Evoking a world that is at once familiar, but somehow present. Like looking at a foreign landscape. A landscape free of semantics.’

RECORDING & PROCESS

Sketchbooks RECORDING & PROCESS

Sketching and drawing are an integral part to my design studies. This compilation of sketchbook pages illustrate moments when I have been thinking with both my head and my hand.

Lake lot landscape design sketch - Wizard Lake, Alberta

Ryoanji and Shodenji Zen Buddhist Gardens - Kyoto, Japan

RECORDING & PROCESS

Tadao Ando and Sanaa - Naoshima Island, Japan

Les Archives du Coeur | Rice Terraces | Teshima Art Museum - Teshima Island, Japan

PHOTOGRAPH

Academic Travel PHOTOGRAPH

My undergraduate degree gave me the opportunity to travel abroad with my professors. In multiple trips I have been to Barcelona, Denmark, Netherlands, Germany, London, New Orleans, and Chicago. This has exposed me to many seminal design precedents and varied cultures. I also travelled independently throughout Japan and New York in 2012.

Academic Travel

Environmental Design | Mackenzie Page | 2008-2010

My degree gave me the opportunity to travel abroad with my professors and classmates. We travelled to places such as Barcelona, Sweden, Denmark, Netherlands, Germany, London, New Orleans, and Chicago. These experiences have given me a broad perspective on urban form and many seminal design precedents to draw upon from around the world.

PHOTOGRAPH