Architectonics & The Folly At Allerton Park, Illinois

ARCHITECTONICS & THE FOLLY AT ALLERTON

ARCH 571 : Tectonics in Architecture University of Illinois at Urbana-Champaign Fall 2019

Preface

by First Last Allerton Park, in the heart of Piatt County, Illinois, is what one may call an example of blended geographies that co-exist as clusters of ecosystems. The park’s environment transcends the physical boundaries of plotted ecological zones and tangible divisions between natural and constructed landscapes. These carefully orchestrated but seamless transitions become the pivotal phenomena of the park, whose quality is accentuated by the observation of the visitor, who essentially become the noumena in this orchestration.

Hence, we begin to define this transitory nature of the landscapes in terms of First, Second, and Third Natures. The terms derive out of a degree of association one establishes with the nature(adj.) of the ‘nature’(n.) that we observe. The First Nature, or ‘the possessive’, explores the most basic landscapes in the region: the natural forests, the least choreographed. The densest and the oldest. These are the indigenous species, ones that have dwelled the longest and laid the deepest roots on site. The Second Nature, or ‘the adaptable’ is the subsequent exploration of the agricultural lands — the green-er pastures that have defined the park since its acqusition. The governance of plotted developments in the land, a symbol of self-sustenance, prosperity and growth, set the park in synchronization with its Mid-Western context of prairies and arable lands. The Third Nature, which is what attracts visitors today, explores the Formal Gardens, a scenographic metaphor for the flâneur that Robert Allerton and John Gregg were, in ‘consuming the modern city’ as cultural explorers, art enthusiasts, and a part of the social elite. The gardens translate the grandeur in the Allerton lifestyle on to neatly laid out patterns of floral vegetation and art work that provide visual and sensory delight to the onlooker.

The park showcases a variation in landscape that signifies evolution in time, sensibility towards industrial production and an aesthetic of craftsmanship, intricacy and ornamentation. This affinity for landscape art is what drives a visitor to the park, to imbibe and be absorbed into its scenography.

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The Site Introduction First Nature Second Nature Third Nature 02

The Process Introduction Wood Joineries Material Catalog Site Selection Proposals 03

The Project Introduction Design Testing and Prefabrication Logistics Installation Reflection

ALLERTON PARK: a brief history

by Bryan Samuel Samuel Allerton (1828-1914), was born in New York, the ninth and last child in a poor family. By the 1850s, Samuel had traveled to central Illinois while trading livestock. In 1858 he met a young woman from Canton, Illinois – Pamilla Wigdon Thompson (1840-1880) and married her two years later.

In 1863, after having borrowed money to buy up almost every hog in Chicago to sell to the Union Army, Samuel found himself on the road to riches. That same year, Pamilla gave birth to their first child, Katherine (Kate) Reinette Allerton. On March 20, 1873, their only son, Robert Henry Allerton, was born.

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The Site Introduction

Through the 1860’s and 70’s, Samuel plunged even deeper into the livestock industry and also added banking to his list of ventures. While amassing a total of 78,000 acres of land between New Jersey and Nebraska, he helped organize the Chicago Union Stockyards and the First National Bank of Chicago.

The Park offers a unique opportunity to experience art, nature, and history. It features 14 miles of hiking trails, formal gardens with over 100 garden ornaments, and quiet, expansive grounds. Organized programs open to the community and visitors include outdoor concerts, youth summer camps, themed dinners and educational events, nature hikes, and tours.

Allerton has become a destination for meetings, conferences, weddings, retreats, and special events for people from all over the country. Businesses and organizations find that the secluded, intimate setting offers time and space for quiet reflection and truly creative thinking. Wedding couples and guests are offered a truly unforgettable experience in the sunkissed gardens or majestic Mansion

Contrastingly, Robert Allerton was much more interested in artistic ventures. For five years, Robert studied painting, drawing, and sculpture in Paris. In 1897, when he was 24, Robert dramatically burned all his paintings and returned to the U.S. as a self-proclaimed failed artist to manage the family’s agricultural holdings.

Among Robert’s business ventures was the development, management, and operation of a 12,000-acre estate in Monticello, Illinois, known as “The Farms”. Through several years of development, Robert Allerton transformed “The Farms” into a Gatsby-esque artistic wonderland.

Built as a private residence by artist and philanthropist Robert Allerton in 1900, Allerton Park and Retreat Center is a historical treasure that was donated to the University of Illinois in 1946. The property now contains 1,500 acres of woodland and prairie areas, a mansion and reflecting pond, a 10-acre meadow, formal sculpture gardens, hiking trails, a café, and several lodging facilities.

Introduction | 06

THE CURIOUS RELATIONSHIP OF ROBERT AND JOHN

by Bryan Samuel

Fig. 1.1. Allerton Family Tree

awkward predicament of attending a fatherson fraternity party without a father. A friend contacted a childless Robert Allerton to stand in as a paternal figure for the orphan, and thus began an extraordinary relationship that would span over four decades and multiple continents, culminating in the eventual adoption of a sexagenarian John Gregg.

Fig. 1.1. Robert (left) and John (right) and the Allerton Garden in Kauai, Hawaii

John Gregg was the third child born to a working class family in Wisconsin. His mother succumbed to breast cancer shortly after he graduated from high school. His father also passed away a few years later while he was studying architecture at the University of Illinois, placing a young John in the slightly

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Robert’s upbringing was rather different than John’s. Born to Samuel Allerton, a millionaire livestock, banking, and real estate mogul, Robert was afforded the possibility of pursuing his dreams of becoming an artist. He sought an education in Europe, but it wasn’t long before he returned stateside, burning his paintings and declaring himself a failure. His father endowed Robert with his farm at Monticello, Illinois, perhaps to remind his aristocratic son of his agricultural roots. Robert transformed the property into a sanctuary for art, enlisting John Gregg and other creators to curate an exhibition of European and Oriental landscaping and sculpture. The pair would constantly travel for inspiration, bring back works from far-flung locales to showcase to the guests lucky enough to be invited to a weekend at the estate.

Robert was no stranger to loss. His mother Pamilla passed away when he was seven years old. His father remarried her younger sister Agnes two years later, despite a twentynine year age gap. Robert was very fond of his stepmother, who introduced a love of nature and beauty to the family. Their relative closeness in age led to a relationship that may have been closer to friendship than motherson, a relationship that draws parallels to Robert’s eventual fathership of John.

In 1938, Robert purchased a plot of land in Hawaii. Similarly to his project in Illinois, he transformed the land into an exhibition of sculpture and landscape. As Robert approached an elderly age, the management of the two properties started to wear on him so he donated his Monticello Farms to the University of Illinois in 1946. Robert and John would spend the rest of their lives in Hawaii, their comingled ashes spread along the sandy shores of Kauai.

The adoption occured in 1959. John Gregg was sixty years old, Robert was eighty-six.

There are many suggestions as to why the

two entered legal proceedings to formalize their relationship. One suggestion would be to safeguard the will against other familial claimants. However, at the time of Allerton’s death in 1964, the most reasonable contestant to the will was Robert’s newphew, Vandeburgh Johnstone. By all accords, Johnstone was fairly wealthy himself and was close with both Robert and John, so this avenue seems unlikely. A more plausible explanation was a circumvention of excessive taxes - the inheritance taxes for legal offspring are levied at lower amounts than for unrelated beneficiaries. A third answer that lies outside of financial reasoning may amount to the simple desire to codify a father-son relationship that had already been present for thirty-eight years. Whether or not there was more to the relationship (a lack of female companionship to either party has invited suggestions of sexual intimacy between the pair), the fact remains that the two were exceptionally close. And despite his failures as an artist, Robert Allerton has left a legacy of a life well-lived, filled with adventure, beauty, and kinship.

Introduction | 08

CHANGING NATURES

by Akshay Srinivas

First Nature The First Nature, consists of the natural regions in the property- the natural vegetation, woodlands, highlands, developed forest cover and the Sangamon river and its tributaries.

Second Nature The Second Nature, consists of the agricultural lands - the farms, orchards, prairies, savannah and the reservoirs along with the barns, silos, granaries and other structures.

Third Nature The Third Nature, comprises of the Formal Gardens, the lake, the mansions, meadows and the artwork. These form part of the regal architecture and landscape that attract visitors to host events, spend holidays or come for a weekend picnic, to relax and socialize.

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Introduction | 10

SITE TIMELINE

by Akshay Srinivas

Hunting Grounds for Kickapoo Indians

3 Lincoln’s eighth Judicial Circuit

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2 MIDDLE WOODLAND PROJECT: Havana Group Mounds Built for Religious Purposes

Land Parcels owned for farming

Center of the 12000acre Illinois agricultural enterprise

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1000 CE

1841

Sustainable Agriculture/UIUC Practical Farm Initiative: Maintaining and educating about sustainable agriculture

Robert Alleron dies

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Excavations at Samuel Allerton’s Mound Site

7 Southern Part-National Natural Landmark

Hub for Horticulture and Landscape Architecture

Park registered as a National Natural Reserve

ROBERT ALLERTON PARK donated to UIUC

Farmer empowerment projects

1847-59

1900

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Access to the LOST GARDEN

Hub for destination weddings

ROBERT ALLERTON PARK established

Piatt County formed

150 CE

6 John Gregg designs new Gardens and House interiors

Allertons owned 11,774 acres of Piatt County farmlands

4 Robert Allerton builds a private estate

Native Americans resided in this region

UNDATED

5 Samuel Allerton writes On Systematic Farming. A Short Treatise on Present Farmig Conditions and How to Improve Them

1905

1914

1932

1946

1964

1971

1999

2007

2018

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FUTURE PLANS

Introduction | 12

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6 Formal Gardens

3 Lincoln’s eighth Judicial Circuit

7 Southern Forest Area

4 Allerton Mansion

8 Practical Farm Initiative

5 Samuel Allerton’s On Systematic Farming: A Short Treatise on Present Farming Conditions and How to Improve Them

9 Weddings at Allerton

NATIVE AMERICAN TERRITORIES IN ILLINOIS

ILLINOIS INDIANS - a confederation belonging to the Algonquin family and embracing five tribes, viz.: The Cahokias, Kaskaskias, Mitchagamies, Peorias and Tamaroas. They occupied Illinois, with adjacent portions of Iowa, Wisconsin, and Missouri. The name is derived from Illini, “man,” the Indian plural “ek” being changed by the French to “ois.” They were intensely warlike, being almost constantly in conflict with the Winnebagoes, the Iroquois, Sioux and other tribes.

They were migratory and depended for subsistence largely on the summer and winter hunts. They dwelt in rudely constructed cabins, each accommodating about eight families.

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2 Native American Religious Mounds at Allerton

Introduction | 14

INDIGENOUS LIFE

by Efrain Araujo

The Pottawatomi were agriculturalists, relying on their harvest to survive. They cultivated foods like green beans, peas, squash, tobacco, melons, and corn during the summer months. Before the winter came they would hunt and gather food and resources. During the winter they would rely on wild plants, nuts, and berries when needed.

They lived in homes made from reed mats or slabs of park that were wrapped around a frame made from sapling.

Fig. 1.1. Native American Mound Site Artifacts

The Pottawatomi were one of the tribes that inhabited the area around what is today now Robert Allerton Park when Euro-Americans settled in the land in the early 1800s. During this time many settlers began to move westward, forcing many of the indigenous tribes to move west as well. This was a turbulent time in the country and led to conflict between the tribes

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in areas that the Euro-Americans settled in.

Subsequently, many indigenous tribes were displaced to new areas that were less bountiful than where they had originally lived. The early Euro-American settlers of Piatt County developed an amicable relationship with the Pottawatomi and other tribes in the area.

The Pottawatomi “Trail of Death� was the forced relocation of 859 members of the yellow river band of the Potawatomi from the Twin Lakes.

They were marched from the Twin Lakes to what would be their new reservation in Osawatomie, Kansas from September 4th through November 4th, 1838. Forty Pottawatomi died on the way there. When the group arrived in Monticello they camped along the Sangamon River and allegedly received provisions from James Piatt, the first permanent settler of Monticello.

Introduction | 16

climate data

by Bryan Samuel

Figures 1-6. Visualizations of climate data taken from the Decatur Airport between 2014-2018.

Days of rain includes days with rainfall greater than 0.1 inches. A gust is defined as a wind sustained for 5 seconds. A breeze is defined as a wind sustained for 2 minutes

Avg. high Temp.

Avg. Temp.

avg. days of rain

Avg. low Temp.

avg. rainfall

Fig 1. TempERATURE

Fig 3. Rainfall

fastest gust summer solstice

fastest Breeze

winter solstice

avg. wind speed

Fig 2. Solar Exposure

Fig 4. Wind Speeds

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Introduction | 18

summer solstice

Warmer months (apr-oct)

winter solstice

Colder months (sep-may)

Fig 5. Sun Path

Fig 6. Wind Rose

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Introduction | 20

First Nature

I wandered lonely as a cloud That floats on high o’er vales and hills, When all at once I saw a crowd, A host, of golden daffodils; Beside the lake, beneath the trees, Fluttering and dancing in the breeze.

“Daffodils” by William Wordsworth

First Nature

S

by Juan Sebastian Pazmino FO

O PO E WE E WE

F

WOO

F

WOO

W WE

WOO

WOO

F

WOO

Forest Woodland Wetlands Ponds 23| The Site

WE

First Nature |24

First Nature

by Juan Sebastian Pazmino First Nature First Nature

First Nature First Nature

and were integrated Samuel Allerton a vast fortune formmore and closely were more closely integrated Samuelmade Allerton made a vast varied fortuneformvaried with the surrounding landscape, often featuring buying and buying selling livestock during the Civil War, with the surrounding landscape, often featuring and selling livestock during the Civil War, one or moreone sculptures assculptures a focal point. many and amassed huge landholdings in the mid-west. or more as a In focal point. In many and amassed huge landholdings in the mid-west. ways the gardens reached their peak in the late He was alsoHe instrumental in the establishment of ways the gardens reached their peak in the late was also instrumental in the establishment of 1930s. time theOver number hasofbeen the Chicago Stockyards and the First timeof thespecies number species has been theUnion Chicago Union Stockyards and the FirstOver 1930s. reduced to those that are reliably hardy in central National Bank of Chicago.

By age 7 Robert had reduced to those that are reliably hardy in central National Bank of Chicago. By age 7 Robert had Illinois, but these do not always provide the received 280received acres of280 farmland in Piatt County, Illinois, but these do not always provide the acres of farmland in Piatt County, For effect. example,For Allerton initially Illinois fromIllinois his father. much of hismuchintended intended example, Allerton initially from He his devoted father. He devoted of his effect. used many different types of upright evergreens life to developing and managing his agricultural used many different types of upright evergreens life to developing and managing his agricultural but many of these species (such as Irish juniper) properties, called The Farms in Piatt County, and but many of these species (such as Irish juniper) properties, called The Farms in Piatt County, and have been replaced with hardier species that his homestead, known today as Robert Allerton have been replaced with hardier species that his homestead, known today as Robert Allerton often have a different appearance. New varieties Park. His intent was to create a country estate often have a different appearance. New varieties Park. His intent was to create a country estate developed over the past 50 years may present an along the banks of the Sangamon River, and to developed over the past 50 years may present an along the banks of the Sangamon River, and to opportunity to restore some of the intended pursue his love of landscape gardening, art and opportunity to restore some of the intended pursue his love of landscape gardening, art and design effect. In other cases, particularly in the agriculture. The period from 1929 to 1938 was a design effect. In other cases, particularly in the agriculture. The period from 1929 to 1938 was a use of evergreens, more compact varieties can particularly active time for the formal gardens, use of evergreens, more compact varieties can particularly active time for the formal gardens, retain the intended scale of plantings and reduce when the collaboration between Robert and John retain the intended scale of plantings and reduce when the collaboration between Robert and John the need for frequent replacement. The recomresulted in many new gardens, which were need for frequent replacement. The recomresulted in many new gardens, whichmendation were tothe plant disease-resistant elms on the increasingly fanciful in nature. While the earliest increasingly fanciful in nature.

