Patrick Beals Portfolio 2017

PATRICK BEALS PORTFOLIO ca. 2017

RHODE ISLAND SCHOOL OF DESIGN Master's of Landscape Architecture 2017

CURRICULUM VITAE

Education

Rhode Island School of Design MLA I - Masters of Landscape Architecture Study Abroad [Italy, Czech Republic, Germany, Amsterdam, India, and Sri Lanka] Rhode Island School of Design and Judson University

Objective -

To apply my knowledge and abilities of design, problem-solving, craft of making, excellence and professionalism in the field of landscape architecture -while adding to my toolset of construction, agriculture and ecology.

Employment

May 2014 - June 2014, Jan 2016 - Feb 2016

University of Maine at Augusta Bachelors of Arts in Architecture, Minor in Art

Aug 2006 - May 2010

Instructor of BEB-EcoLab Rhode Island School of Design Supervisor: Professor Johanna Barthmaier-Payne

Jan 2017 - Feb 2017

Studio Technical Assistant Rhode Island School of Design - Future of Dams Studio Supervisors: Scheri Fultineer, Emily Vogler

Aug 2016 - Feb 2017

Landscape Architecture Intern Perkins+Will - Atlanta Office Supervisor: Associate Principal Valdis Zusmanis

Volunteer Work

Aug 2014 - June 2017

June 2016 - Sept 2016

Assistant Designer Rhode Island School of Design - Office of Campus Planning Supervisor: Keelin Reekie

May 2015 - May 2016

Assistant Wood Shop Supervisor Rhode Island School of Design - BEB Model Shop Supervisor: David Dilks

Aug 2014 - June 2017

Winter Architecture Intern WBRC Architects and Engineers - Bangor, Maine

Jan 2011 - Mar 2011

Roof Restoration Supervisor, Maine State Conservancy [Swan Island, Maine] Summer Camp Counselor, Living Waters [Weston, Maine] Crop Harvesting at Concrete Jungle [Atlanta, Georgia] Thesis Gallery Exhibit Installations, RISD [Providence, Rhode Island]

Professional Skills, Technical

-Obtained design skills in AutoCAD, REVIT, Adobe InDesign, Photoshop, Illustrator, Lightroom, SketchUP, Arc GIS, Rhinoceros, and Microsoft Ofiice -Proficiency in design process; designing and plotting architectural renderings and projects -Mastery in construction of conceptual and final architectural models, with both laser cutter and by hand

Professional Skills, Leadership

-Technical Assistant, Archivist of Future of Dams studio course, part of a National Science Foundation grant -Designed architectural course at RISD, and instructed its with 9 students -Led 11-person music team for 3 years, members ages 15-55 -Member of AIAS 2007-2011, ASLA 2015-current

References

Scheri Fultineer Dean of Architecture & Design Rhode Island School of Design sfultine@risd.edu Emily Vogler Department Head of Landcsape Architecture Rhode Island School of Design evogler@risd.edu Dr. Elizabeth D. Hermann Professor of Architecture and Landscape Architecture Rhode Island School of Design ehermann@risd.edu

Patrick Beals 282 French Rd. Ludlow [in the County], Maine 401-441-3818 pbeals@alumni.risd.edu

Statement As a recent graduate of RISD, there are several attributes of thinking and making through rigor that I have gained. Yet, the vigor to solve large problems and create thoughtful replies to system issues goes back to when I was very young. Being raised as an aircraft mechanic’s assistant, and in the Northern Maine woods, imagination and innovation were my two greatest tools. As both a landscape architect and architect I wish to use these tools to approach issues, through the vernacular of ecological design, facing this challenge especially as it encroaches our public spaces.

Contents Fluid : Solid Installations/Construction [1:1] South Boston Gateway

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07

Future of Dams

11

15

17

Tillinghast Cemetery

19

Salty/Fresh

21

Performance Plant Regimes

23

Studies in Mediums

25

Maine Medical Center

RISD Campus

Mohammed Bin Rashid Stadium Sri Lanka : Northern Visions

27 29 31

Fluid Solid RHODE ISLAND SCHOOL OF DESIGN GRADUATE THESIS ASCENSION OF GRANITE

ABSTRACT LIFECYCLE OF GRANITE

INVESTIGATIONS IN RESEARCH This thesis is an inquiry into the vivacity of stones, granite in particular, as this conglomerate of minerals operates as a hyperobject: moving simultaneously both slower and faster than we can comprehend. More than simply a representation is needed, however, but a registration also. Lying within our relationship with this material are also potential dangers which must be something to be both aware and stewards of. “Stone arrives with particular histories attached, of course, but carries also a past surpassing human enframing. Excavation risks inundation: stone is thick in its compaction of possibility, explosive in its release.� -Jeffrey Jeromey Cohen.

