WALTHM, MA | COMPLETION 2020 | LEAD LANDSCAPE ARCHITECT
Boston Children’s Hospital is expanding clinical services at their Waltham campus by adding a new clinical building and phased renovations to the existing facilities. The new clinical building will provide space for inpatient beds, outpatient clinics and operation rooms, as well as miscellaneous support services and amenities.
The new inpatient building will grow out of a steeply sloping topography to dramatically redefine the identity of Boston Children’s Waltham campus. Highly visible from three directions, it will singularly create a new image for the hospital. A series of eight roof gardens, all with a distinct character and relationship to the interior program, are arranged throughout the building providing patients and staff access to natural elements, air, and light.
A key feature of the campus is the way it sits on the hill. This creates natural challenges in the way the campus physically relates to the adjacent neighborhood. A new series of green spaces can be created between the existing and the new tower, creating a hospital that finds not only new spaces and connections, but also a new heart. Beyond offering new outdoor amenities, these new green spaces in the heart of the campus represent an opportunity for this intervention to fundamentally transform the Waltham campus.
With Payette Architects
PUBLIC ART INSTALLATION | PROVIDENCE RI | UNDER CONSTRUCTION FOR SUMMER 2016 COMPLETION
Ten Thousand Suns is a summer-long botanical performance in which over 10,000 sunflower seeds have been planted and being nurtured over the course of the summer months, on land that until recently sat under a highway, with high compaction, low-organic material, and embedded with toxicity. A portion of the performance is simply the presence of the those who have volunteered to care for the field, with no other motive then “developing” a garden/park for everyone to enjoy.
Rather than using high maintenance and energy intensive large swaths of turf grass, the installation uses the bio-accumulating (removes toxins) and habitat creating properties of Helioanthus (aka, Sunflower) planted in rows in a series of large circles, leaving paths in-between for intimate exploration. The project will create a spontaneous and unique cultural identity for the citizens of Providence and its visitors during the summer months.
The project will last for the duration of the life-cycle of the sunflowers (June-October) and at the end of the sunflowers cycle they will be collectedand composted.
10,000 SUNS was created and directed by local Landscape Architect and RISD Adjunct Prof. Adam E. Anderson, but made possible by a team of volunteer artists, architects, students, friends, neighbors, and passerbyers. Permission and funding was granted by the I-195 District Commission.
"Thank you for the beautiful sunflowers, still going strong! What a wonderful gift to all of us."
"Just want to say thank you for the happiness when driving home. Makes me smile."
"I am back in RI to bury my father and seeing your installation of 10,000 suns this morning brought cheer."
"Every time I walk past 10,000 Suns it makes me so happy - thanks for making it come to life."
PUBLIC ART INSTALLATION | PROVIDENCE RI | COMPLETED SPRING 2014
The Gazing Garden is a mutation of garden ornamentation, and displays the performative qualities of the ever changing landscape. The installation was one of six commissioned proposals chosen for the 195 Commission "The Link" Project in Downtown Providence Rhode Island.
Gazing Globes have a long history dating back to the 13th century, beginning as a powerful if not mythical figure in the garden. Contemporary uses are often associated with tackier suburban or rural yard adornment. I’ve always found the reflective ball itself a beautiful object. It’s mirroring qualities are seen, but unseen, showcasing its environment rather than itself. Compounded with multiple globes, the effect can be exponentially stunning.
The “stems” the globes rest on are thought of as mutated flowers, and the “picket fence” is abstracted from the idyllic notion of a suburban garden. The globes rest in a planter bed filled with varying heights of sunflowers, a fast growing, bio-accumulating plant. As the sunflowers grow their relationship to the globes will be in constant evolution. Their natural inclination to direct
their heads to the patterns of the sun will be reflected in the globes before the will eventually partially conceal them. As the summer season ends, the sunflowers will die off, turn a brownish tan, and slump in their for to once again reveal the bright green of the stem and reflection of the globe.
LAFAYETTE, PA | COMPLETION 2019 | LEAD DESIGN LANDSCAPE ARCHITECT
At Lafayette College a new LEED-Platinum Science Building is emerging from a complex topography and site conditions. Located at a missing corner of the campus, the project seeks to energize Anderson Courtyard with a dynamic facade and entry courtyard. A pattern of white and grey precast pavers and linear bands project out into the campus.
Adjacent to plaza a grove of honeylocust's create a dappled canopy for reading on movable red chaise lounges and precast benches. At night, the canopy is illuminated by linear in-ground led lighting in a bed of decomposed granite.
On the second floor an double-height atrium wraps around a on structure courtyard of sculptural precast seat planters and an articulated ground plane. The energy of a common space and cafe spill out onto the courtyard diminishing the sense of indoors and out.
With Payette Architects
This project was a collaboration with Architects Jim Bogle and Jacob Miller.