While the earliest mendation to case plantwhere disease-resistant Rose Terrace is an another new plant- elms on the gardens at Allerton Park were largely rectilinear gardens at Allerton Park were largely rectilinear Rose Terrace is an another where new plantings can be used to restore the intended case design. and enclosed, the later gardens assumed more and enclosed, the later gardens assumed more ings can be used to restore the intended design.

08 First Nature

Allerton ParkAllerton Fauna Park withinFauna the first since they are since up early theup mornings within tothespot first to spot theyinare early in the mornings nature consistnature of different types of animals that and out late into the evenings.

Since both are the consist of different types of animals that and out late into the evenings.

Since both are the you would typically find in woodedfind or forrest typeor forrest you would typically in wooded main type predatorsmain of the area they are known for are known for predators of the area they terrain. Woodland consist of tress that are terrain.

Woodland consist of spaced tress that are spaced preying on each other. preying on each other. apart and widely open forrests while forrests apart andunderneath, widely openwhile underneath, All three squirrels types squirrels mostly feed trees are very trees denseare and close together.

Some of All three typesonmostly feed on very dense and close together.the Some of same typestheof same food,types whichofconsist of nuts,consist of nuts, the main fauna maythat findyou in this food, which the that mainyou fauna may area find in this area include: eastern gray squirrel, fox squirrel, southseeds, flowers and buds of various trees. include: eastern gray squirrel, fox squirrel, southseeds, flowers and buds of Next various trees. Next ern flying squirrel, fox, and coyote. time you are in Allerton, try and see if you can see if you can ern flying squirrel, fox, and coyote. time you are in Allerton, try and Fauna use theFauna tall trees to provide them find athem pile of gnawed hickory nuts at the base of use the tall trees to provide find a pile of gnawed hickory nuts at the base of with both shelter and protection. As it is pretty with both shelter and protection.

As it is pretty a hickory tree, that’s a sure sign of southern flying obvius, squirrels need the trees to survive. They hickory tree, that’s a sure sign of southern flying obvius, squirrels needtothe trees to survive.

Theyin theaarea. squirrels use the trees to to build nest and travel from squirrels in the area. use the to tothe build nest and point A to point B. trees Specically eastern gray to travel from point A to point B. Specically the eastern gray squirrel is known to travel within the tree canopy. known to traveltowithin the tree canopy.

They use the squirrel trees to istheir advantage nest, to They use the trees to their advantage to nest, to raise their young. raise their young.

The foxes and coyotes are the main predaThe foxesThey and are coyotes areto the main predators of First Nature habitates. known tors of First Nature habitates.

They hunt a prey on small vertabrae mammals, in the are known to prey on on the smallthree vertabrae in the forrest. Theyhunt botha pray types mammals, of forrest.

They both prayspeciffically on the three types of squirrels located in Allerton.

Coyotes located in Allerton. are known forsquirrels being very secretive.

They areCoyotes hard speciffically are known for being very secretive. They are hard

08 First Nature

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First Nature 09

First Nature 09

First Nature |26

FLORa

by Juan Sebastian Pazmino

How do we know so much about the natural history of our state? In the early 1970s, state scientists

1. Red Bud Tree

described Illinois in terms of its topography, glacial history, bedrock, soils, weather patterns, and the distribution of its native plants and animals. Using all of these natural features, Illinois

3. Witch Hazel Tree

was divided into what scientists call “natural divisions.” Fourteen distinctive areas were formally defined in a 1973 publication authored by then State Botanist John Schwegman and his colleagues.

To quote Schwegman, “Natural divisions are geographic regions of a larger entity. . . .A division contains similar landscapes, climates, and substrate features like bedrock and soils that support similar vegetation and wildlife over the division’s area. Natural divisions help conservationists

2. Black Locust Tree

classify land for purposes like protecting natural diversity.”

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Fauna

by J.Pazmino, C. Overmyer, J. Xu

3. Southern flying squirrel

1. Coyote Habitat: Coyotes are extremely adaptable and use a wide range of different habitats.

Some habitats include forests and grasslands, in Illinois specifically.

Habitat: This type of squirrel spend most of their time in woodlands. They prefer seed producing hardwood trees, such as maple tree, beech, hickory, oak and poplar.

2. Fox

4. Eastern grey squirrel

Habitat: Gray foxes live mostly in decidious forest, usually where woodland and farm meet. Their cousins, the red fox, adventure into agricultural areas more often, They prefer to be near water.

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Habitat: They are most common in oak-hickory forests. They prefer open areas where trees are widely spaced, and the understory is open.

Habitat: Although they are dispersed along all natures, they usually tend to be around forest and prairies.

6. White-tail deer

9. Eastern Massasauga rattlesnake Habitat: They live in wet areas including wet prairies, marshes and low areas along rivers and lakes, athey can also be found under logs, tree roots and small mammal burrows.

7. Sparrow

Habitat: Allerton is a wonderful location for birding. With over 14 miles of trails through the Natural Areas and more than 210 species have been recorded at Allerton Park.

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8. Butterfly

Habitat: They prefer an interspersed area including meadows, forested woodlots, brushy areas and croplands.

Habitat: They prefer mature, mixed forest. They prefer having a continuous canopy of trees so they can travel mainly in the tress. They use these trees to nest to raise their young.

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5. Fox squirrel

Esc: Graphic

First Nature |26

Fauna-white tailed deer

by J.Pazmino, C. Overmyer, J. Xu Allerton Deer Vehicle Collisions

Since 2004 Allerton Park has implemented shotgun hunting (2005, 2006) and professional sharpshooting (2004-2006) as well as continued to allow archery hunting (2004-Present). We now believe the Allerton deer population to be between 150-250 deer (14-23 deer per square mile).

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Allerton Park Deer Program Zone Map

15 10 5 0

1990 Number of Accdents

1994

1998 2002 Year

189 Acres Max Hunter 6

2006 140 Acres Max Hunter 4

Proportion of deer present inside park boundaries by year.

Proportion= deer insidepark/ total deer counted

Propotion 1.0

258 Acres Max Hunter 6

0.9

214 Acres Max Hunter 6

0.8 0.7

68 Acres Max Hunter 2

277 Acres Max Hunter 6

209 Acres Max Hunter 6

0.6

209 Acres Max Hunter 6

0.5 0.4 0.3 0.2 0.1 0 1988

1990

1992

1994

1996

1998

2000

2002

2004

2006

2008

2010

Year

In the fall of 2004, the first phase in a deer management program was initiated in the form of a 7-week a rchery hunt. An a rchery hunt w aschosen o ver alternative m ethods o f d eer c ontrol for reasons of safety, efficacy, and Illinois Department of Natural Resources (IDNR) approval.

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Robert Allerton Park’s eight zones created in response to their white-tailed deer management program. Size of each ones and maximum huner density allowed based on zone size are shown.

Currently, about 35 archery hunters are partof the Allerton Hunting Program. All hunters are required to volunteer 30 hours at Allerton,constituting one of our biggest volunteer groups and assisting with various projects, including: nvasive species management, trail clearing/work, painting, event parking, the Family Campout, and wedding set-up.

First Nature |26

HABITATS

by Clayton Overmyer

How do we know so much about the natural history of our state? In the early 1970s, state scientists described Illinois in terms of its topography, glacial history, bedrock, soils, weather patterns, and the distribution of its native plants and animals. Using all of these natural features, Illinois was divided into what scientists call “natural divisions.” Fourteen distinctive areas were formally defined in a 1973 publication authored by then State Botanist John Schwegman and his colleagues.

To quote Schwegman, “Natural divisions are geographic regions of a larger entity. . . .A division contains similar landscapes, climates, and substrate features like bedrock and soils that support similar vegetation and wildlife over the division’s area. Natural divisions help conservationists classify land for purposes like protecting natural diversity.”

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Forest

Prairie

River Woodlands

Water

Farm Land FIRST NATURE

Civilization/Public

First Nature |30

The Sangamon River

by Sneha Patel

The Sangamon River is a principal tributary of the Illinois River, approximately 246 miles (396 km) long, in central Illinois in the United States. It drains a mostly rural agricultural area between Peoria and Springfield.

The Upper Sangamon River Basin (USRB) drains an area of 3690 km2 above Lake Decatur and the river flows through intensively managed agricultural land (77%), urbanized and built-up land (12%) and riparian forests and grassland (10%). The Sangamon River sits in a valley which was incised at the end of the Wisconsin glacial episode.

The basin area is overlain with highly productive Alfisol and Mollisol soils (USDA and NRCS soils map).

The drainage area of the Sangamon River at Allerton Park is ~1500 sq.km.There has been little human modification of the floodplain since the construction of the Allerton private residence in 1900. Allerton Park consists of straight drainage ditches, channelized sections

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First Nature 09

250 m3/s Much of the floodplain has water flowing during the largest flood event

FIG 1.SECTION OF FLOODPLAIN SHOWING DIFFERENT DISCHARGE LEVELS

At a discharge of 35 m3/s, flow is mostly contained within the main channel within the park, however, low elevation flood channels are beginning to have water in them .

At an intermediate discharge of 100m3/s, all flood channels contain water at depths close to 1m.

Areas surrounding the large meander loop in the northeast portion of the park are also under ~1.5m of water. At a modeled discharge of 250 m3/s, most of the floodplain is under water.

Low areas near the large meander loop with the cutoff in the north end of the park are under ~2.3m of water. the floodplain elevation is highest near the main channel and gently slopes towards the lowest areas.

Variability in elevation is small (~1 m); thus, inundation of the entire transect should be likely during large magnitude events.

Geomorphically, the Sangamon river appears to be stable within its floodplain since there has been little migration over the past 200 years.

Although we see a number of flooding events occuring on a yearly basis that are capable of depositing sediment, it does not appear to be enough sediment significantly alter the morphology of the floodplain.

The floodplain within the park is forested and the channel is able to freely migrate. Original survey records of the area indicate that Allerton Park lands were almost entirely forested pre-settlemet and selective logging took place post-settlement (Bourdo, 1956, Hutchison, 1988). This minimal disturbance is in stark contrast with the heavily modified upper reaches of the river since settlement. Floodplain channels are present throughout the floodplain and impact the drainage and sediment transport.

100 m3/s The discharge where the water is flowing in many places of the floodplain including the relict meanders

35 m3/s Initial condition of floodplain discharge

Fig 2. THE CHANGING CHARACTER OF THE SANGAMON ACCORDING TO THE SEASON

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Fig 3. The floodplain conditions during different levels of discharges

First FirstNature Nature|38 09

Second Nature

It is possible to be struck by a meteor or a single-engine plane while reading in a chair at home. Pedestrians are flattened by safes falling from rooftops mostly within the panels of the comics, but still, we know it is possible, as well as the flash of summer lightning, the thermos toppling over, spilling out on the grass.

And we know the message can be delivered from within. The heart, no valentine, decides to quit after lunch, the power shut off like a switch, or a tiny dark ship is unmoored into the flow of the body’s rivers, the brain a monastery, defenseless on the shore. This is what I think about when I shovel compost into a wheelbarrow, and when I fill the long flower boxes, then press into rows the limp roots of red impatiens -- the instant hand of Death always ready to burst forth from the sleeve of his voluminous cloak. Then the soil is full of marvels, bits of leaf like flakes off a fresco, red-brown pine needles, a beetle quick to burrow back under the loam. Then the wheelbarrow is a wilder blue, the clouds a brighter white, and all I hear is the rasp of the steel edge against a round stone, the small plants singing with lifted faces, and the click of the sundial as one hour sweeps into the next “Picnic, Lightning” by Billy Collins

Flora

had been as a single but the UniversiThe transfer The to transfer the University to the University occurred on occurred Octo- on had Octobeen treated as atreated single unit but theunit University has administered as fourentities: separate entities: ber 14, 1946. It eight included eightfarms working ty farms ber 14, 1946.

It included working has administered it as four itseparate containingcontaining over 3,643over acres3,643 of agricultural land farms, center, camp, andcamp, park, and eachpark, each farms, conference center, acres of agricultural land conference (profits from whichfrom would support park and with priorities. withinterests differentand interests and priorities. (profits which wouldthesupport the park anddifferent main and an assemblage of 1,494 main house), andhouse), an assemblage of 1,494 acres of acres of Time impacts have also taken Time and environmental impacts have also taken natural and landscape, designed landscape, theand environmental natural and designed including including the their on the fragile cultural landscape.

Vegemain house, outbuildings, of trails,their four-toll on main house, outbuildings, network ofnetwork trails, fourthetoll fragile cultural landscape.

Vegeteen formal gardens, informal garden tation has continued to evolve, with some with formal tation has continued to evolve, some formal teen formalnumerous gardens, numerous informal garden spaces andspaces naturaland areas.

An additional acres 249plantings becoming becoming over mature, areas plantings over other mature, other areas natural areas. An 249 additional acres evolving fromtopastures to woodland, wasforseta aside for aCamp 4-H Club and 4-H evolving activi- from was set aside 4-H Club and Camp 4-H activipastures woodland, and loss ofand loss of still other cultural particularly plantings, particularly ties. Additional has been added through ties. Additional acreage hasacreage been added through still other cultural plantings, espaliers espaliers onofthethe walls of the formalOf gardens. Of gift or purchase.” … for education and research gift or purchase.” … for education and research growing ongrowing the walls formal gardens. purposes, as a forest,aswild and plant-life economic economic necessity many of the plantings necessity many of the have plantings have purposes, a forest, wild andreserve, plant-life reserve, as an example landscape gardening gardening and as a andbeen since 1946.sinceSeveral as anofexample of landscape as asimplified been simplified 1946. designed Several designed features, the including the Lost Garden park statues, … “The statues, garden ornaments, public parkpublic … “The garden ornaments, landscape landscape features, including Lost Garden and of a portion of Vine been removed garden paths buildings, paths and ornamentalornamental garden buildings, and roads on roads andon a portion Vine Walk, haveWalk, been have removed othersuch features, as theMusiChinese Musithe property woodlandshall, property so far as practicable, the woodland so farshall, as practicable, while otherwhile features, as thesuch Chinese be kept, maintained, and preserved they areas onthey are cians Three have been have relocated. cians and Graces, the Three Graces, been relocated. be kept, maintained, and as preserved onand the the date hereof…”

Under Allerton’s The sculptures, many of which not created The sculptures, many were of which were not created the date hereof…”

Under stewardship Allerton’s stewardship the entire operation for long-term outdoor display, have also suffered. for long-term outdoor display, have also suffered. the entire operation

43 | The Site

Fauna

decline. early asAs 1866, as noted as Within Allerton WithinPark’s Allerton Second Park’s Nature, Secondthere Nature, are there are Asdecline. earlythe asEMR 1866,was the noted EMR was declining and Netting, In 1994 restored praries thatpraries mimicthat what Illinois used to used declining (Atkinson and1927).

Netting, 1927). In 1994 restored mimic what Illinois to (Atkinson look like Theselands preairie the lands EMR was listed was as anlisted endangered species in species in look like many yearsmany ago. years Theseago. preairie the EMR as an endangered a large many (Herkert, and1994) is nowand a candidate consist of consist a largeofopen area open filled area withfilled manywith Illinois Illinois 1994) (Herkert, is now a candidate listing atforthe federal levelfederal (USFWS, species of species tall grasses andgrasses flowers. listing at the level 1999).

(USFWS, 1999). of tall andAnimals flowers.that Animalsforthat you wouldyou typically in thisfind areain consist of consist of wouldfind typically this area The Kirtlands Clonophis kirlandii, (KS) The snake, Kirtlands snake, Clonophis kirlandii, (KS) white-tailedwhite-tailed deer, eastern moles, eastern cottentail deer, eastern moles, eastern cottentail rabbits.