03

VISUAL GAMMA PROBE NH Geology

Radioactive Granites

Airborne Thorium

Test 02 Airborne Uranium

Test 01

Quarries & Mines

Test 03

Testing the effects of granite upon instant film, radiation was quantifiable by the resultant amount of dots of concentrated exposure. These [eventually] static registrations of powerful gamma radiation allow for a quick reading of the basic radioactivity of any piece of granite, as long as the operation can be performed in low light conditions. Walking 5 separate transects through downtown Providence, structures of Concord Grey were identified and polaroids suspended above their surface, concealed in a black shroud. Each piece of film was then developed after receiving 1 hour of exposure. This simple device acts as a reminder of the entanglement of the human and non-human. Perception is key in the culmination of this thesis investigation, with the power to alter paradigmatic norms of the solidity of this stone. The material Concord Grey is still impossible to approach in fullness. In seeing this granite in person, we are given one snapshot where the human and non-human intersect. Perceived as motionless, in reality a dynamic symphony of flying particles and atoms are being emitted and exchanged unbeknownst to most humans. How can one do so, and how may one dwell in this field of perception, even being able to converse with it? “Materiality is not just a question of materials or the province of mediums. It fundamentally means activating material relations and conveying their transformation.� - Giuliana Bruno

Test 04

Test 05

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Fluid Solid RHODE ISLAND SCHOOL OF DESIGN GRADUATE THESIS ATOMIC ACTIVITY TRANSECTS -PROVIDENCE, RI

As previously noted, humans can only perceive the environment within the limited scope ranging from the blink of an eye to the extent of a relatively short life -shown in the chart to the right. Natural phenomena (i.e. shadows, effects of wind, etc.) are typically difficult to register and describe, granitoid phenomena are no exception. With its scalar omnipresence, it must be seen at both the lithic scale, and the atomic scale in which it operates, compressed to the scale from which humans can perceive.

Fascilitating encounters, and eventually beginning to perceive how granite moves around people, is the goal of a designed intervention of this thesis. Borrowing materials, surfaces, and phenomena by which to translate this dynamic activity is crucial with this. Pregnant with phenomena, the surface of the granite is awaiting cinematic registration that borders the human timescale. Basic guidlines of this investigation are: 1. Develop tooling to translate atomic activity 2. Study materials that translate the overall life of Concord Grey 3. Deploy research and beta testing on pilot site

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ATOMIC PROBE 02

ATOMIC PROBE 03

ATOMIC PROBE 06 [INSIDE]

SITE INTERVENTION [FULTON ST. ALLEY] ATOMIC PROBE 06 [SURFACE]

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TE

Installations/Fabrication [1:1] DIMENSIONS Â The greatest advantage of a 1:1 project is the ability to deal with full scale materials, textures, and interactions. This is what makes this form of making my favorite. I am a firm believer that the formwork can be an equal part of the design.

Not being simply a negative of the built form, but another lens to view a project through. With this concrete bench, the plastic-lined formwork gave the solid form a fluid texture.

CONCRETE BENCH PROJECT

CARDBOARD CHAIR PROJECT Efficiency, utility, and operability were goals in the making of this chair. Previous iterations were cumbersome and rigid, whereas this final design is sleek and mobile, and still offers rigidity.

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WORKS OF CRAFT

RHODE ISLAND SCHOOL OF DESIGN DESIGN PRINCIPLES COURSE

THRESHOLD PROJECT

Another Craft advantage 1:1 installations is the that they is a ofmain element in workcanofbea personMOVEMENT training inSTUDY tested asarchitecture. an architecturalThe intervention, and also allow the convenience of a laser cutter or architectural testing ofsupplies the elements The project seen on this page areupon notit.always garaunteed, so a spirit of ingenuity is an intervention upon an existing landscape.

My team of is personally fundamental to me.

Whether it be simply paper, or evenup coffee three wascardboard, interested in strips framingof views and tightening the stir sticks... design must on. This taught me that a vast array circulation downgo a hillside that ingenuity leads to the ocean.

As guests of materials can be used to present a case in design in arrive atop the knoll, their view of the ocean is strengthened and landscape architecture. within a architecture partition in the brown tarps. Moving down the knoll, their views are blocked while slipping between the planes andthis section are mostly The projects I have chosen to show in out into afrom flat, lower vista.

Design Principles course at RISD. As students, we

were to use materials and methods beyond their mundane and arbitrary looks. Above is a structural group of tarps demarcating the extension of space in the manner of an outdoor room. Opposite are two abstract soil profile models from the DP course, as well as a folding cardboard chair from my third year in architecture school.

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Installations/Fabrication [1:1]

INGENUITY & INVENTION As far back as I can remember, envisioning and making have been a part of my apprenticeships growing up. This craft of making has been fostered and grown for the past twenty or more years. There is no possible way to view the world or find fulfillment, personally, other than by exploring and creating.

Whether it is a large timber frame facility, aircraft restoration, or hybridized vehicles, I believe the limits of design and invention simply do not exist. Or, exist only in the mind of the individual. Being an entirely visual person, I have observed a very practical relationship between what is seen, and what is felt, or tactile in nature. This perspective and way of operation became perfluent in my everyday life, and recently synchronized with my current thesis work. I foresee this as being a crucial element in the toolkit of my future works in landscape architecture and installations.

from top left: AMC Jeep/Dodge hybrid, 1971 Roadrunner full restoration, modifed clutch system install, ral struss composition, 1969 Comanche interior design, (large photo) 6 cylinder Continental tear down

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CROSS-POLLINATION Not only are electrical and mechanical fabrications a part of my repetoire, but also fabric and structural construction and restoration. The PA-22 above is simply a surface application, but an insightful knowledge of the underlying frame must be utilized. This lens of viewing, and thinking, is a toolset to carry into other work, such as the stick construction of an aircraft hangar (shown to the right). A systems-knowledge and ingenuity allows for cross-pollination between projects. Everything seems to operate by a set of physical material interactions that is quite universal in nature.

