WALTHAM, 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/INTERIM PARK | PROVIDENCE RI | ON-GOING/ANNUAL
Ten Thousand Suns is a summer-long botanical performance started in the Summer of 2016 in which over 10,000 sunflower seeds were planted and 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 community members who volunteered to care for the field, with no other motive than “developing” a garden/park for everyone to enjoy.
In Urban development planning and political efforts often focus around large-scale building as either a generator of revenue for the city and or an effort to attract tourists and new residents/businesses to spur growth. With the relocation of I-195 Highway there emerged a large swath of land in downtown Providence where we have seen a myriad of proposals from baseball stadiums to skyscrapers, all accompanied with a promise to recover and propel the city’s economy. These proposals, however, are often backed by out of state developers, and seeking millions in tax subsidies with no clear return of investment to the city and it’s citizens.
As a landscape architect, I believe in the transformative potential of urban landscape initiatives as a necessary and critical component to a city’s infrastructure. A component that is sometimes not considered above mere beautification, but can provide both economic and ecological benefits necessary to the health of a growing city, and most often, at fractions of the cost of large scale building development.
In the spring of 2011, while a graduate student at the Rhode Island School of Design (RISD) I watched (and heard) from my studio window the final demolition of the I-195 highway that bisected the city through the heart of the jewelry district. Though I was a fairly new resident to Providence the removal of this large piece of abandoned and foreboding infrastructure (it remained a great spot for a beer(s) and setting off of fireworks I should mention) immediately left a spatial impact on that section of the Providence Riverfront. Access to the water, both physically and visually was easily available as one approached from the east side, also opening clear views to downtown and the Jewelry District.
In the years following I walked by two particular parcels created by the removed highway, now in the direction of the I-195 District Commission, nearly everyday, and like many other spatially driven people wondered about the fate of this no doubt valuable open space.
I began to explore some of the underutilized riverfront and initiated an experiment in the summer of 2015, and a seemingly simple one at that. Not dissimilar to the “The Lupine Lady” as was often referred to me, I sowed approximately one-thousand sunflowers seeds along and near the river’s edge to see not only what the soil would allow to grow, but also people. Would the periodic visit of maintenance crews embrace the guerrilla grown seedlings? Or would they simply be mowed down as “weeds”? If they were to survive long enough to bloom, would passer-bys allow them to remain, or would they be quickly plucked from the ground?
In the end, of the thousand planted, only four or five survived to bloom. But the botanical experiment planted the seed for a bigger idea, that of planting 10,000 sunflowers in this vacant land with the city skyline as its background, creating an iconic image for the city, and stirring possibilities of the transformative capabilities of landscape.
The sunflower is an incredible plant. For one it’s bloom is striking, easily visible from a great distance, and given the right conditions, can grow ten feet tall in only sixty days. It’s heliotropic, meaning it changes position with the path of the sun. It’s a great pollinator and food source, actively attracting bees and birds. And, it is a phytoremediator, having the capability of sucking toxins out of the ground. It was these qualities that I sought to deploy the sunflower onto this vacant (and polluted) land in what I referred to as a “summer long botanical performance.” After creating some ambitious drawings of the proposed outcome I received permission from the I-195 Commission, and along with a team of volunteers and students of mine from RISD began work.
Reflecting back on two seasons of the project The visible transformation of the land has been remarkable. Most noticeable by the hundreds of people it draws during the bloom on a weekend afternoon, visiting to capture a family photo, or simply to experience the magical moment of seeing the setting sun behind the city skyline amongst a sea of sunflowers. Less noticeable is the ecological transformation, as the sunflowers work to clean toxins present in the soil on site, they also bring a variety of bee species by the thousands, ground plovers who have found refuge in the protection of the sunflower stalks, and feeding frenzy for a variety of bird species when the seeds appear.
It is clear people from all around the state are attracted to the striking bloom, demonstrated by a Instagram search of #10000suns. However, I have received many notes and letters from people who have expressed the impact this simple field has had on their lives that I could not have anticipated, and certainly did not plan for. A woman visiting with her mother with severe dementia, told me the story of how the sunflowers somehow sparked a moment of clarity in her mother. She stopped, grabbed her daughter’s hand and said: “Sunflowers! You held sunflowers in your wedding!” A touching moment as she told me the story with tears in her eyes and thanked me for the project.
Another woman, a victim of a hit and run accident the year before, used the growing sunflower field as her inspirational location for walking rehabilitation.
A man returning to Providence for his father’s funeral, expressed he found great comfort and peace in the field during a difficult time.
These are but a few of many examples of the potential impact the 10,000 Suns can bring to people’s lives, but at a larger scale it has brought the attention of development possibilities, and that landscape is not merely land waiting for a building. Through many interactions with people in the field I believe it has at least cultivated a greater understanding of landscape initiatives and increased the likelihood that landscape architects will have share a place at the table when further urban development in Providence is planned.
RISD Adjunct Prof. Adam E. Anderson, but made possible by a team of volunteer artists, architects, students, friends, neighbors, and passer-byers. Permission and funding was granted by the I-195 District Commission and through crowdsourcing.