Others include andwhich Coyotes, also whichabundant at the time of settlement has also abundant at the time of settlement has rabbits. Others include Foxes and Foxes Coyotes, located in First Nature. suffered serious declines the past are locatedare in First Nature. suffered seriousover declines overcentury. the past century.

The KS The is distributed through the middle KS is distributed through the middle Since Second Sangamon SinceNature Secondincluded Nature the included the Sangamon one-third to the northeast of Illinois one-third to thecorner northeast corner(Philof Illinois (PhilRiver in the section, you can find River in the section, youthe canthree findmain the threelips main et al., 1999).

KS is listed as is threatened in lips et The al., 1999).

The KS listed as threatened in kinds of fish populated in the kindsthat of are fishhightly that are hightly populated in the Illinois andIllinois Ohio and in Indiana in and and endangered Ohio and endangered Indiana and Riverthrough that runsAllerton throughPark.

AllertonMichigan.

Park.

SangamonSangamon River that runs The KS is offered protection at the Michigan.

The KSno is offered no protection at the time of European At the timeAtofthe European settlement,settlement, the Easternthe Eastern federal level. federal level.

MassasaugaMassasauga RattlesnakeRattlesnake was distributed through- throughwas distributed out the northern of Illinois.of The habi- The habiout thetwo-thirds northern two-thirds Illinois. tat conversion that followed such as such as tat conversion that settlement, followed settlement, of prairieand marshes andagriculintensive agriculdraining ofdraining prairie marshes intensive ture contributed may have contributed to the EMR’s ture may have to the EMR’s

Second Nature |44

FLORA

by Juan Sebastian Pazmino In 1963, the Illinois General Assembly established the Illinois Nature Preserves Commission (INPC) a system of A natural areas representative of the Illinois natural In 1963, to t hecreate Illinois General ssembly established the Illinois Nature landscape.

P reserves When Commission areas are identified and protected in perpetuity by state statute, we call them nature preserves.

(INPC) to create a system of natural areas representative of the Illinois landscape. When natural Illinois been a leader in the preservation of its areas. Ranging in sizen from acre to areas arehas i dentified and protected i n perpetuity by natural state statute, we call them ature one p reserves. more than two thousand these lands are last remnants of the Illinois Its goal Illinois has been a leader inacres, the preservation of the its natural areas. Ranging in sizewilderness. from one acre to was to further develop a list of high-quality grasslands, woodlands, and wetlands, using the more than two thousand acres, these lands are the last remnants of the Illinois wilderness. Its latest goal scientific knowledge technology.

We define the term community as wetlands, a finite area consisting of was to further developand a list of high-quality grasslands, woodlands, and using the latest groups of organisms that interact with each other and their environment.

The communities found scientific knowledge and technology. We define the term community as a finite area consisting of in Illinois include: forest, prairie, with savanna, pond, stream, and a variety of groups of organisms that interact each wetland, other andlake theirand environment.

Thecave, communities found more difficult to clump a single name.lake and pond, stream, cave, and a variety of inothers Illinois include: forest, prairie,under savanna, wetland, others more difficult to clump under a single name.

1

2

3

Salvia Nemorosa 1. Salvia Nemorosa

3. Heuchera 3. Heuchera

2. Hydrangea 2. Hydrangea

4. Sedum Autum Joy 4. Sedum Autum Joy

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FAUNA

by Juan Sebastian Pazmino

1. Kirtlands snake

5. Eastern Massasauga rattlesnake

1. Eastern mole

Habitat: They are usually found in open wetlands and wet prairies .

They also habit in openings or along the edges of forested wetlands and and floodplains. floodplains. wetlands

Habitat: They prefer fields, meadows, pastures, and open woodlands.

2.

2. Eastern Eastern cottentailed cottentailed rabbit rabbit

2 2

3 3

8.

8. Frogs Frogs and and toads toads

6.

6. Bluegill Bluegill

Habitat: They prefer an Habitat: They prefer an interspersed area including interspersed area including meadows, forested woodlots, meadows, forested woodlots, brushy areas and croplands. brushy areas and croplands.

1 1

Habitat: Their natural areas are all along the Sangamon river, the bluegill prefers deeper areas.

Habitat: They live in wet areas including wet prairies, marshes and low areas along rivers and lakes, athey can can also also be be found found under under logs, logs, athey tree tree roots roots and and small small mammal mammal burrows. burrows.

4.

4. White-tail White-tail deer deer

Habitat: They are most often Habitat: They are most often found in meadows, orchards, found in meadows, orchards, farmlands, bushes, vines and low farmlands, bushes, vines and low deciduous trees. deciduous trees.

7. Channel catfish

Habitat: need to be around Habitat: need to be around areas with water source to areas with water source to reproduce, but other than reproduce, but other than that, they are found on that, they are found on every continent except every except Antarticacontinent and in almost Antartica and in almost every environment. every environment.

Habitat: Their natural areas are all Habitat: Their natural areas are all along the Sangamon river, the along the Sangamon river, the bluegill prefers areas not too deep. bluegill prefers areas not too deep.

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BIRDS

by Juan Sebastian Pazmino

HAS BRED AT ALLERTON

FINCHES

Purple Finch, Red Crossbill, White-winged Crossbill, Common Redpoll, Pine Siskin, etc

Pheasant, Turkey, Vulture, Vireos, Flycatchers, Doves, Woodpeckers, Kingfisher, Pigeons, Chickadees, Titmice, Swallows, Larks, Tanagers, Cardinals, Grosbeaks, Starlings, Waxwings, Sparrows, Tohees, Juncos, Meadowlarks, Blackbirds, Orioles, Etc.

CUCKOOS, OWL

SLong-eared Owl, NorthernSaw-whet Owl, Snowy Owl, Short-eared Owl, etc

DEC NOV

JAN

OCT

SPARROWS, JUNCOS

SEPT

TANAGER, CARDINALS & GROSBEAK

SBlue Grosbeak, Scarlet Tanager, Summer Tanager, etc.

WOOD WARBLERS

Yellow-throated Warbler, Black-and-white Warbler, American Redstart, etc.

Dark-eyed Junco, American Tree Sparrow, Lapland Longspur, S now Bunting, etc.

FEB

MAR

AUG

APR

JULY

MAY JUN

MIGRANT Wood Warblers, Sparrows, Tohees, Juncos, Thrushes, Geese, Ducks, Bitterns, Herons, Egret, Grebes, Cormorants, Hawks, Eagles, Kites, Sandpipers, Gulls, Terns.

Also, second nature in Allerton is a wonderful location for birding in Central Illinois. With over 14 miles of trails through the Natural Areas, there are endless opportunities for birding, and more than 210 species have been recorded at Allerton Park.

SOURCE: https://in.pinterest.com/pin/329044316495315657/?lp=true

45| The Site

HABITAT

by Clayton Overmyer

In 1963, the Illinois General Assembly established the Illinois Nature Preserves Commission (INPC) to create a system of natural areas representative of the Illinois landscape. When natural areas are identified and protected in perpetuity by state statute, we call them nature preserves. Illinois has been a leader in the preservation of its natural areas.

Ranging in size from one acre to more than two thousand acres, these lands are the last remnants of the Illinois wilderness. Its goal was to further develop a list of high-quality grasslands, woodlands, and wetlands, using the latest scientific knowledge and technology.

We define the term community as a finite area consisting of groups of organisms that interact with each other and their environment. The communities found in Illinois include: forest, prairie, savanna, wetland, lake and pond, stream, cave, and a variety of others more difficult to clump under a single name.

Forest

Prairie

River Woodlands

Water

Farm Land SECOND NATURE

Civilization/Public

PRACTICAL FARMING Practical Farming

by Marc de Antonio Ventura

by Marc de Antonio

Allerton’s lifelong love of the soil and pursuits in agricultural producing led him to purchase farms with markedly different soil types and economic opportunities.

Like any natural resource, he said “land is exhaustible, its resources easily depleted and its output diminished unless it is properly farmed. His experience and study of farming gave Allerton a greater environmental awareness and commitment to stewardship. And as a result, greater production. He was among the first to recognize that different lands required differents systems of production. Precision farming over a century ago.

Allerton was very interested in testing and promoting innovative farming practices near his lake. He believed in tiling to improve drainage, in crop rotation to improve soil tilth and fertile, and in supplement fertilization. He develop theories about how to thrive on 40 acres of land and other practical aspects of permanent agriculture. At Robert insistence, his father published a treatise on varied farming subjects in 1905. He taught Illinois farmer to care for their lands and to improve it by following sound fertility practices.

2 53| The Site

3 Second Nature |54

NORTH FARM

by Marc de Antonio Ventura

North Farm

by Marc de Antonio

Like the ideoa of The Practical Farm, the North Farm was ideally suited for animal observation. All of the original buildings in the historic farmstead are intact, including many of the lesser structures. These buildings will house representative breeds, allowing limited animal, visitor interaction and giving visitors opportunities for multigenerational experiences.

A grandparent who grew up on a firm will be able to share childhood memories with a grandchild who lives in the city and can only imagine what those experiences were like. Because the Allerton’s championed the humane handling, treatment, and movement of animals destined for human consumption, the Practical Farm will use state-of-the-art animal handling facilities and practices that employ our best understanding of animal psychology. Drainage from the Practical Farm watershed enters Robert Allerton Park at its-northeast corner and joins the Sangamon River that flows through the center of the park. This location provides the opportunity to monitor the close interface between a model sustainable farm with the ever-maturing natural areas of Robert Allerton Park.

N

55| The Site

Second Nature |56

North Farm NORTH FARM

by Marc de Antonio

by Marc de Antonio Ventura

The north farm is currently not in operation, but all the structures are kept in good conditions for a future use. Also you can enjoy a beautiful landscape along the road that goes around the lake.

Although the North Farm has basically become a basement where all kinds of damaged things are accumulating, there are all kinds of materials that can be reused for future projects.

In addition it is also full of objects of hitoric value, which remind us the years of farming.

6 57| The Site

7 Second Nature |58

Barn MUSICFarm BARN

by Marc de Antonio

by Marc de Antonio Ventura

The South farm was a farm which structure is now really well conserved and it has become a Music Complex where you can find a lot of difrents concerts during the week.

[Exclusivamente para uso acadĂŠmico]

The interior spaces were modificated to accomdate all Allerton’s park programs. This modifications include restrooms facilities and circulation improvements to the second tier area to permite performances.

The Cottage Barn was also part of this farm build it ten years later, we can find it bhind the South Barn.

9 8 59| The Site

Second Nature |60

They’ll always tell a story those obscure mementos stacked on dusty shelves, demure and silent like the other gaudy tributes tacked to walls in floodlit halls and if you could suppose their lusty origins and still allow the glory they impute you are in thrall.

Third Nature

I recall that tiny pot, a plastic flower in pink and green, an orchid made by Ponn whose proper name I could not spell or even get my tongue around, and still perceive her blinding spell of Asian prettiness impressed so neat upon an entity which though I try I cannot see.

So it is with treasured objects stranded out of space and time and kept in silent places with our memories intact, a focus which brings back the feelings, warm and sweet, vibrant with intensity, baubles vested with largesse to pay a tithe we will remember with affection all our lives “Remember with Affection” by Ivan Donn Carswell

THIRD Nature

by John Dohse

Sunsinger Formal Gardens Meadows Lost Garden 63| The Site

Third Nature |64

FLORA

FAUNA

by Juan Sebastian Pazmino

by Juan Sebastian Pazmino

Third Nature Third Nature

Third Nature Third Nature

of who both felt that agricultural of who felt thatimprovements agricultural improvements The period from The 1890 periodtofrom 19401890 has been to 1940 both has been integral were with integral pastoral with pursuits.

Scientific pastoral pursuits. Scientific called the golden called age the of golden American age ofgardens.

American were gardens. new assumed importance the 19th in the 19th agriculture newinimportance Derived from Derived Frenchfrom renaissance French chateaux, renaissance agriculture chateaux, assumed century madefarming the transition centuryfarming as American made the transition Italian villas, and Italian English villas,country and English homes, country Amerihomes, Ameri-as American from farmingfrom for personal to comcan country estates proliferated this period farmingconsumption for personal consumption to comcan country estatesduring proliferated during this period mercial scale operations. as an expression ofexpression wealth andoftaste.

Influenced mercial scale operations. as an wealth and taste. Influenced by the architecture the Ecole of desthe Beaux-Arts by theofarchitecture Ecole des Beaux-Arts Allerton was Allerton forced towasrelyforced heavily in Paris, balance, symmetry andsymmetry spatial hierarchies to on rely heavily on in Paris, balance, and spatial hierarchies hardy plant materials, bringing native vegetation in architecturein were transformed to thedirectly hardy plant materials, bringing native vegetation architecture were directly transformed to the the formal because it was all thatit was all that garden and landscape. many While of these intogardens the formal gardens because garden and While landscape. many into of these could survive.could Griswold andGriswold Weller characterize estates were the singular of well-known survive. and Weller characterize estates werecreations the singular creations of well-known Allerton as “ . . . aPark Shangri-la, architects, collaboration between architects andarchitects architects, collaboration between andPark Allerton as “ . . . aa passionately Shangri-la, a passionately eclectic, Deco-flavored, American estate landscape architects wasarchitects also widespread.

Art Deco-flavored, American estate landscape was also Propwidespread.

Prop- Art eclectic, garden.” and the arts, asand well in develerty owners, erty who owners, functioned patrons, often garden.” business theasarts, as well as in develwhoasfunctioned as patrons, oftenbusiness oping Allerton Park, was a Park, relatively played a significant as well. Allerton Park Allerton falls playedrole a significant role as well.

Park falls oping Allerton was private a relatively private individual contributions are not widely into the category of the farm, of andthe indeed, a indeed, individual whose contributions are not widely into the category farm, atand at a whose recognized. peak of nearlypeak 12,000 acres, 12,000 is the largest of the thelargest recognized. of nearly acres, is of the farm properties included.

Historical farm properties included.precedents Historical precedents for Americanfor gentleman’s date tofarms the days Americanfarms gentleman’s date to the days of George Washington Thomas Jefferson, of Georgeand Washington and Thomas Jefferson,

With human activity being activity availablebeing in available in Included in the Included Third inNature the Third fauna Nature are fauna are With human animals that are animals well that known are for wellinteracting known forwith interacting withyou may the area, find you yourmay home being the area, find yourinvaded home being invaded human civilization, human or civilization, becoming part or becoming of the public. part of the by apublic. creature. by Lots of these Lots animals actually uses actually uses a creature. of these animals These types ofThese locations types consist of locations of barns, consist homes, of barns, homes, as civilization civilization a means forasa ashelter in. to survive in. meanstoforsurvive a shelter abandoned buildings, abandoned agricultural buildings,areas, agricultural and farm areas, Many and farm of theseMany creatures are small rodents.

Theyrodents. They of these creatures are small fields. Picturedfields. abovePictured is a raccoon above digging is a raccoon throughdigging the through the include shrew,include white-foote oppossum, shrew,mouse, white-foote mouse, oppossum, trash of someones trash of garbage. someones Racoons garbage. have Racoons adapted have adapted racoon, and long-tail racoon, weasel. and long-tail You may weasel. findYou themmay find them very well to humans very well in to thathumans they rely in on thatthem they very rely on them very in deserted buildings, garages, or houses. in deserted buildings, barns, garages,barns, or houses. heavily for food. heavily for food.

65| The Site

Any placeover withit amay roofbeover it may Any place with a roof a place onebe a place one Allerton is surrounded Allerton is by surrounded agricultureby agriculture these small animals may call its home. of these may call its home. area. Around area. the site Around you will thefind sitetwo you main will find types two main typessmallofanimals of crops, cornofand crops, soybeans. corn and Thissoybeans. area is a This placearea is a place you may commonly you may find commonly a few animals find arunnning few animals runnning around. Whenaround. the crops When arethe harvested crops are youharvested may you may see them in the see opening. them in the Farmland opening. includes Farmland an includes an area of land area and its of buildings land and used its buildings for growing used for growing crops and rearing crops animals, and rearing typically animals, under typically the under the control of one control owneroforone manager. owner Animals or manager. you Animals you may find in this may area find include, in thisthe areawhite-tailed include, thedeer, white-tailed deer, shrew, easternshrew, cottentail eastern rabbit, cottentail racoon, rabbit, long-tail racoon, long-tail foxes, and coyotes. weasel, foxes, weasel, and coyotes.