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South Boston Gateway RHODE ISLAND SCHOOL OF DESIGN CONSTRUCTED LANDSCAPE STUDIO RESEARCH & ANALYSIS

LIFE CYCLE OF GRANITE FROM HUMAN EYES

AUDIO TRANSECT ACROSS SITE

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Upon visiting the site, it was very apparent to me that it was a series of spaces separated by large and busy intersections, which were not at all inviting or easily traversed by pedestrians. My main goal was to design a safe and quiet intervention into this current environment. Instead of simply erecting walls, it was evident that placing a fluid, yet strong series of landforms would be more evocative in visually telling a story of this intervention. As seen in the technical section below, there is a deeper theory rooted in the placement of the landforms used to diffract the sound.

LANDFORM MODELS

The lower section, supporting the upper section, is made of infrared sound waves overlaid by vector landforms to validate their placement, therefore acting as the true reflection of one another. These sound waves were produced by walking the section line by foot and recording atmospheric sounds [specifically vehicular acceleration noise] at a pace at which I encountered every area at its maximum volume. -3D CAD, Audition, FlowDesign, PS

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essSouth Boston Gateway ess Site MATERIAL STUDIES & DEPLOYMENT

SITE PLAN

AIR-DRIVEN PLASTER

AIR-DRIVEN PLASTER

Resulting wind tunnel and pressure studies helped show the performative qualities of the landforms and how the could operate in sequence of one another, seen deflecting the pressures of sound waves moving from the street (seen by the shift to cooler colors).

SCULPTED CLAY

WIND/SOUND STUDY PERFORATED PAPER

SCULPTED CLAY

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Initially, multiple studies and tests were done on malleable materials manipulated by pneumatic forces, such as plaster. This process was sought to mimic the pure form of force in nature. These studies were then serialized and deployed throughout the site, and focused on the areas of heightened decibels of vehicular acceleration. These areas of acceleration targeted were stop lights at roadway intersections.

With a more technical look, the arcs in the diagram above delineate the location, scale, and direction of these landforms. -PS, AI, clay, plaster, paper

FOCUS POINTS

LANDFORM DEPLOYMENT

s s e c or P - n o i t c ar f f i D Dif f ract

Diagrams

Dif f ract

Absorb

Zones of Vehicular Acceleration [noise]

grams

The intervention is to be deployed in three different attitudes toward sound curation: DIFFRACT - Angled earth forms, either occupiable [grass 2-4”] or unoccupiable [10-36”] ABSORB - Modular inward-angled armature [multifaceted plantings arrayed on large greenwall on existing building] REFLECT - Angled panels on backside of earthforms [precast concrete panels] Dif f ract

Absorb

Ref lect

Zones of Vehicular Acceleration [noise]

14 Absorb

Ref lect

Maine Medical Center Perkins+Will

MASTER PLAN STRATEGY & LANDSCAPE ARCHITECTURE NEW ROOF TERRACE / GREEN ROOF NEW NON-VEGETATED ROOFING GROUND VEGETATION

FORE ST

ST.

N ‘FINGERS‘

LL EY

ST .

WEYM OUTH ST.

NEW ENTRANCE

VA

GILMAN GARAGE

CONG RESS ST.

PATIENT BED TOWER

LEVEL 10 LEVEL 9 LEVEL 8 LEVEL 7

VISITOR GARAGE

A ST

LEVEL 6

.

LEVEL 5

POWER PLANT

CRESC ENT

ED

LEVEL 4

ST.

LEVEL 2

BEAN 2

BEAN

GROUND

WESTCOT T ST.

ST.

BASEMENT

EAST TOWER

GIL

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GILM AN

RICHARDS

SUB-BASEMENT LEVEL -1 LEVEL -2 LEVEL -3

ENTRY LEVEL -4 LEVEL -5 LEVEL -6

ELLSWORTH ST.

HILL ST.

ELLSWORTH ST.

MGB

RUSSEL ST.

WESTERN PROMENADE

BRAMHALL ST.

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MAINE MEDICAL CENTER / Master Plan Strategy & Architecture

Maine Medical Center Master Plan

LEVEL 10 (ROOF PLAN)

Maine Medical Center

Pre-Design

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MAINE MEDICAL CENTER / Master Plan Strategy & Architecture

MAINE MEDICAL CENTER / Master Plan Strategy & Architecture

1/14/2016 1:59:49 PM

NATIVE PRECEDENTS

38

Maine Medical Center, located in Portland, Maine, has been built upon and expanded several times over the past century. Currently a maze through multiple buildings and multiple levels, the site has developed complexity as it has grown across its outcropping of ledge. Unique to this site, the Hinkley soil complex has a grade that drops over 130' in the footprint of MMC. Also adding to the complexity, the site is bookended by a suburban city edge and opposite (on the right side of the image above), an Olmstedian landscape.

NEW ROOF TERRACE / GREEN ROOF NEW NON-VEGETATED ROOFING GROUND VEGETATION

FORE ST

ST.