The Return of 10,000 Suns
"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.
XIANGYA, CHINA | COMPLETION 2020 | LEAD LANDSCAPE ARCHITECT
The Fifth XiangYa Hospital will provide a new world class model for the delivery of healthcare in an integrated, efficient and uplifting environment. The Hospital is a 40 acre campus, consisting of a series of interconnected structures, organized in two main groups — the General Hospital and the VIP Hospital — that surround a special central Healing Garden, axially aligned with the Xianguling Park.
The landscape design is inspired by the robust vernacular landscapes of the Hunan Province, with rice and flower terraces, fields of yellow seed flowers, and the karst geography of the mountains, covered in vegetation and mist.
These qualities were embraced within the site and abstracted to respond to site, program, and architecture. Given the scale of the hospital, the tree canopy plays a fundamental role, and acts as a architectural typology, with different tree species identifying different program areas while also providing a human scale to the central courtyards and respite from the hot summer sun.
PROVIDENCE, RI | COMPLETION: FALL 2017
“THE SHACK” is a new seafood shack/biergarten in the heart of former I-195 land, and adjacent to the Wexford Innovation Center under construction. A small transportable "shack" will be set in a garden of three distinct zones, diminishing in constructed materiality and recalling the coastal context of the project .
The “patio” is the main eating area, fed by a path of dark charcoal pavers contrasted by re-purposed granite curbs and crushed sea shell paving. Festoon lighting hangs above classic wood picnic tables creating a backyard bbq feel.
The “stage” is a simple slightly elevated wood platform that will act as the cultural heart of the garden and host a range of planned hip-hop and various other performances. The north portion of the project features the “lawn” where sculpted landforms allow for simple play and the open space allows for a myriad of activities.
All of these components are wrapped in a thick green edge of meadow plantings and native grasses, River Birch and Dawn Redwood trees. The planted edge also acts as a stormwater collection garden, keeping all water on site. A meandering custom cedar and blue construction fabric fence with integrated lighting artfully cradle the project from neighboring construction that will be taking place in the district.
The project was designed in close collaboration with the Dune Brothers (the restaurant operators) Stay Silent PVD (Event Planners), JP Murton (Developing Partner), Fuss and O'neil Engineers, and the I-195 District Commission.
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.
TAICHUNG, TAIWAN | COMPLETED 2014 | DESIGNER
Completed while a Designer at Landworks Studio, Inc.
Project Description from Landworks Studio Website:
"Landworks Studio developed the design for the gardens, streetscape and two roof decks of this 41-story, luxury condominium Tower. It is located in the high-end residential and commercial Xitun District of Taichung, Taiwan.
The Streetwalk is framed by beautiful alleys of Zelkova trees, connecting the Tower to the famous Toyo Ito-designed Taichung Metropolitan Opera House and other cultural and entertainment landmarks within the neighborhood.
The use of rich materials and exclusive details is characteristic for this project.
A striking art wall marks the Entry Court and provides screening as well as a threshold to the main entrance of the building which is framed by a tonal gradient of large, diamond shaped granite pavers.
The expansive ground floor halls of the building with large window fronts allow for a continues flow from the more formal Urban Porch garden area with a vast pool and art pieces, through to the still pools of the West Garden with their floating flowering trees. A partly vegetated water wall creates backdrop and center piece to this more secluded area with several terraces, a tea garden and exuberant tropical plants.
Two fourth floor luxury units have access to their own private terraces forming sheltered oases above Taichung’s busy city life.
The 41st shared rooftop terrace allows for fantastic views to the surrounding city amongst dark, slanted stone planters in front of a wall design with enormous undulating stone panels."
Client: Pao Huei Construction Co. Ltd.
Architect: Johnson Fain
Lighting: Lighting Design Alliance
Status: Completed 2016
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.
KEENE, NH | UNDER CONSTRUCTION/COMPLETION 2017
The landscape concept for the Living+Learning Commons ties seamlessly into the existing fabric of the campus. Custom designed platform seating with LED lighting that rest in a large rain garden of native planting, but also doubles as an outdoor classroom, creating a unique identity and connected outdoor space for the building.
Completed while an Associate at Ground, Inc.
SALEM, MA | UNDER CONSTRUCTION/COMPLETION 2017
Architect: Leers Weinzapfel Associates
The Mainstage Theatre at Salem State University is a renovation of their existing theatre both internally and externally. The landscape concept was to bring the energy of performances into the public realm with the creation of an outdoor stage, amphitheater seating, and a spill out plaza from interior performances. Accessibility issues were addressed with a sloped vegetated walkway and backlit perforated screen that ties the landscape back to the building.
Completed while an Associate at Ground, Inc.
BALTIMORE, MD | MASTERPLAN
The masterplan study for the Under Armour fitness apparel company looked at the relocation and expansion of the company's headquarters on the Baltimore harbor as the anchor to a larger scale redevelopment centered around fitness recreation, sporting events, and the reinvigoration of the waterfront as a dynamic public space.
Completed while a Designer at Landworks Studio.