Third Nature |66

FLORA

by Juan Sebastian Pazmino

Another significant change w ithin the formal g ardens has been t he simplification o f plant material. This is particularly evident in the flower gardens, which were high maintenance spaces that h ave lost m uch of t heir h orticultural c omplexity and visual i nterest. T he p eony g arden, initially a regionally s ignificant collection c ontaining 135 v arieties, now consists o f only 35 varieties. The bulb garden, formerly a showcase of bulbs supplemented by annual plantings, is now weedy with a limited palette. In the Brick Wall Garden plantings were deliberately simplified prior to transfer to the University. The current plantings do not reflect former use of this area as a vegetable g arden a nd d o not work well as a d isplay g arden. A major ecological t hreat t o the integrity of the high quality natural areas and the park in general is exotic species invasion. Exotic species have become widespread and locally abundant. Species that occur in the park include, but are not limited to garlic mustard, multifloral rose, honeysuckle sp., oriental bittersweet, smooth buckthom, winged wahoo, privet, osage orange, autumn olive, locust sp. Exotic species controlled include multi-floral rose, privet, oriental bittersweet, Japanese honeysuckle, bush honeysuckle and Japanese barberry.

1

1. Wisteria

2. Joe Pyeweed

2

3

3. Lavender Hidcote Blue

4. Hosta Plant

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Third Nature |66

FAUNA

by Juan Sebastian Pazmino Third Nature

1. Salamander

Habitat: They live in rivers, swamps,forests, ponds and caves. Some migrate between water and soil for seasonal events like spawning.

3

4

5

6

Habitat: They are most commonly found in damp brushy woodlands and weedy and bushy borders of fields. They are also common in cultivated fields, in flower and vegetable gardens, fence rows, and beside country roads. They often retreat into barns, cellars, and sheds in the winter.

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67| The Site

8. Northern short-tailed shrew

Habitat: They prefer moist woodland areas.

Can be found in farmland, suburban, and urban areas. Racoons tend to live nears humans in deserted buildings, barns, garages, or houses.

Habitat: They like open spaces so they can watch their environment for hunting, Allerton Park offers the three natures in one area, which is benefitial for the owl.

2

Habitat: Warm, dry forest at low to mid elevations Can be found around stone works and fallen trees, which make good, dry homes for the roedents

6. Racoon

4. Long eared owl

Habitat: Their habitat range from farm fields, small wooded areas, and suburban areas. They burrow and nest in hollow logs, rock piles, and under barns.

7. White footed mouse

Habitat: Typically found in woodland and dense group of bushes or trees.

They are wellknown for living in human altered areas.

Habitat: They live in open deciduous forest and at the edge of woodland. Can also be found in bushy areas and in rocky areas, such as walls near houses and other buildings.

2. Long-tail weasel

1

5. Virginia opossum

3. Eastern chipmunk

Esc: Graphic

Third Nature |68

HABITAT

by Clayton Overmyer

Another significant change within the formal gardens has been the simplification of plant material. This is particularly evident in the flower gardens, which were high maintenance spaces that have lost much of their horticultural complexity and visual interest. The peony garden, initially a regionally significant collection containing 135 varieties, now consists of only 35 varieties. The bulb garden, formerly a showcase of bulbs supplemented by annual plantings, is now weedy with a limited palette. In the Brick Wall Garden plantings were deliberately simplified prior to transfer to the University.

The current plantings do not reflect former use of this area as a vegetable garden and do not work well as a display garden. A major ecological threat to the integrity of the high quality natural areas and the park in general is exotic species invasion. Exotic species have become widespread and locally abundant. Species that occur in the park include, but are not limited to garlic mustard, multifloral rose, honeysuckle sp., oriental bittersweet, smooth buckthom, winged wahoo, privet, osage orange, autumn olive, locust sp. Exotic species controlled include multi-floral rose, privet, oriental bittersweet, Japanese honeysuckle, bush honeysuckle and Japanese barberry.

69| The Site

Forest

Prairie Water

River Woodlands

Farm Land

Civilization/Public

THIRD NATURE

Third Nature |70

THE GARDENS

The Gardens

by Musa Muhammed

by Musa Muhammad

Allerton ParkGardens, is homeone toof gardens from all around world.

It spans from some attempt simple types like The Formal the main attractions of thethe park, represent Robert Allerton’s a meadow or herb garden, to more designed gardens like the Chiense Maze Garden, and even such relics like the Lost Garden.

Exploring a location like this cannot be done in a single day, many of the designed gardens are the most accessible, being located closest to the mansion. Other sites like the Diversified farms and even the forest that takes up the entire South half of the park beyond the Sangamon River could even take a day on their own. There is always something new to find here and that is the real beauty of Allerton Park.

There is not another place in the world where you can find both designed gardens, botanical fields, and a native forest all under a single campus. This makes Allerton Park one of the most unique places to visit in Central Illinois. Many of the gardens were requested by Robert Allerton after his many trips overseas, as such there is a heavy Eastern influence that can be seen in many of the designed gardens.

# 08| First Nature

Key

First Nature |09

THE LOST GARDEN

The Lost Garden

by Musa Muhammed

by Musa Muhammad

JOHN, MUSA, MARC

Image caption

Lorem ipsum dolor sit amet, consectetuer This commemorative plaque remainsadipiscing at the elit, sed diam nonummy nibh euismod tincidunt Southernmost part of the Lost Garden. Itut laoreet dolore magna aliquam erat volutpat. Ut wisi states some of the history of the site and enim ad minim veniam, quis nostrud exerci tation what was once there.

Explaining moreexabout ullamcorper suscipit lobortis nisl ut aliquip ea the Tea house that had commodo consequat.

Duiscaved autem in veland eumthe iriure dolor in hendrerit inrelocation vulputate velit esse molestie subsequent of many of the consequat, assets vel illum dolore eu feugiat nulla facilisis at vero eros et from here due to vandalism. accumsan et iusto odio dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla

Robert enjoyed gardens, for different One after of hisseveral favorite gardens, eventually This garden servedall as his a resting placeeach for Robert Allerton reasons. and his friends hours of cruising through the trails.

Around The 1936,Lost JohnGarden, Gregg designed a Tea Housefor for respite the garden—with an and arched sundeck roof, nicknamed provided a place for Robert hisdoorway, friendsaafter hours of and statues—that offered a convenient picnic spot, surrounded by redcould cedarsbe and oaks. by a riding path or a riding or strolling the trails.

During his lifetime, the garden reached

cable bridge over the river near the Mansion. It’s now more easily found by driving down Allerton Road and parking in the little lot a few hundred yards beyond the Music Barn.

Many of the sculptures collected on Robert’s journeys were displayed in and around the Tea House at various times, including a copy of Canova’s Venus Italica, the Chinese Musicians, The Three Graces, and others. Robert also added a line of cypress among the oak trees.

In the late 1960s the University of Illinois removed the Tea House, much to John Gregg Allerton’s disapproval, after a boy was injured climbing on the rotten sundeck roof. The remaining statues were relocated to other parts of the Park after continued vandalism in the 1970s.

Today, all that is left are several pillars and concrete slabs where the pavilion and statues once stood.

Text in-part courtesy of Maureen Holtz published on Allerton Parks website.

# 08| First Nature

Lorem ipsum amet, consectetuer adipiscing The tree linedolor that sit signified the corridor for elit, sed diam nonummy nibh euismod tincidunt ut the Lost Garden still stands as a colonnade. laoreet dolore magna aliquam erat volutpat. Ut wisi It stretches forveniam, quite quis a while andexerci follows enim ad minim nostrud tation from the plaque what ullamcorper suscipitdown lobortis nisl remains ut aliquip of ex the ea concrete base for the oldautem structure. is dolor commodo consequat.

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First#Nature |09

JOHN, MUSA, MARC

The Chinese PARTERRE Parterre Garden THE CHINESE GARDEN

by Musa Muhammad Muhammed

THE SUNKEN GARDEN

The Sunken Garden

by Musa Muhammed

Lorem ipsum dolor sit amet, consectetuer The Sunken Garden was designed in adipiscing 1915 elit, sed diam nonummy nibh euismod tincidunt ut as a finale to the formal gardens. This laoreet dolore magna aliquam erat volutpat. Ut wisi architectural garden is unusual among the enim ad minim veniam, quis nostrud exerci tation Allerton gardens, with nonisl central pathex ea ullamcorper suscipit lobortis ut aliquip and limited plantings turfiriure and dolor commodo consequat.

Duisother autemthan vel eum in hendrerit located in vulputate velitthe esseupper molestie consequat, hemlocks inside wall. vel illum feugiat facilisis at vero eros et Prior todolore 1915,euthis areanulla served as Robert’s accumsan et iusto odio dignissim qui blandit praesent garbage dump. When he decided to create luptatum zzril delenit augue duis dolore te feugait nulla a garden here, he asked his architect friend, facilisi.

The Parterre Garden, built established in 1912, was the final formal garden built beforefor thethe Sunken Garden in 1915. It TheChinese Chinese Parterre Garden, in 1912, was the termination formal gardens is oftenthe called the Chineseof Maze to the pattern of It theisamur but itto is as notthe a maze.

The design until construction theGarden Sunkendue Garden in 1915. oftenprivet, referred Chinese Maze was based on the Chineseitsymbol good luck and long The life, astory symbol Allerton favored. The geometry is Garden, although is notfor technically a maze. is that thatRobert the design replicated the pattern similar to the other two parterre gardens of the park, though this garden sports a high brick wall lined with apple fromThough Robert’s silkhad pajamas, the Chinese symbol for good or long life.have Theremained plantingthe of trees. thefavorite garden has minor changes over time, the overall formluck and organization the garden, with its geometrically patterned amur privet, is similar to that of the Square and Triangle same.

This is oneGardens, of many gardens show in more than just European art. This area of the park can Parterre but thisthat space is Allerton’s enclosedinterest by a high concrete wall, lined with espalier apple be described as a giant collage of cultural trees.

Although some elements of thegardens. garden have changed over time, the basic form and spatial

organization of the garden remain relatively the same.

The arched opening on the east side which appears in early photographs was replaced by the iron gates designed by John Borie, in 1930. Sculptural elements have also evolved. When Robert first created the maze effect, he placed a Fu Dog in the center. But after a trip to Peking, China, he found the current marble goldfish figures, which the dealer claimed had once guarded a Chinese prince’s estate.

David Adler, to help design it. William Lodge.

Finally finished in 1917, the garden continued to change over the next two decades. Initially, only the lower wall was constructed, with pines planted around the perimeter behind the wall. Two rustic gazebos were located at the ends with adjacent steps providing access down into the garden.

The last major change was the addition of lattice on the upper walls in the late 1930s, allowing vines to grow up and hang down.

Besides the addition of an ADA path around the northern perimeter of the garden, there have been few changes since then. Today, this garden serves as the estate’s most popular venue for wedding ceremonies.

Text in-part courtesy of Maureen Holtz published on Allerton Parks website.

Text in-part courtesy of Maureen Holtz published on Allerton Parks website. # 08| First Nature

# First Nature |09

Sculpture Map

THE SCULPTURES The Sculptures

by Musa Muhammed

by Musa Muhammad

Key A prominent theone areasofnorth of the Sangamon River arecollecting the presence of sculpture.

Robert Allerton Other than characteristic gardens thisofwas Robert Allertons passions, sculptures.

Sculptures at was a very well-traveled man who purchased artistic pieces from all over the world.

The sculptures, placed mostly Allerton Park are spread far and wide throughout is many gardens and paths with many of them in and along the Formal Gardens, are used to enhance the experience of the user.

even being the focal points of the area in question.

The selection ranges from the smaller Fu Dog, to something mid sized like the Gorilla and Woman, and even out to the extremely large like the Sunsinger. Each of them has a story to tell with so much history behind it.

As a group we had the opportunity to learn about the Sunsinger, since it was one of the sites at the beginning stages of our design visits. It had originally been commissioned by Robert Allerton on one of his visits to Sweden. He had taken a liking to it and requested one that would have been around six feet tall. As seen it it around five times the size because of misinterpretation and poor communication.

In the end Robert bought more land, demolished the houses on it, and made an entire drive up to it and surrounded it with saplings that would later be the forest around we see today.

10 08| First Nature

First Nature |09

STRUCTURES ON SITE

by John Dohse Shown here is the formal site, which is where the majority of the third nature structures or interventions can be seen (save for the House in the Woods, which can be found further along the road to the west). Clearly there are plenty of structures to be seen, but the ones that will be covered are the Allerton Mansion in conjunction with the stable (the building with the largest footprint), the Gate House (directly north of the mansion), and the House in the Woods.

Although the Greenhouse Cafe, and Gazebo are important to the park today, the three structures listed above have a slightly stronger historical significance on the estate. On a similar note there is an arrangment of cabins across the street and to the north of the Formal Site, but these too were not analyzed in greater detail for the same reason.

STRUCTURES ON SITE

by John Dohse

While Robert Allerton Park is largely known for its biological diversity in plants and wildlife as well extensive hiking trails through the roughly 1,500 acre woodlands, the structures across the estate are of paramount importance in how the park has developed over the years as well as the immediate areas surrounding it. In this section we will be touching on first nature, explaining the significance of structures in second and third nature, and finally how the implementation of gardens and sculptures ties into third nature and the formal aesthetic.

08| First Nature

The first structure in the category of third nature, or formal intervention, that we will be taking a look at on the site is Allerton Mansion, otherwise known as ‘The Farms’. Constructed at the turn of the century in 1900 and followed by the surrounding buildings, the stable, gate house, and greenhouses within five years. Designed by John Borie in a Georgian-Revival style, it was heavily influenced by the architectural design of homes in Europe, primarily England. One of the characteristics carried over is that the main entrance is on the side of the house instead of on the front, which is typical of American homes. The materiality consists of Dutch brick and Indiana limestone for the exterior facade, and the interior maintains the same decor for the most part that it had back when it was still owned by the Allertons. Directly east of the mansion, and now connected to it, is the stable, which like Allerton, has seen a change in programming over the years. Because this was the earliest formal intervention on the site, it is safe to say that this is most definitely the foothold used to craft the rest of the estate.

First Nature |09

Seen h ere is the entrance t o the mansion today (this can also be seen in the plan on the left using the checkered floor as a reference).

As stated before, this would not have been the main entrance back in the day, but it does do an excellent job in guiding visitors to the rest of the house in an easy way.

Shown here is the library, which can be found on the first f loor of the mansion. Originally called the Music Room, it is a double heighted space with the upper level being inaccessible, as it holds about 2,000 books from the original Allerton collection. Along with these are some of the Chinese musician statues.

Unlike the first floor, the second floor of the mansion is not quite as open to the public, but this is because the rooms are typically used as lodging nowadays, predominantly f or w eddings which are celebrated either on the estate or in the mansion.

08| First Nature

First Nature |09

The Allerton Mansion was not the only structure designed by John Borie. In addition to that he designed the Gate House in 1903, which is located north-northwest of the mansion, and housed the head gardener of the estate. The materials used to construct this Colonial Revival style house are the same used for the construction of the mansion. Today the house is used to host overnight guests and the lawn for the house, which was originally a tennis court for the Allertons, now serves as a venue for outdoor concerts.

The road on which the house was built leading to the mansion was orignially a public road, but upon becoming a public park it became a county road. The view of the mansion from the Gate House can be seen on page (first picture for the Allerton Mansion section: Page numbers still tbd).