POLOGY BREAK DOWN A

CONG RESS ST.

PATIENT BED TOWER

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COASTAL OUTCROPPING

WEYMO UTH

ST .

LL EY

GILMAN GARAGE

VA

MAINE MEDICAL CENTER / Master Plan Strategy & Architecture

ST.

NEW ENTRANCE

UPLAND MEADOW

LEVEL 10 LEVEL 9

ALPINE GROVE

LEVEL 8 LEVEL 7

VISITOR GARAGE

A ST

Perkins+Will initiated a master plan strategy with a small team of which I was a part of, which was an amazing opportunity to work on a fast paced, small team. We moved forward with removable structures on the model in order that the fluid iterations of the architecture team could be implemented ad hoc and the large project could move along in its phases smoothly. To organize the site, we worked on an iterative level with the organization of the design, locating a central spine to hang the programs from, with landscape connections sliding in and out of the buildings along the path.

TUNDRA PLATEAU

LEVEL 6

.

LEVEL 5

POWER PLANT

CRESC ENT

ED

LEVEL 4

ST.

LEVEL 2

BEAN

BEAN 2

GROUND

WESTCOT T ST.

MA

N

PL.

EAST TOWER

GIL

GILM AN

ST.

BASEMENT

RICHARDS

SUB-BASEMENT LEVEL -1 LEVEL -2 LEVEL -3

ENTRY LEVEL -4 LEVEL -5 LEVEL -6

ELLSWORTH ST.

RUSSEL ST.

HILL ST.

ELLSWORTH ST.

MGB

WESTERN PROMENADE

15

BRAMHALL ST.

MAINE MEDICAL CENTER / Master Plan Strategy & Architecture

Maine Medical Center Master Plan Maine Medical Center

31

LEVEL 10 (ROOF PLAN) Pre-Design

1/14/2016 1:59:49 PM

GEOLOGICAL ACTIONS Located in such a unique and diverse site, it seemed applicable to pull from the local diverse landscape typologies of Maine. After performing research of the origins of the geological characteristics that the typologies stem from, the drawing and model to the right were developed.

Inspired by these native landscapes, four main typologies were refined into the landscape strategy for MMC. Native plantings were also explored for the different regions of the site...depending on the slope and aspect of the location. The Maine landscape typologies were implemented accordingly, sliding through the observed central spine. -AI, ID, PS, Rhino, foam

TYPOLOGIES

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Future of Dams RHODE ISLAND SCHOOL OF DESIGN ADVANCED STUDIO

FINAL CHARETTE

INTERACTIVE MODELS What came to be an important part of a National Science Foundation collaboration studio, this interactive physical model was developed and constructed by a 3-person team that I led. Made to be modular via sections that were cut perpendicular to the river, the model was also modular and iterative in many ways, with certain pieces able to be added or removed. Some of these pieces included the river's edge, industrial mill buildings, and of course, the dam and its infrastructure. Being able to operate pieces while seeing them in the larger context model became very useful in the mock charettes, creating avenues for otherwise confusing dialogues. Conversations around the model were guided by scenario boards on the walls, which gave instruction on which pieces to move per scenario. The scenarios included No Removal, Modify the Dam, Bypass Channel, Nature-like Fish Ladder, and Full Removal.

17

TECHNICAL PERCEPTION A key take away of this study was to find that this was the case always; that everything is connected to one or more systems in a larger scale. To quote John Muir, "When one tugs at a single thing in nature, he finds it attached to the rest of the world." Larger systems are difficult for people to understand, when most interaction is simply on the immediate site scale. Consolidating the scientific research and GIS mappings into simplified 2D drawings was truly challenging.

Water Quality Wood-Pawcatuck Watershed

SITE CONTAMINATION MAPPING

THE SITE

Preceding the Future of Dams model and charrette work, the research of several different environmental, social, and infrastructural factors was undertaken by groups in the studio. The goal was to have completed a matching set of mappings/studies that effect the Potter Hill Dam site at some level. These scales ranged from local sediment build up behind the dam all the way up to eastern United States systems scale. My group (Natasha Ruiz and I) focused on particulates at the site, specifically the sediment interactions and points of contamination. This graphic is shown to the left, along with the site in its current conditions.

S. Kingston

Connecticut

Westerly

Little Narragansett Bay 1 : 6,600

North

Location of Wells

What are the quality classifications in this watershed?

Freshwater(AA,A,B,B1,C) and Seawater (SA,SB,SB1,SC) Classifications

What’s impairing our waters?

TMDLs (Total Maximum Daily Load) • Federal Clean Water Act establishes the maximum pollutant

Nitrogen Existing Healthy Cadmium Existing Healthy Phosphorus Existing Healthy

120% 91% 160%

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Tillinghast Cemetery FREELANCE HISTORIC SITE GRANT APPLICATION ASSISTANCE

LOCAL COMMUNITY

SITE CONDITIONS

What began as a chance encounter, developed into a great client relationship with the Tillinghast family of Providence. Being familiar with the site as a member of the community allowed for a quick introduction to the project and its parameters. The goal of the family is to make public their old family cemetery as a historic site, acting as an important asset to the culture of Providence.