We have observed two existing conditions that the House of Fairytales must navigate: the Global context of Hans Christian Andersen’s work and the Local context of Odense. This is our launching point, and in an attempt to realize its form we can discuss our proposal in two parts: The Anti-Icon and the Icon, or the ugly duckling and the swan, or the Icon. The anti-icon (ugly ducking) acts in favor of the local, it is completely respectful of the physical and ephemeral characteristics of its physical surroundings. Its architecture may not be extreme yet it goes out of its way to establish itself as something which “belongs”. Through the use of a Mat Building Typology, the House of Fairytales can maximize its use of site by scattering galleries (the bulk of the program) throughout its eastern side while remaining low and out of sight. Bright and transparent corridors take the visitor on a journey which has been conceived as a narrative between the work on display and the Fairytale Garden. The two are constantly in dialogue with one another, whether looking on to one of the three centripetal gardens within the Museum, performing in the new “tinderbox”, or admiring “Lotze’s Garden”. The museum remains one story tall, respecting the property of the neighbors. Our strategy seeks to fully engage the public at the ground level through the weaving of museum program and garden.
Located on the sites west side one encounters the Swan (Icon). Here, “Lotze’s Garden” raises dramatically from the ground. An iconic gesture offering a unique formal engagement with Odense’s developing urban fabric, and serves as the gateway into the universe of Hans Christian Andersen, as well as the historic district of OdenseLotze’s Garden offers open space, an outdoor performance space and easily accessible views both outward and inward. Beneath this garden canopy, visitors are quite literally greeted as they enter by favorite Hans Christian Andersen characters; stone sculptures of some most recognizable function as the canopy’s structure. This arrival hopes to be a spectacle that would attract the attention of a global audience. At the museums center, Hans Christian Andersen Tower rises above the city. At the museums center, Hans Christian Andersen Tower rises above the city. At its top is the man himself, dipped in gold. An elevator allows visitors to access the towers top, where accompanied by a statue of Hans Christian Andersen, they are treated to panoramic views of the city. The tower and the glowing statue of the man himself serves as an iconic beacon seen from near and far, an orientation, and foretelling of the inner beauty of the museum and garden below.
We can only project as to how much of a global presence this, or any proposal will have. Yet, because of the nature of Hans Christian Andersen’s work, the House of Fairytales will be an inevitable link between Odense and the world. Therefore, its success as a potential must see attraction relies on the dialogue between the work on display and its dialogue with the museums more active program; such as public gardens, performance space, cafes, and shops. Our proposal attempts to rearrange the existing program in a way that allows for the possibility of discovery at the home Hans Christian Andersen.
Statement: By dismissing ubiquitous notions of idyllic nature, we are free to reconsider the authenticity of our waste, and how the 'ugly' might be re-purposed using biological [synthetic or otherwise] processes to terraform our waste into a monumental landscape machine that serves as a perpetual function of the city.
We are a geologic force.
We make marks visible from space.
We can create our own geology.
This proposal is a designed geologic cycle, the geology being waste.
More specifically dredge material from New York harbor, and fly ash from incinerated solid waste.
I designed a mountain that breathes the city’s waste,
and fuels its growth.
These materials come together and through a process of accumulation, sorting, piling, bio-remediation, and solidification through bacterial calcification, over time, grow into mountain.
The mountain has no finality. The pressure and compression caused by its growth create stone. Stone that will be harvested as the main building material for the city, completing the cycle.
Waste to mountain, mountain to stone, stone to building........
I am unapologetic to this growth and to waste.
This thesis explores waste not as marginal byproduct of a city’s function, but as an integral and perpetual metabolic component.
Infrastructure as inhabitable organism. Landscape as Machine.
I question ubiquitous ideas of nature, especially in the city.
We can design our own neo-nature.
This is first done by either dismissing, or accepting everything, as nature.
This thesis is a study of this dismissal.
JARDEN DE METIS INTERNATIONAL GARDEN FESTIVAL PROPOSAL 2014
We take great measure to secure the things we hold precious, and when those things are in the midst of nature, conflict arises. What are important players to an ecology are often considered pests to the garden--the arena where we attempt to encapsulate and manipulate the natural to appease our tastes and desires. In order to achieve this we construct elaborate barriers and concoctions for protection against the creatures that buzz in our ears, eat our fruit, and infest our foliage.
Forbidden Fruit uses the defense material of cyan orchard netting to create a garden of layered translucent curtains that mask and slowly unravel as one enters to reveal a precious center. A small gravel path is cut into a wildflower meadow attracting both the creatures we allow, and repel from the garden. When we do find the center, we not only see our own reflection, but see it amongst our defenses and the natural world, entangled as one unfolding event.
TAICHUNG, TAIWAN | INTERNATIONAL COMPETITION | 2011
Design team leader at Landworks Studio
The proposal seeks to build an iconic image for Gateway Park through the weaving of contextual alignments: celestial, regional and arboreal. Pulse Park expands the notion of a park beyond local amenity and regional identity by bringing together disparate energies, systems, resources, and activities into a “pulsating” stream. The Celestial Common becomes a primeval junction -- the 440-meter diameter lens draws energy from the sun and links the park to Taichung’s regional watershed and local transportation system. Originating from the Common, a shuttle system distributes “pulses” of activity to an arboreal forest and Landform Pods, relating the grand scale of the Nexus to the fine grained frequency of the Taiwanese landscape.
By2050, it is likely that the mean sea level in the New York area willrise by between six inches and two feet as a result of warming oceans.
Sealevel rise is merely the static part of warming’s impact. The dynamicaspect is the flooding produced by storm surges. Because of higher waterlevels, it is likely that flooding resulting from severe storms — hurricanes and Nor’easters — will increase dramatically. What iscurrently considered the one-hundred-year storm flood will recur everynineteen to sixty-eight years, and the five-hundred-year storm flood mayrecur closer to every one hundred years.