08| First Nature

Lastly, we have the House in the Woods, which is located further west along the Old Timber Road. Built in 1917, the house was designed by Joseph Corson Llewellyn with some Georgian/Neo-Classical qualities. Contrary to the material use of the majority of houses at the time, this one was constructed using hollow tile and a blue-gray stucco. The front door of this house used to b e the entrance door f or t he Allerton H ouse but w as removed i n 1912 a s a result o f the construction of the marble hall in the mansion and implemented here in 1917.

The house was built on the site where the Ashby farm used to be and, as the name suggests and is clearly seen here, is very isolated from the rest of the third nature structures, engrossed in nature.

First Nature |09

techne, tecton, Texture

by Efrain Araujo We began the course by creating and learning from handmade wood joinery, understanding how they are created but also understanding that material plays an important role when fabricating. When moving onto automated tools we considered the qualities of the wood we would be using and how that impacts the level of quality we are able to achieve with the techniques we had learned. We gathered materials from Allerton in the early stages to be used for the primary structure of the follies, we later determined that the material had to many aws for the wood working techniques we would be using and decided top purchase material to act as the primary structure.

02

The Process Introduction

The follies joinery consists of lap joints and compound lap joints to create the structure as well as bolts acting as fasteners. The secondary structures sit within the primary frame, providing lateral resistance as well as greater gravitation load resistance. The exterior is cladded in materials from the park, mostly consisting of wood gathered from a chicken coop that was no longer being used. The ooring and roofs are made from wood that had been gathered at the park and had been stored in a barn. The fabrication was done on the UIUC campus utilizing the woodshop for fabrication needs as well as studio spaces for the assembly process.

The process consisted of many challenges; the quality of materials resulted in the need for changes in structure. Material was lacking at time which made purchasing materials a necessity, but some material also had be gathered from the park which meant students had to revisit the park to gather more material from storage areas or by removing materials from the siding of barns. These challenges shaped the design decisions we had as a class as well as the experience we aimed to achieve with the project.

Wood at allerton

by Ivan Damian

Material Catalog

The wood we had a chance to work with was some aged wood that was donated to us by Allerton Park. Much of it came from inside an old storage shed to the far North East of the park. This wood varied greatly in size, age, species, and quality.

We had the opportunity to visit the site a handful of times visually assess the wood and select Some of the other wood we had an opportunity to use in this case was also taken off the side of the chicken coop near Diversified farm. This wood was pried off by some of our team with a variety of tools.

On site for this we had to do some cleaning of the wood to make sure the rusty nails and other forign objects were removed. Much of the wood from this is what can be seen in the facade details of the design.

For some of our preliminary testing we were able to take some of the wood out of the barn. We had a few tasks to check when looking at the wood outside of size.

Our top priority was to asses the wood for any foreign objects, like nails, and to document any inconsistencies in the wood. We looked for splitting, bowing, cupping, and knot locations just to name a few.

This process would start to heavily influence our decision making for later on in the project as much of the wood we had deemed too inconsistent for structural purposes.

For that reason we went with purchased lumber in our structure.

One of the appeals of a project like this is the variety of the wood we would get to use. The species of the wood from what we were told was mainly locally sourced although we managed to find some Cherry and Pine.

We had a chance to work some of their other wood too and clean it up in our woodshop. Upon finishing there very pleasant surprise, so much so some of the people at our woodshop expresses their envy, the wood was gorgeous. The shine off of the wood and the was the grain waved around in the light was something experiencial.

The only unfortunate part was that termites had gotten to it before we had. Part of the pieces we had to work with had many incisions due to this, but this only seemed to be a problem on the outermost parts of the pieces of

wood.

Trying to clean up the wood took around twenty percent from any direction. This was based only for cleaning the wood, not for removing all of the termite holes. If we wanted to remove all of the holes we would be taking out close to forty or fifty percent of the overall size.

Having the opportunity to work with such a variety of types of wood, in all manners of the word, really got to be an enjoyable and exciting experience. As a group we learned about real applications for salvaged material.

The management on both a micro and macro scale for this is something everyone here will be able to take away for their professional career.

First Nature |09

Material Catalog Length W idth 3’-10" 9" 3’-11" 7.25"1 3’-4.5"8 .25" 6’-1.5"3 .5"1 7’-11" 7" 7’-11.75"5 .25" 7’-11.75"7 .25" 7’-2.25" 6" 7’-2.75" 4.25"4 7’-4"8 ".

7’-5"4 .5"4 7’-9.25" 5.25"5 8’ 6.5" 8’ 2.5" 8’ 7.25"3 8’ 7.25"3 8’ 5.25"5 8’-.25"5 .5"1 8’-.25"5 .25" 8’-.25"5 .25" 8’-.25"5 .5"5 8’-.5" 5.5" 8’-.75"4 ".

8’-1"5 .5"5 9’-11.75"3 .5"3 9’-11.75"3 .5"3 9’-4"1 1.25"1 10’-.25" 7.25".

10’-1.25"5 .5"5 10’-5" 3.5" 10’-7" 3.25"1 11’-1.5" 1.25"4 11’-10"8 "1 11’-2" 11"1 12’-1.25"6 ".

12’-2" 7.25"3 12’-5.25"1 3.5" 14-1"7 .25" 16’-.5"7 .25" 16’-1" 7" 16’-1.25"7 "1

08| First Nature

ThicknessN otes 1.5" .5" 3.5" 2 pieces screwed together .5"L arge crack 1.5" 5.25" 3.25" 1" .25" 75"S mall crack .5" " 1.5" 1.5" .75" .5" .25" .5"S mall crack 5.25" 5.5" .5" 5.5" 75" .5" .5" .5"B owed .5"N eeds to checked for rocks and nails 75" .75" 1.5" Bad quality .5" .75" .75" .5"C heck for rocks 75" .5" 2.5" 1.5" 1.5" 1.5" .5"

M aterial to scal e:

x4 x2 x2

x3

x2

x2

Sectional View: (1) .5” x 5.5” 10’

(1) .5” x 5.5” 7’ 8”

(1) .5” x 7.25” 5’ 10”

(4) 1.5” x 7.25” 16’

(1) 1.5” x 7.25” 14’

(1) 1.5” x 7.25” 7’ 11”

(2) 2.5” x 14.5” 12’ 2”

(3) 3.5” x 3.5” 10’

(1) 3.5” x 3.5” 4’

(1) .5” x 8.25” 7’ 4”

(1) 1.5” x 9” 10’

(1) 3.5” x 7.25” 12’

(1) .75” x 4.25” 8’

(1) .75” x 5.75” 6’ 6”

(1) 1.5” x 11.25” 12’

(1) 1.5” x 11.25” 11’ 7”

(2) 3.5” x 7.25” 8’

(1) 3.5” x 7.5” 8’

(1) .75” x 7.25” 10’

(2) 1.75” x 8” 11’ 9”

(1) 3.5” x 8.25” 3’ 4”

(1) 1” x 5.5” 8’

(1) 2.25” x 7.5” 3’ 9”

(1) 1” x 6” 7’

(1) 2.5” x 13.5” 12’ 2”

(1) 1.25” x 4.75” 11’

(1) 2.5” x 14” 12’ 2”

(2) 4.5” x 4.5” 7’

First Nature |09

Photogrammetry by Clayton Overmyer Photogrammetry

by Clayton Overmyer

What is Photogrammetry? “is the art, science and technology of obtaining reliable information about physical objects and the environment through the process of recording, measuring and interpreting photographic images and patterns of electromagnetic radiant imagery and other phenomena.�

Photogrammetry with our project?

There were many different ways that photogrammetry could have been implemented into our design. During the process of our project we went out to Allerton Park in search of potential logs that could be used within the design. We found some good logs on the side of one of the trails and we scanned them on the trail itself. The reasoning for using these logs would be with the use of a robotic arm, using the 3D scanned logs found on the site. We would take the 3D model of the log and take it and use it with the robotic arm. The idea would be to use it to make cuts based on our design ideas. One such idea was to make cuts to form a seat, or bench, for visitors to sit on. Another use would be to cut joints into the log for wood joinery, or simple drilling holes.

Challenges of Photogrammetry?

One major challenge with photogrammetry is taking enough photos to satisfy the photogrammetry software. Also making sure that you get every possible angle of the object that you are scanning so that the 3D scan is as accurate as possible. Another major challege is the learning of all the software used within the process of photogrammetry.

Oppratunities and future trends?

The use of photogrammetry is only getting more advanced every day. Now professionals are using this software to impliment 3D scans into videos games. Google maps uses this software with the use of satelite photos of the earth and makes it so users can have an accurate representation of the earth all within a computer screen.

Process of Photogrammetry

by Clayton Overmyer The Photogrammetry process

The processof (contd) Process Photogrammetry (cont.)

The result Photogrammetry

Results:

ThePhotogrammetry result (contd) Photogrammetry Results: Results:

CONNECTING WOOD

by Ivan Damian

Wood Joineries

Over the past semester our class was able to work with some preliminary wood joinery and explore some design ideas thought this. For the better part of two weeks we had three types of joinery, a cross, an extension, and an L-shape. Using a variety of wood and hand tools we looked into potential benefits and shortcomings of each type of joint. In our testing for these three types of joints we were tasked with creating one of each type with three methods.

To do this we had to first acquire training in the local woodshop. There are three tiers of training and with each successive one you are entrusted with more responsibility for the more powerful tools. Tier 1 consists of hand tools like chisels and saws, with some machine tools like the scroll saw and belt sanders. Tier 2 consists of more machine tools like the miter saw, palm sander, and the drill press. Finally tier 3 consists of the remaining tools in the woodshop, the lathe, table saw, and joiner just to name a few. For our purposes tier 1 was required for what we needed to to for the joinery testing. Later in the semester we were recommended to get up to tier 2 for construction purposes. Tier 3 is the only one that was not specifically required for our class.

Our first joint was done entirely by hand with chisels and mallets. For many of us, the frist one was the toughest one. Only being able to use hand tools was a limitation we had to overcome as many of us had never touched anything more than a hammer or screwdriver. As a result of this we got to learn how to use hand tools and see what types of joints would be easiest to make.

The next joint we were able to use some machine tools like saws to see how much more accurate we would be able to get for a solid connection. Many of us saw major improvement in our quality immediately, being able to get the precision we needed for more complex joinery.

From this we were able to see what tools would be useful to familiarize ourselves with for our future endeavors.

With the last joint we needed to make it out of composition of materials, meaning wood with some other material. Some of the options were either using 3D prints, clay, and acrylics. We also had the opportunity to explore other tools like our 3D scanners to make a

more accurate rendition of the wood we would be using.

The takeaways from this was to understand how we could further improve our accuracy and some materials are not meant to be structural.

Many problems arose when talking about the wood we would be using however. The first hurdle we ran into as a collective was the quality of the wood we would be using. In our initial testing we were able to find many defects with the small scrap pieces that we used. When making joints out of them they tended to crack more and in some cases we were able to see where termites had gotten to them and eaten up a significant portion.

Much of the wood we would be receiving from Allerton would be old and taken off of the side of a barn. Our budget did allow us some leeway, but fifteen hundred dollars only goes so far. This is something we had to keep in the back of our heads for the rest of the design process when considering structural integrity.

Going further into this idea we also saw that some joinery would be better suited for aesthetic over structural integrity. Some types would just be unreasonable either out of their complexity or their inability to hold themselves up.

The quality of craft would be a consideration as well, as some of the initial tests from the first joint we saw that many of us struggle with that aspect. With the later ones we were able to see jumps in quality however and with that it became less of a concern.

As far as the composite joints went, we would deem them to be unreliable as they seemed to have more things going wrong than right. To start the software for scanning our pieces was limited and a slow process.

To scan one piece of wood that fits in a two foot cube would take about 15 minutes and multiple attempts.

The scanner would often lose connection if the person walking the camera around moved too fast. On top of that the scan woul often pick up other objects or leave out pieces of the one you tried to scan based on the amount of light that was hitting the area. The materials we also tried to use would also be a limitation in this case as the plastic used for 3D printing is very brittle and does not take forces well.

Introduction 06

Akshay

Cassie

Cassie

Marc

Clayton

Sneha

Ivan

Efrain

Ivan

Juan

Efrain

Marc

Juan

Musa

AKSHAY

musa Sneha

Musa

Akshay

akshay Akshay

Bryan

John

ivan

marc

Ivan

Marc

the three natures and the folly

by Efrain Araujo The site is positioned within the level of ďŹ rst nature, being surrounded on all sides by nature, the Sangamon River to the north and the undisturbed woods of Allerton to its south. The site is a small clearing along the blue trail on the southern half of the park that was once a parking lot. This site will allow for a small landmark to bring people away from the second natures usually associated with the park, the gardens and artwork on the northern half of the park. People will experience third nature through the façades and treatments of the follies, through the repurposing of material from agricultural structures within the park. The site has allowed for us to express the importance of the levels of nature and how we considered with the design and fabrication of our follies.

Site Selection

Introduction 06

THE FOLLY

by Ivan Damian

Proposals

After a few weeks of research and site visits the design phase of our class had gotten underway. We had a few locations to pick from: the Sunsinger floodplains, the Diversified Farms, and the Southern Forest. Of the requirements the one that stood true for all designs was the ability to observe the changing nature throughout the year. Each site had their own way to elevate and manipulate this experience.

The Sunsinger floodplains identity was tied to the changes of the landscape to the waterscape through the seasons. The highlight of this location was the oxbow in the river that had a small island during most of the year.

The Diversified Farms was an area at the Northernmost point of the Allerton campus. This location had a small body of water that was surrounded by a field of wild flower and a handful of old barn structures.

The Southern forest was a site not originally highlighted during our normal visit. This had only come by after a small group of students went out to explore.The experience of this site was highlighted by the changes in forest density and how little foliage there had been, which lends itself to explore outside the path.

One thing that had been noted to us by the Director of Allerton was that one of our goals was to extend visitors stay. This would be able to happen two fold with the distance of the sites and by our individual choices to dictate stay and/or exploration.

The collection of data for climate was mostly about how winds and rain affects the area, as throughout most of the year there are periods of heavy rainfall. Being the Midwest there are not many places for wind to break up so heavy winds from the West are a concern.

Flora and fauna in the area vary greatly. For the flora there are many species imported from other areas, invasive in most cases unfortunately. The people at Allerton make the most of this to control them and make sure they do not spread out or overtake the native species. The fauna consists of mostly what would be expected in the area, although there are a few species that are elusive. There were actually a few people that purely by chance were able to run into a species of snakes that had not been seen in around five to ten years.

The history of the area runs deep with stories from Robert Allerton experience and his many Gatsby like escapades. From the adventures to seek out sculptures for his gardens, to the daily life and favorite spots along a trail.

We each took into consideration our research for climate, flora, fauna, historical context, and site specific opportunities. A few designs explored into materials, with some people incorporating wood, concrete, with some miscellaneous materials. At the point in time where we had been at we did not consider material limitations or budget. This would come in later into our design process. Although we did design with a 100 sqft footprint limitation. This restriction was followed loosely with some liberties taken by each student to push design.

After a week and a half of design work and a presentation the decision was made to continue to develop Musa’s design in the Southern forest. As such the design went through several iterations with the common theme of being centered around a tree to intimately observe nature.

Introduction | 06

The Shard

by Akshay Srinivas

The folly is a an unusually shaped blob that attracts viewers towards itselfbecause of its bright orange color, as it stands partially hidden against the dense foliage of the trees behind it. From a distance, a viewer observes a bunch of colored shards, clogged together, almost like a haystack. As visitors move closer, they begin to observe patterns to this misnomer. Slowly, with reuced distance, this pattern starts ‘revealing’ itself. Strategically placed wooden sections pop up in triads, organized along two rows to create a sense of enclosure, without an essentially constructed roof. One begins to observe similarities between the Shard and the discovery of its context- a sudden diversion to the context as one draws eyes out of the shard- the ‘folly’ is placed right at the junction of the two natures- first and second- a forest cover on the right and the prairie shards and the pond to the left. The folly provides a transition from the tall and dense to the short, sparse and chaotic. As one enters the folly, one almost feels disconnected from the outsidea flood of orange colored light, with stark interplay of light and shadow, set amidst the natural context of filtered observarions. This allows viewers to stop, observe and absorb the intimate moment, before heading back on the path.