Several school groups visit the site each year as a part of their education in the history of Providence. The rendering seen to the left is a representation of what they are looking for in the future design and use of the site.

PROPOSED CONDITIONS

19

Three iterations of the plan were provided based on the initial conversation with the client. The site has a very stately granite obelisk currently placed in the center of the site, as a monument to the family members buried there.

Speaking to the site's interaction between life and the afterlife, the first iteration begins with a formal introduction, which then leads to a dissipation of the path into a promontory lookout to the West. Plantings and lighting lends to the temporal qualities of the western end of the cemetery.

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Salty/Fresh RHODE ISLAND SCHOOL OF DESIGN PLANTS & DESIGN II DESIGN PROPOSAL SITE PLAN

DIDACTIC AWARENESS Dichotomies are typically fiction in my opinion, yet when constructed clearly, certain scenarios have the ability to create stark contrasts, gaining and directing attention. This project aims to do that; offering an interactive compression of space into a strict dichotomy within arms reach on either side of a walking path. The central spine path is atop a deep concrete wall that separates a freshwater swamp from a brackish-water marsh. Located in an infill site in downtown Providence, RI, this sets up a dialogue both figuratively and eventually literally as the visitors can ponder the origins of the local native landscape. Amidst the seeming irony of a marsh in the middle of a city, it actually becomes evident that it is flourishing and piques more curiosity. Even though the salt water is to be hypothetically connected via pipe to the very near Providence River, this site actually was originally marsh, as well as much of the rest of the downtown. Ideally, this could also act as a pilot site to in order to educate the public of the larger issue of sea level rise and the need for reclaimed land for marshes. -PS, AI

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The colorful dichotomy creates a layered experience for the user upon the site, seen in the models adjacent and the rendering, page opposite. The contrast of material colors, textures, and seasonal interests play into the juxtaposition of one side of the path to the other, vise-versa.

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PERFORMACE PLANT REGIMES GRADUATE

Given the complex nature of the landfill soil composition, careful consideration has been given to how plant select Performance Plant Regimes Perkins+Will aid in the sequestration of soil contaminants across the site. The design team used the soils report and plant resea

BROWNFIELD SITE RESEARCH

develop a heavy metals tolerance matrix in order to best inform this plant selection.

Plants

PREVIOUS SOIL MODELS

PHYTOSTABILIZATION

Heavy Metals Found in Landfill Soil Highest Quantities

Pb

Zn

Mg

Lowest Quantities

Fe

Ca

Cd

K

Na

Al

Mn

Achillea collina

Achillea millefolium

BENEFITS:: -Most effective technique in separating future users from existing soil contaminants -Creates a predictable site hydrology situation -Heavy metals are statically locked DEPTH in place and not exposed to ROOT DIAGRAM surface water Root depth research for three predominant p -Natural attenuation becomes the fastest pathbest of remediation typologies could be used throughout th -Rhyzosphere bacteria and enzymes are cultivated in clean soil zone

Higher Tolerance

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This project is another example of how research can not only define and support future site designs, but also help the design team educate one another through it. By researching performative qualities of native U.S. plants, I found that phytoremediation, specifically a mat type of planting of hyperaccumulating flora, could be effective brownfield stabilization and sequestration on the specific site.

GRADUATE

02

Anthyllis vulneraria Arabidopsus thaliana Artemisia vulgaris Avena sativa Brachypodium pinnatum Brassica juncea Bromus riparius Calamagrostis epigejos Carex arenaria Carex hirta Centranthus ruber Chenopodium album Dianthus carthusianorum Elytrigia repens Euphorbia cyparissias Equisetum arvense Festuca ovina Fragaria vesca Juncus effusus L. Helianthus annuus Hieracium pilosella Hordeum vulgare Lactuca serriloa Matricaria recutita Medicago lupulina Poa compressa Potentilla arenaria Pteris vittata Rumex acetosa Salix acmophylla Salvia verticillata Scabiosa ochrofeuca Sesbania drummondii Taraxacum officinale Thlaspi caerulescens Thymus serpyllum Valeriana officinalis Verbascum thapsus

PHYTOSTABILIZATION

Another reason that RISD's pedagogy of making is important to BENEFITS education, is the ability to•speakMost through materials and forms via effective technique in separating crafting and making. The images on the faraleft are iterativesite models • Creates predictable hydrology sit Heavy metals are statically locked in pl of soils from past research ••portions of a studio, yet they served as a Natural attenuation becomes the fastes Rhyzosphere bacteria enzymes are part of the conversation for• the Performance Plant Regime and project at Perkins+Will.

Lower Tolerance

Pinus thunbergii

nnatum

igejos

r

bum

anorum

ssias

• • • •

Creates a predictable Potentilla arenariasite hydrology situation HeavyPteris metals are vittata statically locked in place and not exposed to surface water Natural attenuation Rumex acetosa becomes the fastest path of remediation Rhyzosphere bacteria and enzymes are cultivated in clean soil buffer layer Salix acmophylla Salvia verticillata

PROPOSED PALETTE

Scabiosa ochrofeuca Sesbania drummondii Taraxacum officinale Thlaspi caerulescens Thymus serpyllum

ROOT DEPTH DIAGRAM Root depth research for three predominant plant typologies below help inform where such typologies could best be used throughout the site based on contamination depth in the soil.

Valeriana officinalis Verbascum thapsus

se Higher Tolerance

Lower Tolerance

Pinus thunbergii

s

a

a

ROOT DEPTH DIAGRAM

a

a

uca

ondii

nale

Lower Tolerance

Pinus thunbergii

Root depth research for three predominant plant typologies below he typologies could best be used throughout the siteRosa based on contamin Malus domestica spp.

While the phytostablization mat-planting may help hold toxins and unwanted particles from being transported in the ROOT DEPTH DIAGRAMsoil, encroachment of larger plant roots has to be accounted for as well. Some basic examples of plant types to be implemented on the site are shown above. To the right are examples I pulled from numerous scientific articles, each plant rated by the chemical level of efficiency in extraction.

Root depth research for three predominant plantand typologies below help inform where such typologies could best be used throughout the site based on contamination depth in the soil.

ens

m

lis

us

Higher Tolerance

<In the adjacent photo, I was doing field research for mycorrhizal fungi, which acts as a chelator in the process of Pinus thunbergii Lower Tolerance accumulation and uptake of chemicals. It's the powdery looking substance adhered to the roots of the larger fungus.

Malus domestica

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Studies in Mediums VARIOUS SCHOOLS ASSORTED WORKS

UNDERGRADUATE

MATERIALS Even though I moved on from an initial education in fine arts, it has been something that has both held and grounded me throughout my life to follow. Whether it be oil painting, watercolor, graphite, charcoal, or ink & wash, I've found that familiarity with several mediums highly beneficial in any design project. This is true in the craft of making, where materials are able to assist in the narrative of the greater design, allowing viewers to feel textures, catch temporal glimpses, see a relationship that is intentionally exhibited. Fine arts is simply that, a view into what is typically a temporal landscape. This view is translated through the initial viewer, the artist, but one that has empathy and keen senses can transcend materials alone and pass along experiences to others. Whether it is a still life, or simple vignette sketches of a moment in time (page opposite), fine arts is comprised of skills learned through apprenticeship by the mediums themselves. from top left: inked negative for printmaknig (both on the top), plasticine clay and wood model of landforms, wood, wire, and foamcore model of above/below ground site conditions, and wire, acrylic, and foamcore model of sanctuary space (bottom left)

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STUDY ABROAD + FINE ARTS JUDSON UNIVERSITY + UNIVERSITY OF MAINE GRAPHITE, INK+WASH, OIL PAINT

13 STUDY ABROAD + FINE ARTS JUDSON UNIVERSITY + UNIVERSITY OF MAINE GRAPHITE, INK+WASH, OIL PAINT

REVIT & RHINO WORK

BEB FLOOR PLANS

RHODE ISLAND SCHOOL OF DESIGN 2 COLLEGE STREET PROVIDENCE, RI 02906

W02.00 Elevator 1E1 96.98 SF

110.04 Seminar 120 405.89 SF

W06.00 Public Corridor 125 1082.73 SF

115.00 Classroom Service 106B 10.33 SF

N

220.02 Home space 109 943.81 SF

110.02 Classroom, movable seating 106 1479.30 SF

315.02 Office storage 104A 100.54 SF

315.01 Office print/copy/files 103-2 91.73 SF

315.01 Office print/copy/files 104B Y04.00 25.81 SF 310.10 Staff office Utility/Mechanical 104 Space 109.07 SF 106A 119.43 SF

310.10 Staff office 103-1 329.10 SF

W05.00 Lobby 100A 26.26 SF

310.03 Department head office 101 257.91 SF

RHODE ISLAND SCHOOL OF DESIGN

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650.01 Lounge 100 1254.27 SF 220.02 Home space 112 982.59 SF

650.02 Lounge, Faculty only 124 270.96 SF

LOT #

110.04 Seminar 117 411.75 SF

2 COLLEGE STREET PROVIDENCE, RI 02906

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310.06 Faculty office, mixed shared 115 188.74 SF

PLAT #

W07.00 Stairway 1S1 197.65 SF

Bayard Ewing Building (BEB) # 10

310.06 Faculty office, mixed shared 113 248.10 SF

X03.00 Public Rest Room 121 X03.00 Public Rest 134.87 SF Room 122 127.65 SF W07.00 Stairway 1S2 X02.00 Janitor 248.26 SF RoomX02.00 Janitor Room 121A 122A 34.00 SF 24.19 SF

SHEET CONTENTS:

1ST FLOOR SPACE PLAN

Sub Basement

2nd Floor

10518.20 SF

10518.20 SF

Basement

3rd Floor

10518.20 SF

10518.20 SF

DATE: 9/14/2015 10:40:44 AM REVISION # REVISION #

Architecture Institutional Resources None

1st Floor

Shared Architecture and Landscape Architecture

RHODE ISLAND SCHOOL OF DESIGN 2 COLLEGE STREET PROVIDENCE, RI 02906

X03.00 Public Rest Y04.00 Room X03.00 Public Rest Utility/Mechanical 310.06 Faculty W02.00 Elevator Room Space office, mixedS:\Facilities\PLANNING 10:40:44 AM documents\RISD FACILITIES Models\BEB\Revit Model\BEB.rvt022 W07.00 Stairway BE1 110.04 Seminar 220.04 Shop, other MASTER DATABASE\BIM 110.04 Seminar 310 Office 026 shared 96.98 SF 134.87 SF BS2 024 017-1 017-2 019-1 019-2 127.65 SF 201.03 SF 256.16 SF 013 374.20 SF 235.21 SF 224.28 SF 243.02 SF W07.00 Stairway 248.10 SF BS1 X02.00 Janitor 197.65 SF X02.00 Janitor Room Room 022A 026A 34.00 SF W06.00 Public 24.19 SF W06.00 Public Corridor Corridor 025 001C 1167.81 SF 65.96 SF