SITE ENTRY View of the Barn

MEADOW View of the corn storage/hint of the barn

CORN STORAGE Prominently framed view, partial view of the folly

Axis of changing natures

Visual Axis FIRST NATURE

PRAIRIE The lake and clear view of the folly

SECOND NATURE PRAIRIE The folly set against dense foliage

Fig. 1 SITE- DIVERSIFIED FARMS, ALLERTON PARK

Fig. 2 LOCATION OF PAVILION IN DIVERSIFIED FARMS THE SEAM The folly bridging the forest and the prairie

THE PRAIRIE View of the lake and the barns

Folly at the intersection of two natures and bridging the gap between the forest and the prairie FIRST NATURE

SECOND NATURE

SECOND NATURE

Fig. 3 RENDERING OF THE FOLLY

THE PRAIRIE View of the lake and the barns

FIRST NATURE

FOLLY AS A BRIDGE First Nature meets Second Nature

FORM OF THE FOLLY

10 ’ 2.5 ’

4’

3.5 ’

A

3’

2’

10 ’

5’

A

Fig. 1 PLAN OF THE FOLLY

0’

1’

3’

Fig. 2 FRONT VIEW OF THE MODEL

Fig. 1 FRONT VIEW OF THE MODEL

PLAN | 1/2” = 1’

10 ’

Fig. 3 ELEVATION

0’

1’

3’

Fig. 4 ELEVATION

0’

1’

3’

10 ’

Fig. 5 DETAIL 1

Fig. 6 DETAIL 1

3.5 ’

Fig. 7 SECTION A-A

0’

1’

3’

Fig. 2 SIDE VIEW OF THE MODEL

The Celestial Pavilion

by Clayton Overmyer

Allerton Park is full of many different forms of nature. While the main forms of nature can be either the forest or the restored prairies, I wanted to focus on another beauty of nature that can be overlooked by most -- the sky. That’s why for my pavilion I am proposing giving the viewer a prominen entral Illinois.

The exact location of the pavilion is on the Diversity Farm on the south side of the pond, where there is a prominent ten-foot slope from the edge of the path.

I chose this location mainly for the opening of the sky of the prairie and the ability to use the slope within my design. When designing it is important to me to give the visitor the best experience possible. That’s why for this design I wanted the visitor to be curious when they approach the structure. Currently, the walking path goes along the slope near the pond, from east to west, but what I want to do is alter the path, so the visitor comes straight north into the structure.

What I am imagining is when visitors approach the structure, they have no idea what they are about to encounter. When they finally arrive at the structure, they will encounter two paths of steps that follow the slope of the earth. The visitor must decide which way to take. As they enter from the left, they will get a view of the restored prairie. As they enter from the right, they will get a view of the woodlands. The structure is built in a way to keep those views visible while entering. Once they make their way down, they will find a bench with an unusual opening that faces north and is looking towards the sky. The idea is to have the visitor seated on the bench and lay back and enjoy the view of the sky. To make sure they don’t get a view of the outside world, I made sure there was nothing viewable other than the opening to the sky while seated. This was possible by having slates of wood configured to a specific angle to keep the important view visible. To add to the effect of the opening I designed the “scope” in a way to let interesting light patterens into the viewing opening by the use of slates of wood angled a specific way.

12:00pm

SITE VIEWS

Pond Edge Mossy Water Water Level Varies +/- 40’ from start of slope to water edge

+/- 10’ Slope Tall Grass Very Little Trees Steep Slope

Gradual Slope

Design Iterations: 1st Iteration

Restored Prairie Tall Grass

2nd Iteration

Final Iteration

SITE MAP - 1/8” = 1’ - 0”

Pavillion Location

Interior Perspective

3"

8' - 3"

2"

1"

° 150.00

2' -

6 1/2"

Sight Degree 135.00°

11"

90.00°

3' -

3' -

4" 3 1/

4" 1 1/

3' - 1 1/2"

6' -

Model Persepective Photo

2 1/2"

17 1x4 SLATES @ 45 DEG = 4' - 6"

2 1/2"

7 1/2"

3' - 4 1/2"

4"

120°

1' 0" 0" 120.

00°

9' - 10" 3' - 10"

3' - 11 1/2"

1' - 7 1/2"

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2' - 0 1/2"

Section - 1/2” = 1’-0” 1' - 4"

2' - 7"

" 1/4

1' -

10

2" 5 1/

3' - 11 1/2"

5' -

3' -

+/- 30' -0" to water

Model Sectional Photo

The Wedge

The Wedge heOneWedge of theThe most striking sites in Allerton park is the floodplain found south of Sunsinger on the Wedge

by John Dohse

by John Dohse

The immediate contrast between the lush greens on the higher land and the complete hn Brown Dohse trail.

by John Dohse lack of that same life in the floodplain demands the attention of those passing by. However,

e of the most striking in Allerton park isinthe floodplain found south of Sunsinger on the of sites the sites Allerton parkfor is the found south depending One on the timemost youstriking visit this site, the reason thisfloodplain stark difference is notofsoSunsinger evident on (as the wn trail. The immediate contrast between the lush greens on the higher land and the complete Brown trail. TheIn immediate between the lush greens the higher landthis andsite the is complete was the case forinmyself). orderdemands tocontrast emphasize the First Nature ofonAllerton Park, the of that samelack life of the the attention of those passing of by. those However, that floodplain same life in the floodplain demands the attention passing by. However, idealon location dovisit it. While it is to the lush, green, andevident lively parts of nature ending the depending timetoyou thistime site, theimportant reason forsite, thisshow stark difference not so on the you visit this the reason for thisis stark difference(as is not so evident (as Allerton park, it is just as important to show the rest of the cycle of life and death and thethroughout case for myself).

In order to emphasize the First Nature of Allerton Park, this site is the was the case for myself). In order to emphasize the First Nature of Allerton Park, this site is the how thetopark of to itself. l location do it.naturally While ittakes is important the lush, to green, nature ideal location to docare it. While itshow is important showand thelively lush, parts green,ofand lively parts of nature oughout Allerton park, it is just as important to show the rest of the cycle of life and death and throughout Allerton park, it is just as important to show the rest of the cycle of life and death and The driving factor ofcare this is the interaction w the park naturally takes ofproject itself.takes how the park naturally care of itself. with water through as many senses as possible

such as seeing the it, hearing it, smelling it, tasting it in the air, and feeling the impact of the river

driving ofasthis the with water through as many ason possible on thefactor follyThe wellproject asfactor theis water This Wedge wouldwith be constructed the Northernmost driving of interaction thisitself. project is the interaction watersenses through as many senses as possible h asslope seeingofthe it, hearing it, smelling it, tasting it in the air, and feeling the impact of the river such as seeing the it, hearing it, smelling it, tasting it in the air, and feeling the impact of highthe river the floodplain specified above so that it will be accessible through all seasons and helight folly the as well as the water itself.

This Wedge would be constructed on the Northernmost on theand follywaning as well of as the itself. This would be constructed theitself Northernmost waxing the water Sangamon River.Wedge The Wedge is designed to on plant in the e of the floodplain specified above so that it will be accessible through all seasons and highslope of the floodplain specified above so that it will be accessible through all seasons highpath of the river and divert it, making a stable point to view the flood as it transpires whileand also t the waxing and waning of theand Sangamon River.

The WedgeRiver. is designed to plant in the the waxing waning of the The Wedge is itself designed to plant itself in the seeing the light aftermath of the rivers impact onSangamon the park. h of the river and divert it, making a stable point to view the flood as it transpires while also path of the river and divert it, making a stable point to view the flood as it transpires while also ng the aftermath of the impact park. seeing the rivers aftermath of on thethe rivers impact on the park.

Floodplain FloodplainPerspective Perspective

Hill HillPerspective Perspective

TheThe Journey Journey

ACCESS ACCESSAND ANDSTRUCTURES STRUCTURES

GREEN GREEN AREAS AREAS 0

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By: Juan Sebastian By: Juan Sebastian PazminoPazmino

This project Thisstarted projectitsstarted conception its conception by looking by looking at the natural at the natural paths that pathsarethat in are the inarea theof area theofpond. the pond.

I wasI was impressedimpressed in how, without in how,the without need the of hand need of rails, hand yourails, canyou walkcan these walkpaths thesethrough paths through the natural the natural prairieprairie grasses grasses wherewhere a simply mowed a simplypath mowed guides path your guides way.your From way. that From starting that starting point, my point, focus mywas focus oriented was oriented towards towards the development the development of of a space where a space youwhere have you to pass, havegoing to pass, through going through an experience an experience in which in your whichsight yourand sight curiosity and curiosity catches catches your attention, your attention, while getting while to getting the endtoofthethe end path of and the path heartand of heart the project, of the project, and viewing and viewing the final thespace final generator; space generator; the pond. the pond.

Besides Besides having thehaving view of the the viewpond, of the mypond, idea my alsoidea focuses also focuses in givingin partial giving views partial of views theofcontext the context while while goinggoing through through the the pavilion such pavilion as the such farm as the andfarm silos,and which silos,are which milestones are milestones I believe, I believe, tell a story tell abehind story behind the sitetheand siteidentifies and identifies with with the the place. Thisplace. partial This views partial as Iviews call them, as I call alongside them, alongside topography topography and sunlight and sunlight orientation, orientation, createdcreated the axes theof axes theofproject the project that will determine that will determine the final form. the final In form. termsIn ofterms the façade, of the the façade, conception the conception is to create is to movement create movement along along the project the project with with the wood panels the wood onepanels on top one toon thetop other, to the and other, let the andsunlight let the sunlight guide you guide through you through the path thetopath the to final thedestination. final destination.

WithWith the facadethe I also facade triedI also to involve tried tothe involve user the intouser a “what into ato“what see and to see what andnot” whatkind not”ofkind experience, of experience, the panels the panels let partial let partial sunlight insunlight the areas in the I believe areas Iisbelieve neededisand needed alsoand the also panels the have panels gaps havethat gaps letthat wind letto wind passtothrough pass through the project the project until until you arriveyou to aarrive framed to aview framed wereview sunlight, were sunlight, view andview wind andflow windareflow at their are atmaximum. their maximum.

The roof The design roof design had to hadbeto be conceived conceived thinking in thinking a project in atoproject work during to workthe during fourthe seasons, four seasons, that is why, that isthe why, roof thefollows roof follows the course the course of theoftopo. the topo.

AREA CHOSEN IN ALLERTON AREA CHOSEN IN ALLERTON 1

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PEDESTRIAN PEDESTRIANPATHS PATHS AUTOMOBILE AUTOMOBILEAREAS AREAS SECOND SECOND NATURE NATURE FIRSTFIRST NATURE NATURE

THIRDNATURE NATURE THIRD

CONCEPTUAL CONCEPTUAL SKETCHES SKETCHES

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SCALE:SCALE: GraphicGraphic

SECTION A-A SECTION A-A 0

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This This project project was was intended intended from from the the beginning, beginning,totobebe inclusive, inclusive,that thatis iswhy whya aramp ramp takes takes the the person personfrom fromone one point point toto another, another,emulating emulating the thenatural naturalpaths pathsthat that have have nono stairs. stairs.

Its Its important important toto create createa a project projectthat thatbrings bringssomething something aditional, aditional,not notjust justtotowatch watch a a beautiful beautifulpond, pond,but buttoto create create a a sensation, sensation,a ajourney. journey.

POND

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ARCHITECTURAL ARCHITECTURAL PLAN PLAN 0

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ROOF PLANROOF PLAN

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The John & Robert Pavilion

by Bryan Samuel

The pavilion is inspired by the namesake relationship between the Park’s founder, Robert Allerton, and his adopted son, John Gregg. Theirs was a uniquely close relationship that spanned four decades and a lifetime of adventures all across the world. In remembrance of that close connection, this pavilion aims to provide a place for two companions to enjoy nature, conversation, and each other. It is a small, private construction that measures success not in the quantity of visiors but in the quality of time spent here.

Perpetual Interlude

by Sneha Patel

A pause so ever-changing that it remains eternal.

The primary function of the folly would be to attract people and subtly force them to halt - to look around and frame views, to admire and soak in visuals, sounds and the movements of the surroundings - the chirping of the birds, the meandering river, the yellow blooms, the rustling leaves, the hues of the skies - all of which provide a whole different experience according to time and season of the year. The chosen context is a juncture on the Brown trail where the it bends towards the river. It is an interesting journey from the Sun Singer to the site - changing landscapes finally converge to reveal the tranquility of the river. I have proposed that folly to be made of rammed earth construction which would eventually allow nature to take over and become one with what it originated from. The gradual decay over the years will create a perpetually changing experience of the folly. Its usage would change according to the flooding levels - fully accessible, accessible via canoe or just standing as a sculpture that change over time.

FIG 4. A PLATFORM ON THE EDGE TO OBSERVE THE RIVER BELOW

FIG 6. STEPWELLS OF INDIA

Changes in height allow for different user experiences within the folly. The idea of steps was inspired by the Vanishing step wells of India which have stood the test of time and yet developed a character over the centuries. Working with and making wooden joints out of salvaged pieces of wood gave me an idea about how to go about building the moulds that would be required for the ramming process.

Process diagrams

FIG 1.SITE - The Oxbow, Allerton Park

FIG 3. Nature taking over the folly

07 Changing Natures

FIG 5. FRAMING DIFFERENT VIEWS

FIG 2. Location of the folly near the oxbow

FIG 7. Plan OF THE FOLLY

DETAIL OF WALL

FIG 11. AXONOMETRIC VIEW FIG 8. SECTION

FIG 9. FRONT ELEVATION

FIG FIG10.

10.SIDE SIDE ELEVATION ELEVATION

FIG FIG12.

12.FrONT FrONTVIEW VIEWOF OFMODEL MODEL

Toppled Over Log

by Efrain Araujo

This Toppled over log frames the environment from the perspective of an animal. Bringing you into a shelter of a log and using its form to create views. The Exterior of the log ungulates and shifts along its surface. The project frames the forest and how we view it, restricting what we see to small moments as well as has creating view to the sky and ground through two small openings that connect the inhabitant to the detailed and changing gradient of the sky and ground. The project is positioned in an area of the park that has a relatively open ground plan but and a full tree canopy far above, creating an area that seems sparse at the ground level but rich in foliage higher above.

This create great shade during the warmer months and during the colder months create an area nearly full exposed to natural light. This creates new experiences based on when the site is visited, or instance during the ooded season this area will ďŹ ll with water but the project is positioned in a way where it will be partially underwater and allow people to get closer to the water than before. The project opens itself up on the south end and allows direct sunlight to enter the project. It positions itself alongside nature and uses forms commonly seen along the site but scales them to the size of the human body and allows you to move through these natural forms how animals might.

Inspiration

IVAN

Tunnel ofLight Light Tunnel of by byIvan IvanDamian Damian

The concept is to create a space of curiosity which attracts visitors away from the main path out towards unexplored areas. In this case I set out to create a view overlooking the lush greenery of the floodplains with an object to direct motion.

A core idea that has stuck with me is the idea of clearing the fog over Allerton Park through exploration. Being able to find pockets of nature that resemble spaces, either noted by an opening or an overhead, both of which are seen in this case.

The form of the building was inspired by a fallen over tree in the forest, which there are many, as the object sweeps across it opens up and gets larger in diameter and also opens up with its cladding.

Materials are lightly explored at this point, most connections require plates and screws or bolts.

Concept

IVAN

Model Image 1

Drawings and Renders

Interior: Looking towards floodplains

Model Image 2

Final Model: 3D Print Failure

The Bird

by Marc de Antonio Ventura The project is localised at the zone of the North Farm. It is a very simple structure, with a platform that provides you a great views. The orientation of this pavillion is at north, so that, you will never have the sun at your eyes when you want to enjoy the views.