Information Technology

Y04.00 Utility/Mechanical Space 001A 165.00 SF

SHEET CONTENTS:

BASEMENT SPACE PLAN

DATE: 9/14/2015 10:40:43 AM REVISION # REVISION #

Landscape Architecture None Shared Architecture and Landscape Architecture

BSMT

1st Floor

4th Floor

10518.20 SF

10518.20 SF

Sub Basement Basement 1st Floor 2nd Floor 3rd Floor 4th Floor

INVENTORY CATALOG

14/2015 10:40:43 AM

Gross Square Feet Level Area

S:\Facilities\PLANNING documents\RISD FACILITIES MASTER DATABASE\BIM Models\BEB\Revit Model\BEB.rvt

INVENTORY AND BIM

10,518.20 SF 10,518.20 SF 10,518.20 SF 10,518.20 SF 10,518.20 SF 10,518.20 SF 63,109.17 SF

27 LOT #

Y04.00 Utility/Mechanical Space 002 361.17 SF

16

310.10 Staff office 009A 107.38 SF

Y04.00 310.10 Staff office Utility/Mechanical 005B Space 150.02 SF 005C 130.89 SF

PLAT #

220.04 Shop, other 007B 397.86 SF

27

315.02 Office storage 001B 33.00 SF 220.04 Shop, other 007A 211.27 SF

Bayard Ewing Building (BEB) # 10

225.00 Open Laboratory Service 009B 26.07 SF

225.02 Printing 005 403.26 SF

315.02 Office storage 001 314.86 SF

LOT #

220.06 Shop, wood 009 811.52 SF

220.01 Computer lab 003 689.59 SF

16

220.06 Shop, wood 012 981.80 SF

N

710.01 Server room 004 64.62 SF

PLAT #

225.00 Open Laboratory Service 005A 39.33 SF 220.06 Shop, wood 007 769.59 SF

N

Bayard Ewing Building (BEB) # 10

14/2015

RISD Campus RHODE ISLAND SCHOOL OF DESIGN OFFICE OF CAMPUS PLANNING

SHEET CONTENTS:

Gross Square Feet - GSF

DATE: 9/14/2015 10:40:43 AM REVISION # REVISION #

GSF

Beginning as a summer internship, one of my first jobs I took at RISD was in the Office of Campus Planning. This was great experience of working in a small office, in close proximity with my supervisors. This allowed for all ranges of conversations and project opportunities. Although working most days in Revit and building up the building inventory catalog, there were several site visits around campus. The images above are of the Revit file of the Bayard Ewing Building on campus. This BIM model is linked to several databases, which provide real time assessment of programs, square footage, among other inventories. Future use includes an interactive model by which students and faculty may request maintenance services.

9/14/2015 10:40:43 AM

27

S:\Facilities\PLANNING documents\RISD FACILITIES MASTER DATABASE\BIM Models\BEB\Revit Model\BEB.rvt

With a growing student body and growing global draw, the school is constantly renovating spaces and structures, seeking ways to allow students to get out of their studios and hang out. The opposite page is an example of the adaptive reuse of an incredibly old structure, into a central campus cafe. -Revit, Google Maps, PS

MARKET HOUSE

28

Mohammed Bin Rashid Stadium Perkins+Will Client

Dubai U. A. E. Submitting Consultant PV-3B ST-2B

PV-3A

W-1A Design Architect

PV-3B

Project PV-3A

MOHAMMED BIN RASHID STADIUM

PL-2

CB-1B PV-3B

General Notes Project

PL-2 PL-2

PV-3A



W-1A

PV-3B

PV-1B

PV-4

Legend

 PV-1A



PL-3

 

PV-3B PV-2C

PV-2B

W-1A

 

PV-2A

PV-2B 







PV-2B









 













                     

PL-3

 

W-1A

ST-2B

                      



 

 



W-1A



PV-3B

PV-3B   

PL-3

 

PV-4

 



?

PL-3

  





PV-3B

PRELIMINARY DESIGN  



PV-3A 

PL-2 PV-3B

0 No.

APPROVED ISSUE Description

Date

Auth.

Revisions

PV-3A



PV-3B

Scale Date Drawn Designed Checked Approved

AS NOTED TEAM EB RS DD

Titles

ENLARGED PLANS CENTRAL PLAZA

PV-3A

PV-3B



D16001-0100D

PK3 MPL PD

Part

Image courtesy of Perkins+Will

Serial Number

Discipline

Phase

Building

Package



Project Number

Sheet No.