The process of design of the project was basically conditioned for the topography. At rst I wanted to design a pavillion with two levels. One, give you relle nice views, and the other let you be closer to the lake. I also really like the idea of working with a dock. But the dimensions of this proposal was over size. Terefore, and after several proofs and drawings, I decided to continue with the same structure of the rst proposal, but I scaled it to a smaller dimensions and I focused myself of working in just one level.

Like I’ve said before, the project bases of a very simple structure, with a platform that directs you to the lake and provides you some privileged views. The same structure is coated of an interlaced of ropes that form a similar structure at a parabolic surface. I decided to work on this projectu with ropes and wood, so that it would make that this pavillion could be relatively simple to build, since his materials are very easy to access and of little economic cost.

Concept

Statment 17: “With or without technology”

Model M Mo odel del de Image Im mag age 1

Elevation Elevatio Elev Ele El Elevati E llevat lev evati evat eva ev vatio vat va atttio i n 1/50 11/5 /5 /50 5

Model Mo M oddeel Image Imag Imag Im age 2

The Nature Tree Pavilion Pavilion Muhammad

by Musa Mohammad

Allerton Park is known for its afnity for landscape art, craftsmanship, and ornamentation. The typical visitor often acknowledges the beauty and characteristics of these features, the Third Nature, while the beauty and wonders of the natural environment, the First Nature, are largely ignored. This pavilion aims to not only inuence visitors to explore the southern trails, but it also slows them down and allows them to have a very intimate moment with one of nature’s most common components; a tree. The pavilion offers three different positions for seating, each framing a different view of the tree which gives the user a range of experiences between examining the texture of the tree and feeling the scale of the tree and volume of the forest.

MUSA

Entry

Caption Form

Back to Nature Pavilion

by Jingran Xu

To be located at the farm land area of Allerton Park & Retreat Center, Monticello, IL, the site has been envisioned as a new public activity space and a place of peaceful respite within the nature.

The project aims to create architecture which lets us see, and experience nature in new ways, and it serves as a venue for a wide range of public activity programs: in addition to observatory, shelter, view point.

The platform of pavilion is 10’ X 10’ and there are several project concepts: Respect the existing natural slope and highlight the view with natural slope Different elevation lead to different views of the site Force visitors to go through all the direction and arrive the major lake view at end.

Frame the major lake view.

N NW 20: 27

NE 05:25

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Lake View

60° Field View W

E

16: 32

07:21 SW

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Trail Around Lake

Entrance TRAIL Different view in site.

S SUMMER SOLSTICE WINTER SOLSTICE SUN PATH

TRAIL N SUMMER SOLSTICE 10 AM

N

N SUMMER SOLSTICE 12 PM

N

Shape the space: force the visitors to go through all the direction and frame the major lake view.

TRAIL Respect the existing slope, highlight the view with slope.

N SUMMER SOLSTICE 2 PM

N SUMMER SOLSTICE 4PM PATTERNS

N

N

highlight the view with slope.

DIAGRAMS

Level 0 Level 1 Level 2

LAKE

FRONT ELEVATION

Physical Model

N PLAN

SECTION

TRAIL SIDE ELEVATION

Physical Model

Design

Tree Hearth Tree Hearth TreE hearth

B.TheSamuel, A. Srinivas, J. Xu, J. Pazmino trails through the Allerton wilderness make for a pleasant walk in the woods. Densely

10’ 08’

forested, the enclosure and repetitiveness of the trail allows wanderers to get lost in their

Design

However, is a particular moment through the along theDensely Thethoughts. trails through thethere Allerton wilderness makemidway for a pleasant walkblue in trail the woods. south bank of the Sangamon River where the meltswanderers away. Warmtostreams forested, the enclosure and repetitiveness of underbrush the trail allows get lostofin their the afternoon’s lastthere light pour through, and sweeping sightlines exposethe theblue magnitude of the thoughts.

However, is a particular moment midway through trail along the natural landscape for the first time. In midst of the consistent vertical palings of tree south bank of the Sangamon River where the underbrush melts away. Warm streams of trunks is a horizontal oddity. Though off the trail, the forest floor here is flat and clear, the afternoon’s last light pour through, and sweeping sightlines expose the magnitude of and curiosity beckons. A canvassed shell holds what seems to be a living room in the the forest natural the first time.

In midst the Aconsistent vertical or,landscape upon closerfor examination, a sanctuary forof a tree. peculiar tree at that.palings Forkingof tree trunks is a horizontal oddity. off examination. the trail, theLook forestat floor hereThe is flat and clear, strangely, the platform steps Though invite further the roots. bark.

The andtexture. curiosity beckons.

A canvassed shell holds seems to beouta living in the Then finally upwards, soaring beyond thewhat maple canopies, towardsroom endless sky.

Every becomes What else lies off thefor beaten path? forest or, tree upon closer unique. examination, a sanctuary a tree.

A peculiar tree at that. Forking strangely, the platform steps invite further examination. Look at the roots. The bark. The texture. Then finally upwards, soaring beyond the maple canopies, out towards endless sky.

Every tree becomes unique. What else lies off the beaten path?

06’

02’ 00’ 10’ 08’

Section AA | 1/4” = 1’

06’

02’ 00’ Section AA | 1/4” = 1’

10’ 08’

04’

10’ 08’

00’ 04’

00’

Plan | 1/4” = 1’ Plan | 1/4” = 1’

Allerton Site Map

Allerton Site Map

Section BB | 1/4” = 1’

Blue Trail Foliage Density Map

Blue Trail Foliage Density Map

View 1 | Observation from outside the folly

View 1 | Observation from outside the folly

Section BB | 1/4” = 1’

View 2 | Observation at eye level

View 2 | Observation at eye level

View 3 | Observation of the foliage above

View 3 | Observation of the foliage above

The proprietary software work well and up until now we have not been able to get MasterCAM to work but are avidly working on it for the future. Materials we got to test were wood, mdf, insulation foam, and mold making material; in the future we hope to get bits to be able to cut metal and acrylic The bulk of what we made was off of the 2D browser software Openbuilds offers for free as it was able to load and run them without many more settings needed to be adjusted. There is still a lot more testing on this machine to be done, getting fusion G-code loaded properly, applying a new limit switch, messing with speed settings, etc.

Fabrication

Bottom of Band 5.5”

Bottom of Bed 0.0”

The Openbuilds Workbee CNC was what we got to test on with various materials. We had to go through a lot of testing, resetting, and calibration to get to where we are able to cut confidently with accuracy. We ran into more issues along the way as we tested and made progess daily, up to now our biggest issue is setting the limits of the machine correctly to tell the machine where to stop correctly along the Z-axis. Much of the time we had to spend was on learning the machine itself, hardware and software.

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by E. Araujo, I. Damien

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The Openbuilds Workbee CNC was what we got to test on with various materials. We had to go through a lot of testing, resetting, and calibration to get to where we are able to cut confidently with accuracy. We ran into more issues along the way as we tested and made progess daily, up to now our biggest issue is setting the limits of the machine correctly to tell the machine The Openbuilds Workbee CNC was what we got to test on with where to stop correctly along the Z-axis. Much of the time we various materials. We had to go through a lot of testing, resethad and to spend wastoon the ting, calibration getlearning to where we aremachine able to cutitself, confi- hardware and software. dently with accuracy. We ran into more issues along the way as

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.75” Bottom of Band 5.5” 7.75”

Bottom of Bed 0.0”

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mdf, insulation foam, and mold making material; in the future

without many more settings needed to be adjusted. There is still The bulk of what we made was off of the 2D browser software a lot moreoffers testing onasthis machine to and be done, getting fusion Openbuilds for free it was able to load run them without moreproperly, settings needed to be adjusted.

Thereswitch, is still messing G-codemany loaded applying a new limit awith lot more testing on this machine speed settings, etc. to be done, getting fusion

The bulk of what we made was off of the 2D browser software Openbuilds offers for free as it was able to load and run them without many more settings needed to be adjusted. There is still a lot more testing on this machine to be done, getting fusion G-code loaded properly, applying a new limit switch, messing with speed settings, etc.

ƩĞŵƉƚ ϲ ;Ϯϰ͘ϴ ŵŵ dž Ϯϱ͘Ϯ ŵŵͿ͗ 'ƌďů ƐĞƫŶŐƐ ĂĚũƵƐƚĞĚ͕ ^ƚĞƉƐͬŵŵ

we tested and made progess daily, up to now our biggest issue is setting the limits of the machine correctly to tell the machine The proprietary software work well and up until now we have where to stop correctly along the Z-axis. Much of the time we nottobeen to learning get MasterCAM work but are had spendable was on the machine to itself, hardware and avidly worksoftware. ing on it for the future. Materials we got to test were wood, The proprietary software work well and up until now we have we hope to get bits to be able to cut metal and acrylic not been able to get MasterCAM to work but are avidly working on it for the future. Materials we got to test were wood, mdf, making material; in 2D the future Theinsulation bulk of foam, whatand wemold made was off of the browser software we hope to get bits to befor ablefree to cut andable acrylic Openbuilds offers asmetal it was to load and run them

The proprietary software work well and up until now we have not been able to get MasterCAM to work but are avidly working on it for the future. Materials we got to test were wood, mdf, insulation foam, and mold making material; in the future we hope to get bits to be able to cut metal and acrylic

Bottom of Band 5.5”

Bottom of Band 5.5”

ƩĞŵƉƚ ϯ ;Ϯϰ ŵŵ dž Ϯϰ ŵŵͿ͗ 'ƌďů ƐĞƫŶŐƐ ĂĚũƵƐƚĞĚ͕ ^ƚĞƉƐͬŵŵ ƩĞŵƉƚ ϰ ;Ϯϰ͘ϱ ŵŵ dž Ϯϰ͘ϱ ŵŵͿ͗ 'ƌďů ƐĞƫŶŐƐ ĂĚũƵƐƚĞĚ͕ ^ƚĞƉƐͬŵŵ

Bottom of Bed 0.0”

ƩĞŵƉƚ ϱ ;Ϯϱ͘ϱ ŵŵ dž Ϯϱ͘ϱ ŵŵͿ͗ 'ƌďů ƐĞƫŶŐƐ ĂĚũƵƐƚĞĚ͕ ^ƚĞƉƐͬŵŵ

.75”

48”

7.75”

Bottom of Bed 0.0” ƩĞŵƉƚ ϲ ;Ϯϰ͘ϴ ŵŵ dž Ϯϱ͘Ϯ ŵŵͿ͗ 'ƌďů ƐĞƫŶŐƐ ĂĚũƵƐƚĞĚ͕ ^ƚĞƉƐͬŵŵ

G-code loaded properly, applying a new limit switch, messing with speed settings, etc.

ƩĞŵƉƚ ϳ ;Ϯϱ ŵŵ dž Ϯϰ͘ϵ ŵŵͿ͗ 'ƌďů ƐĞƫŶŐƐ ĂĚũƵƐƚĞĚ͕ ^ƚĞƉƐͬŵŵ

ƩĞŵƉƚ ϭ ;Ϯϯ ŵŵ dž ϮϬ ŵŵͿ͗ ^ĞƫŶŐƐ ƵŶĂĚũƵƐƚĞĚ ƩĞŵƉƚ ϭ ;Ϯϯ ŵŵ dž ϮϬ ŵŵͿ͗

ƩĞŵƉƚ ϴ ;Ϯϱ ŵŵ dž Ϯϱ ŵŵͿ͗ 'ƌďů ƐĞƫŶŐƐ ĂĚũƵƐƚĞĚ͕ ^ƚĞƉƐͬŵŵ

^ĞƫŶŐƐ ƵŶĂĚũƵƐƚĞĚ

ƩĞŵƉƚ Ϯ ;Ϯϯ ŵŵ dž Ϯϯ ŵŵͿ͗

ƩĞŵƉƚ Ϯ ;Ϯϯ ŵŵ dž Ϯϯ ŵŵͿ͗ &ŝůĞ ĂĚƵƐƚĞĚ͕ ŝƐƐƵĞ ŝŶ z ĂdžŝƐ &ŝůĞ ĂĚƵƐƚĞĚ͕ ŝƐƐƵĞ ŝŶ z ĂdžŝƐ

ƩĞŵƉƚ ϯ ;Ϯϰ ŵŵ dž Ϯϰ ŵŵͿ͗ ƩĞŵƉƚ ϯ ;Ϯϰ ŵŵ dž Ϯϰ ŵŵͿ͗ 'ƌďů ƐĞƫŶŐƐ ĂĚũƵƐƚĞĚ͕ ^ƚĞƉƐͬŵŵ

'ƌďů ƐĞƫŶŐƐ ĂĚũƵƐƚĞĚ͕ ^ƚĞƉƐͬŵŵ

ƩĞŵƉƚ ϰ ;Ϯϰ͘ϱ ŵŵ dž Ϯϰ͘ϱ ŵŵͿ͗ 'ƌďů ƐĞƫŶŐƐ ĂĚũƵƐƚĞĚ͕ ^ƚĞƉƐͬŵŵ ƩĞŵƉƚ ϰ ;Ϯϰ͘ϱ ŵŵ dž Ϯϰ͘ϱ ŵŵͿ͗

'ƌďů ƐĞƫŶŐƐ ĂĚũƵƐƚĞĚ͕ ^ƚĞƉƐͬŵŵ

ƩĞŵƉƚ ϱ ;Ϯϱ͘ϱ ŵŵ dž Ϯϱ͘ϱ ŵŵͿ͗ 'ƌďů ƐĞƫŶŐƐ ĂĚũƵƐƚĞĚ͕ ^ƚĞƉƐͬŵŵ

ƩĞŵƉƚ ϱ ;Ϯϱ͘ϱ ŵŵ dž Ϯϱ͘ϱ ŵŵͿ͗ 'ƌďů ƐĞƫŶŐƐ ĂĚũƵƐƚĞĚ͕ ^ƚĞƉƐͬŵŵ

.75”

.75”

7.75”

48”

2.5” .75”

7.75”

ƩĞŵƉƚ ϲ ;Ϯϰ͘ϴ ŵŵ dž Ϯϱ͘Ϯ ŵŵͿ͗ 'ƌďů ƐĞƫŶŐƐ ĂĚũƵƐƚĞĚ͕ ^ƚĞƉƐͬŵŵ

2.25” 1.25”

'ƌďů ƐĞƫŶŐƐ ĂĚũƵƐƚĞĚ͕ ^ƚĞƉƐͬŵŵ

31.5”

ƩĞŵƉƚ ϴ ;Ϯϱ ŵŵ dž Ϯϱ ŵŵͿ͗ ƩĞŵƉƚ ϳ ;Ϯϱ ŵŵ dž Ϯϰ͘ϵ ŵŵͿ͗ 'ƌďů ƐĞƫŶŐƐ ĂĚũƵƐƚĞĚ͕ ^ƚĞƉƐͬŵŵ

1.25” 2.25”

ƩĞŵƉƚ ϲ ;Ϯϰ͘ϴ ŵŵ dž Ϯϱ͘Ϯ ŵŵͿ͗ ƩĞŵƉƚ ϳ ;Ϯϱ ŵŵ dž Ϯϰ͘ϵ ŵŵͿ͗ 'ƌďů ƐĞƫŶŐƐ ĂĚũƵƐƚĞĚ͕ ^ƚĞƉƐͬŵŵ 'ƌďů ƐĞƫŶŐƐ ĂĚũƵƐƚĞĚ͕ ^ƚĞƉƐͬŵŵ

2.5” .75”

ƩĞŵƉƚ ϴ ;Ϯϱ ŵŵ dž Ϯϱ ŵŵͿ͗ 'ƌďů ƐĞƫŶŐƐ ĂĚũƵƐƚĞĚ͕ ^ƚĞƉƐͬŵŵ

2.5” .75”

2.25” 1.25”

31.5”

48”

1.25” 2.25”

48”

THE NATURE BOX

by Ivan Damian

03

The Project Introduction

After a few weeks of research and site visits the design phase of our class had gotten underway. We had a few locations to pick from: the Sunsinger floodplains, the Diversified Farms, and the Southern Forest. Of the requirements the one that stood true for all designs was the ability to observe the changing nature throughout the year. Each site had their own way to elevate and manipulate this experience.

The Sunsinger floodplains identity was tied to the changes of the landscape to the waterscape through the seasons. The highlight of this location was the oxbow in the river that had a small island during most of the year.

The Diversified Farms was an area at the Northernmost point of the Allerton campus. This location had a small body of water that was surrounded by a field of wild flower and a handful of old barn structures.

The Southern forest was a site not originally highlighted during our normal visit. This had only come by after a small group of students went out to explore.The experience of this site was highlighted by the changes in forest density and how little foliage there had been, which lends itself to explore outside the path.

One thing that had been noted to us by the Director of Allerton was that one of our goals was to extend visitors stay. This would be able to happen two fold with the distance of the sites and by our individual choices to dictate stay and/or exploration.

The collection of data for climate was mostly about how winds and rain affects the area, as throughout most of the year there are periods of heavy rainfall. Being the Midwest there are not many places for wind to break up so heavy winds from the West are a concern.

Flora and fauna in the area vary greatly. For the flora there are many species imported from other areas, invasive in most cases unfortunately. The people at Allerton make the most of this to control them and make sure they do not spread out or overtake the native species. The fauna consists of mostly what would be expected in the area, although there are a few species that are elusive. There were actually a few people that purely by chance were able to run into a species of snakes that had not been seen in around five to ten years.

The history of the area runs deep with stories from Robert Allerton experience and his many Gatsby like escapades. From the adventures to seek out sculptures for his gardens, to the daily life and favorite spots along a trail.

We each took into consideration our research for climate, flora, fauna, historical context, and site specific opportunities. A few designs explored into materials, with some people incorporating wood, concrete, with some miscellaneous materials. At the point in time where we had been at we did not consider material limitations or budget. This would come in later into our design process. Although we did design with a 100 sqft footprint limitation. This restriction was followed loosely with some liberties taken by each student to push design.

After a week and a half of design work and a presentation the decision was made to continue to develop Musa’s design in the Southern forest. As such the design went through several iterations with the common theme of being centered around a tree to intimately observe nature.

THE DESIGN

by B. Samuel, J. Xu Initially situated deep in the woodlands, their adjacence to the ancient mounds led us to minorly shift to a clearing next to a cliff overlooking the Sangamon river, the mounds and the natural vegetation. This site was also next to a hiking trail, which allowed for high visibility of the pavilions as one treaded on the trails. The iterative process led us to the development of Nature Boxes- a set of three 650 cu.ft framed structures, which through their position, incline, elevation and enclosure system, frame distinct experiences for the visitors. The Skybox celebrates the aerial view of the top of the tree set against the dramatic skies, the Treehouse celebrates the sense of elevation from the ground, while the viewer looks at the trunk of the tree and the river in front. The Portal provides a gateway to enter into the clearing, which essentially becomes a site of hightened contemplation.

Fig. 1. VISUAL CONNECTION BETWEEN THE CLEARING AND BLUE TRAIL

Fig. 5. ZONING SPECIFIC SPOTS FOR CAPTURING SCENIC VIEWS

Fig. 2. THE CLEARING OFFERING DIFFERENT VANTAGE POINTS

Fig. 5. DEFINING THE SPOTS TO FRAME THE VIEWS

Fig. 3. THE RIVER AND THE FOREST AS THE FOCAL POINTS

Fig. 6. DESIGNING ENCLOSURE TO DIRECT VIEWS

SITE PLAN

0’

5’

10’

20’

30’

SITE SECTION

0’

5’

10’

20’

30’

Fig. 1. view of the natureboxes on site

Fig. 2A. stages of development

Fig. 2B. plan

Fig. 2C. section

Skybox

Fig. 3A. stages of development

Portal

Fig. 3B. plan

Fig. 3C. section

Fig. 4A. stages of development

Riverview

Fig. 4B. plan

Fig. 4C. section

TESTING AND PREFABRICATION Group Project

0,04 [2"]

0,05 [2"]

0,23 [9"]

0,09 [4"]

0,96 [3'-2"]

0,22 [9"]

1 [3'-3"]

0,22 [9"]

0,22 [9"]

0,46 [1'-6"]

0,08 [3"]

0,15 [6"]

0,23 [9"]

0,05 [2"]

0,04 [2"]

0,09 [4"]

0,46 [1'-6"]

0,08 [3"]

0,15 [6"]

0,09 [4"]

0,07 [3"]

FROSTLINE

0,09 [4"]

DETAILS: NATUREBOX FOOTINGS- SECOND TRIAL

0,22 [9"]

DETAILS: NATUREBOX FOOTINGS- fINAL TRIAL

DETAILS: NATUREBOX FOOTINGS- FIRST TRIAL

LOCATION OF FOLLY

MENARDS, HOME DEPOT 4M

SERVICES AND MISC

1

ILE

SOPHOMORE STUDIO

S

ILES

ISOA

27 M

2

FACADE SIDING CUTTING STORAGE

3

WOOD CUTTING WOOD SANDING

PHOTO STUDIO

ANNEX GALLERY

10’ WIDE ENTRY DOOR

MECH ENGG LABORATORY

ALLERTON PARK

LARGE MATERIAL + STUDENT EGRESS

1

BLACKLINE SUPPLY

2

Fig. 1. MAP OF ILLINOIS

4

SKYBOX ASSEMBLY WOOD CUTTING AND CHISELING WOOD SANDING

5

WOOD CUTTING AND CHISELING WOOD SANDING

FRS

DIVERSIFIED FARMS

WOODSHOP GALLERY

ADMIN/ INFORMATION CENTER

3

TBH BLUE TRAIL

NATURE BOXES ASSEMBLY FACADE INSTALLATION SECONDARY STRUCTURE TESTING FOOTING PREPARATION BARN SIDING PREPARATION

MUSIC BARN

4

WOODSHOP

5 3’ WIDE ENTRY DOOR

FRESHMEN STUDIO

STUDENT EGRESS

ANNEX 2

ANNEX 1

Fig. 2. MAP OF ALLERTON PARK

Fig. 3. MAP OF UIUC CAMPUS

PHYSICAL MANOUVERING

WORKFLOW

STEP 1. Dry fit- Hammering, sanding, chamfering, cutting, test fitting STEP 2. Holes for bolt- Drill bit- 5/16in

10days of testing

2 days with dry testing (step 2-4 together)

STEP 3. GlueWood glue- 1 gallon

2 days with dry testing (step 2-4 together)

STEP 4. Bolt- 3/8t” through bolts with washers and nuts

2 days with dry testing (step 2-4 together)

STEP 5. Full assembly Compound beam > column, secondary beam > compund beam Repreat steps 2-4 for 2deg beam and compound beam

STAGES OF DEVELOPMENT

STEP 6. Stain 3 coats-main structure, paint brushes, waterproof stain

LOCATION OF FOLLY

2hrs dry with fan

STEP 7. Secondary structure CUtting, test fitting, drilling holes, attach to main structure,screw STEP 8. Planks and siding Same as secondary structure STEP 9. Stain again-

2hrs dry with fan

STEP 10. Full assembly

Oct 23rd-Dec 8

ORDER OF DEVELOPMENT: Skybox Step 1 > Step 1 Treehouse > Step 2-6 Skybox > Step 1-6 Portal > Skybox Step 7 > Portal Step 7 > Treehouse 2-5 > Portal Step8 > Skybox Step8 > Treehouse Step7 > Portal Step9 > Skybox Step9 > Treehouse Steps 6-9

STAGES OF DEVELOPMENT

LOGISTICS: PROJECT TIMELINE

by C. Overmyer, J. Dohse

Schedule M 4 Nov

T 5 Nov

Week 1 W 6 Nov

TH 7 Nov

F 8 Nov

Sat/Sun

M 11 Nov

T 12 Nov

Week 2 W 13 Nov

TH 14 Nov

F 15 Nov

Sat/Sun

M 18 Nov

T 19 Nov

Week 3 W 20 Nov

TH 21 Nov

F 22 Nov

Sat/Sun

M 25 Nov

T 26 Nov

Week 4 W 27 Nov

TH 28 Nov

F 29 Nov

Sat/Sun

M 2 Dec

T 3 Dec

Week 5 W 4 Dec

TH 5 Dec

F 6 Dec

Sat/Sun

M 9 Dec

Design Construct Prototype Build 1:1 Prototype Gather Materials From Allerton Order/Buy Materials Prepare Salvaged Wood (Talk w/ Lowell) Cut Salvaged Wood to Size Collect Wood from Chicken Coop Design Design Development (Faรงade Design) Prototyping Faรงade Details 1:1 Detail (How faรงade to supports) Documents Site Take Prototype to site/mark site w/ Coordinate Site Work w/ Allerton Primary Mark/Cut Joints into Columns/Beams Drill Holes for Dowells Insert Dowell Rods Connect 4x4 Structure Stain Structure Secondary (TBD) Prepare cross bracing for Add 2x4 joist structure

Research 1:1 Mock up Detail Start Work Create Formwork Mix and Pour Concrete Let Concrete Set

System

Faรงade Prepare materials for enclosure Construct enclosure Final Assemply Other Finalize

Due Video Story Board Video Due Thanksgiving Break (Woodshop closed) Final

November 4th 8th Due Woodshop Closed

Sat/Sun

November 11th 15th

Sat/Sun

November 18th 22nd

Sat/Sun

November 25th 29th

Sat/Sun

December 2nd 6th

Sat/Sun

9 Dec

LOGISTICS: COST ESTIMATE

by C. Overmyer, J. Dohse

Cost Item 4x4 Column 4x4 Joist/Beams

Sky Box Size Quantity 4 8' 0" L 8 8' 0" L

Cost $ $

Total 7.98 $ 7.98 $

Total

Item 4x4 Column 4x4 Joist/Beams 4x4 Ladder

$

Tree House Size Quantity 4 10' 0" L 8 8' 0" L 4 6' 0" L

Item 4x4 Column 4x4 Joist/Beams

Cost $ $ $

Total 11.37 $ 7.98 $ 6.57 $ $

Cost $ $

Total 13.98 $ 7.98 $

Total

Item 4x4 Column 4x4 Column 4x4 Column 4x4 Joist/Beams 4x4 Ladder Total

$ Total Members Size Quantity 4 8' 0" L 4 10' 0" L 4 12' 0" L 24 8' 0" L 4 6' 0" L

95.76

Item Size Concrete MIix 80 b.

Strong Drive 16d x3 1/2" SCN 1 Ib. PB Galvanized Non PostN /A

Quantity 9 1 12

Cost $ $ $

Total 4.50 $ 4.49 $ 8.13 $

Total

Total The Portal Size Quantity 4 12' 0" L 8 8' 0" L

31.92 63.84

Cost $ $ $ $ $

7.98 11.37 13.98 7.98 6.57

Total $ $ $ $ $ $

45.48 63.84 26.28 135.60

55.92 63.84 119.76

Item 2x4s 2x3s 1x4s Screws(5 Ib. Box) (Gas) Wood Glue Wood Stain Sand Paper Paint Supplies CNC Bits Misc. hardware

$ Other Size Quanitity Cost 40 $ 10' L 20 $ 10' L 10 $ 6' L 5 $ 2" L N/A1 $ 1 gallon1 $ 1 quart4 $ 2 N/A $ 1 N/A $ 1 N/A $ 1 N/A $

Total

31.92 45.48 55.92 191.52 26.28 351.12

Total Cost T$ otal Tax %

c

Total

4.74 1.54 3.54 15.19 350.00 27.99 27.98 2.97 50.00 100.00 300.00

Total $ $ $ $ $ $ $ $ $ $ $

40.50 4.49 97.56 142.55

189.60 30.80 35.40 75.95 350.00 27.99 111.92 5.94 50.00 100.00 300.00

$

1,277.60

6.25% $ 10% $

1,771.27 110.70 177.13

$ 2,059.10

note: all paneling will be salvaged wood and does not need to be purchased.

Site work will be done by Allerton at a cost of $0. Earth work, gravel work, concrete work, etc.

REFLECTION

ACKNOWLEDGEMENTS AND CREDITS

by John Dohse

by Akshay Srinivas

I am sure that one of the most enticing factors about this studio was the smaller and more personal scale of the project that had been lain before us. This studio was paradoxical in a sense because, when compared to the programs of others (hospitals, hotels, towers, etc.), this folly seemed rather simple. However, the design of this folly is remarkably more complicated than what meets the eye. Every view made, every piece of the facade, ideology behind the form the folly takes, and the way that users experience the space on top of the other countless factors needed to be handled with extreme care because of the little room we had to work with. In addition to this demand for precision, it was challenging to synthesize a design with the input from eleven different students with different ideas. Everyone had something great to bring to the table and arriving at a final, buildable solution was a result of repeated iterations, going back and forth on details and ultimately concluding on a solution that was a blend of aesthetically appealing yet pragmatic strategies. Gradually, everyone learned which were the most important battles to fight, holding your ground on design decisions and when to give in to meet deadlines for construction.

As with all designs, there are always improvements to be made. It is only a matter of knowing when to call it off in order to have something prepared. I am certain that the design window for built projects is significantly smaller than that which we are used to from our own experiences. As daunting as the task was to design and build this folly, the studio gave a strong effort to assign roles and handle all the processes of design as effectively as possible beginning with design, material exploration, and technological innovation teams for the design process. By the time we got around to actually constructing the folly, it was essentially all hands on deck to craft and assemble all the pieces with handfuls of individuals keeping track of the schedule and how long it takes us to make certain components as well as refining the publication you have just read. All in all, this was a very challenging studio, but we would not have learned anywhere near as much if this was not so.

Note: A key aspect that made the studio Non-standard was the non-hierarchial approach to design and resolution. All students began with a preliminary understanding of materials, fabrication tools and techniques and development their skill as they progressed through the semester. Hence, resolving challenges relating to material treatment, cutting and sizing and eventually building lifesized structures all happened with a degree of empathy towards each other and the process. This empathy is what guided our sense of self-discovery and creative output.

We owe a sincere gratitude to our studio faculty, Professor Aaron Brakke, who, with a deep understanding of tectonics and fabrication, blended with sound knowledge of literature and application of the processes, pushed us constantly to expand horizons and develop sound proposals. As a faculty, his approach was democratic instead of authoritative, which allowed us to take ownership of the project. We thank Mr. Derek Peterson, Director of Allerton Park, for his constant support and guidance regarding Allerton Park and logistics regarding building our pavilions on site. We thank Professor Kevin Klinger, Professor Kennedy Hutson and Architect Chip Hackley for their critiques during our semester reviews.

While the aim of the studio was to provide every student the opportunity to engage with all parts of the process, what worked well was to allocate tasks such that some students would lead or focus on certain aspects more than the others. The following were some tasks the students engaged in, during the construction process: Musa Muhammad: Project Management (Lead), Fabrication, Publication, Photo/videography Efrain Araujo: Fabrication, CNC and laser-cutter operation, Physical manouvering, Publication Fabrication, CNC and laser-cutter operation, Physical manouvering, Ivan Damian: Publication Sneha Patel: Fabrication (Footing and folly), Material Catalog, Physical manouvering, Publication Juan Sebastian Pazmino: Fabrication (Footing and folly), Physical manouvering, Publication Clayton Overmyer: Project Management, Fabrication, Publication Marc A. Ventura: Fabrication, Physical manouvering, Publication Jingran Xu: Facade Design, Fabrication, Physical manouvering, Publication Bryan Samuel: Design, Fabrication, Physical manouvering, Publication John Dohse: Fabrication, Publication Akshay Srinivas: Publication, Fabrication