L - 401

INTERNATIONAL TEAMS Perkins+Will has a broad scope of works in the world, including much in the United Arab Emirates. Soon after arriving in the Atlanta office, I was gladly part of the team working on this project. The local portion located in the U.S., and the larger team in London and the UAE. This was great practice in collaboration within a large global team, working digitally through Revit. Preliminary design of the central plaza and arterial circulation, plus touching up details for the packaging of the set were some of the parts the local team and I were working on. Sections, elevations, and elevation and material callouts were among these details to draw and organize to hand off the design.

29

Client

Dubai U. A. E.



Submitting Consultant

Client





ALIGN

PV-1B

CB-1B

PL-2 Design Architect

Dubai U. A. E.

PV-1A

W-1A Project

Submitting Consultant

MOHAMMED BIN RASHID STADIUM

The central plaza is unique in that it sits under an elevated FIFA soccer stadium, the world's first of its kind. Utilized as an escape from the sun and heat, this is not only circulation, but is designed to rest and recline around a cascading pool of water. Shade is a crucial element in this design, from parking through to the stadium, whether it be via the sikkas or the bowl protecting the visitors. These sections are my own work, but the plan views are the result of months of teamwork, of which I was a small part of near the end of production.

General Notes Project

Design Architect

ST-2B

W-1A

ST-2A

PV-1B

W-1A

ST-2B

 

Project

PV-2B

MOHAMMED BIN RASHID STADIUM

PV-2C

 

PV-1A

PV-2A

Legend





W-1A  

PV-2A

PV-2B



 





                     



General Notes Project

PV-2C

                     

PV-1B



W-1A 

 







 

ALIGN





PV-1A





PV-1B

Legend





PV-1A



ST-2B







 













 

  

 

 







  

                     

PV-1B     PV-1A       PV-4    ST-2B       W-1A      



PRELIMINARY DESIGN 

0 No.

APPROVED ISSUE Description

Date

Auth.

Revisions Scale Date Drawn Designed Checked Approved

 



AS NOTED TEAM EB RS DD

Titles PV-2B

 



ENLARGED PLANS CENTRAL PLAZA QUAD









D16001-0100D

PK3 MPL PD

Part

Serial Number

Discipline

Phase



Building

Project Number



Package

Sheet No.



L - 402 





ALIGN

 



 





PRELIMINARY DESIGN



 

  

 

 

0 No.

APPROVED ISSUE Description

Date

Auth.



Revisions















 

  

 

AS NOTED TEAM EB RS DD

Scale Date Drawn Designed Checked Approved



ALIGN

  

Titles

SITE DETAILS









Sheet No.

  





D16001-0100D

PK3 MPL PD

Part



Serial Number

Discipline

Phase



Building



Package



Project Number





L - 502





30









Sri Lanka : Northern Visions RHODE ISLAND SCHOOL OF DESIGN INTERCULTURAL TRAVEL STUDIO

WORKSHOPS

CSEB BLOCK LESSONS

:: batik with Kuleraj

ARTISTS' VILLAGE VISITS

IMPLEMENTED DESIGN It has been nearly a lifelong goal of mine to break the barrier of American studies and work/study internationally, specifically in areas in which people are in true need of design assistance. Before working in Sri Lanka, we prepared for future work by studying advanced local construction techniques in order to construct the school. Initially entering Asia our studio stopped in Auroville, India to undergo a CSEB [concrete stabilized earth block] intensive workshop. Learning structural masonry theories and techniques was our first undertaking before getting our hands dirty. Hands on learning was the key to field construction; with measuring, mixing, and compressing taking place in real time by our team. â&#x20AC;&#x153;The [overall] initiative - the establishment of a Centre for Design, Language, and Critical Practices, is one step toward ensuring the people of the eastern part of the country have a voice and agency in deciding the future of the region, and in continuing to define their unique identity and community.â&#x20AC;? -Dr. Elizabeth D. Hermann: Professor, RISD. This agency spoken of will be key in giving a voice, an image, and vernacular to the local villagers of the Batticaloa area amidst an industrial and tourist boom spreading to the eastern coast of Sri Lanka. It is our goal to assist in that voice.

31

WORK

:: memory+

WORKSHOPS

:: memory+word+dance

WORKSHOPS

:: memory+word+dance

WORKSHOPS

Through much hands on and side by side work with our Sri Lankan counterparts, we were able to study, test, and reactivate design process in Batticaloa, Sri Lanka, where we held workshops in which we partnered with students and artists from around Sri Lanka. Best said by Thomas Ockerse: Professor, RISD, “To merely train or inform means to teach efficiency and conformity, and such proficiency can never lead to completeness. Moreover, to cultivate these aspects without understanding life can never bring creative understanding. Self-discovery is much more than merely having a perception of self because understanding ourselves means also to understand our neighbors, our society, our world.”

:: memory+word+dance

Beginning with workshops we asked our Sri Lankan friends what they found special about the natural environment surrounding them. Then taking those sentences, we broke them down into short phrases, i.e. “Sinking Ground”, “Shade as Teacher”, and “Dancing Rain”. These phrases were then translated into dances, recorded in mark-making by other teams, then translated again, where the marks were carried through multiple mediums of local crafts. such as Batik, Shiboori, weaving, and ultimately collaborative furniture pieces.

32