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GBA PROJECT LIST / NOTES         §         Professional Design Work (built projects, proposals & competitions) §         Graduate School  Work §         Faculty Teaching Projects ( taught by __________ at Chamberlayne & Mount Ida College) §         Writings/  in progress   COMPETITION PROJECTS       PROJECT     PROPOSAL     TITLE /         SUBTITLE     (ABSTRACT THEME)   PHYSICALIZED IDEA   FUNCTION   ((THEORY -NOTES)) (form/syntax// semiotics   POST CONCERNS?                   -1- Nantasket Beach Recreation Feature-Site Hull, MA   * 2nd place awarded by Hull Planning Dept (!)       “Passages of Hull”   (Reminiscent Motion               through   Ocean Landscapes,     Seasons, & Eras)         Persistence & Change— Nantasket’s paradoxical timeless character-- is expressed in a multitude of ways, that engage and celebrate Hulls’ natural & urban recreational histories, for different year-round meanings and use.   (Hull is a place of many faces--  weathering many changes throughout the years-- yet always a place somehow same, forever beloved).       a) Gazebo/ bandstand appears abstractly as a        vessel-- captured in time, sailing from the       distant Worlds End Harbor, to the Atlantic      Ocean (transporting the legendary sea lamp       out to the distant lighthouse). b)  Panoramic Circle-Promenade (with pre-aimed      sighting scopes in the trellis’ concrete pillars,      focus on distant landmarks—with text/ photo-      overlay descriptions—of surrounding region.   * Trellis top recalls the old roller-coaster (white       structure & curving double rails. ‘Dock’ pillars c)  ‘Drumlin & Wave-terraced’ amphitheater echoes         the natural context, e.g. Olmstead’s Worlds End. d)  Plan reads oriented as earth-stars site compass e)  Historic Timeline Spiral Path (cosmos/ geology/       shell) tells Hull’s natural & human chronology.   Integrates with adjacent public lawn; connects sidewalks/ crossing, parking, and beech area.       A landmark (to activate the far end of Nantasket Beach ). Resonator of old Paragon Park. An orientation to the powerful natural/ historic context. (Microclimatic variation; seasonal enhancers). Solitary and group functions focus inward or outward simultaneously.   Viewing, leisure, intimacy.  Dancing; Skating. Concerts/ performances, picnic, bazaars, classes, informal meetings.             Plural metaphors/ about one theme.   One theme is revealed in many different ways-- unexpectedly in a subtle plurality of metaphoric translations sequentially unfolding at different scales of encounter. (A bounded play of ‘conceptual multiplicity’ is analogous to Hull’s contextual-historic “natural & recreational collage spirit”).     Larder scale  single function considerations? (Full-scale amphitheater won first place.  Later decisions consider buildings & parking).   -2- Copley Square Boston, MA   (no award)   “Emergent Traces” (Framing the Layers of Copley Future Pasts)     History reclaimed, Futures vitalized. (Yesterdays recalled, Tomorrows to cherish)         A unified town common frames the many overlays of past forms in Copley’s dynamic history”:      The primordial site.    The historic  Back Bay ‘filling’.    The original city node & urban-common typology.    Trinity Church architectural / spiritual projections.    The Huntington cross axis (“potent grid collision”)    The circular hill event promenade.    The Sasaki age remnants & forgotten lines.    The Hancock cross-axis and its circulation.    The Park Plaza, BPL, Boylston interactions.     Special recollections spotted where and when.    * Ongoing  today-era visits, events and creations.     (See Boston Redevelopment Authority program activities—plus open adaptations and inventions that futures bring).       Topologic square/ of plural-historic     superimpositions.       3.   How to translate the value of the overlays in real way  without  being a textual contrivance.   -3- National Vietnam War Memorial. Washington DC     “Just Remembrance” (Vietnam War Memorial       (Forever demarcated:)   Memorial Honor & Contemplation       Arc wall holds the honored veteran names in a form at once internally bonding & outwardly reflective.                                     & Spiral walk itself descends to a contemplative courtyard (with wall of names and sky seen above).     (I.e. Distinct demarcation—between the ‘memorial’’ and the ‘contemplative act of it--- occurs with the integral expression of physical form and visitors’ engagement). The arc presents .       Memorialize privately. Commemorate publicly.     Abstract meaning crystallized to pure essential form. (The Veterans’ names transcend the physical medium, without dilution by imposed statement).   More minimalism would allow more memorial meaning. I.e. The contemplation area needs to be invisible to be statement-less. Very interesting!   -4- National Peace Garden Washington DC     “World Peace Fountain” (Twice Silent)     Peace [vs War]. (Meaning by juxtaposition)     A Tremendous Peace-candle Geyser , subliminally reads as an atomic blast.   (The existing DC peninsula is carved as an iconic circular island, with skyline scale central-upright fountain, and peripheral moat /ocean ring of mist. A central crowned plaza signifies our earthen globe; An outer promenade (allee/ colonnade/ lights) signifies civilization. The fountain extends concentric ripples that dissipate indiscriminately across both ocean and green land—approached by straight & long sojourn path across great bermed lawn—through alternations of bright radial openings and shaded mood-bosques—and then the crossing of harmonic entrance bridge. (Changing hydraulics/ steam/ laser-lighting of the fountain will signal the present state of peace).       National landmark and world communicator for unifying awareness and inspiration.   Great expanse of hard and soft surfaces for large scale national events—ceremony, celebration, demonstration,— simultaneous with personal recreation.  (Accessed To/from Dc area by car, bus, or boat).             Double-coded/ subliminal metaphors.   (Also double-scaled: Experienced from a distance (from DC , the air, or in media) as a  large pure “distemic” image. Experienced from within as subjectively “proxemic”— fully embracing / engulfing.       Technically possible. Cost.       -5- Parc de la  Villette   Paris, France     “Villette Paradigms”   (Searching the Millennium Shift)         Shifting Perspectives across Art & Science  transform to 21st century re-presentations.       “Science and Art” site polemics are re-accessed ‘otherly’ through the changing datum of a new, “free bosque” system—allowing open ended cross-experiences and the provocation of change in our future ways of knowledge, design and human interaction.     Past Existing art and science programs;   Present:  Free-datum bosque   Future: Open infrastructure.       Datum Play: Binary-Fixed vs Free-variable open indeterminate.     abstraction may prove empty.   -6- State Capitol Minneapolis, MN     “Minnesota Heritage” (Of the People and  the Land)           The ‘Statehouse’ and  the ‘River’..   symbolize the capitol’s heritage.       Iconic form of “the capitol dome touching the Minnesota River” repeats at three increasing scales: a)       dome/ river form podium court mosaic b)       dome/river form of large plaza/water park c)       the dome shaped perimeter of whole site (that implies ‘touching’ the distant real river.     Vehicle access, underground area parking. Civic ceremonies and events, demonstrations. Swim skate. Concert; Outdoor vending and café.     Progressive space/ repeated icon.     Will it read; and then will it count?             -7- Martin  King Memorial (Conceptual ).     A multiscale-readable sculpture of Martin Luther King is prominently centered in a landscape integrally conveying  his words, deeds, and place in civil rights history.   The site as a whole appears as an island, connecting to the mighty force of an “overflowing” national  Potomac River;  within the  island, the sculpture is situated before a ground plane forecourt that echoes the mall— embraced by a structured landform backdrop-- rising above and beyond-- evoking the sense of  a mountain top of which “to get to and see from” .  Specifically, this sculpture-in-context  is designed with three different  scales of expression--  to read differently as a function of the viewing distance, sequentially:  historic, personal, and transcendent  truths. (ie Seen from afar-- on approach- the abstract form of sculpture  images the historic mall speech; upon arrival, personal human detail is conveyed at close range by view and touch;  accompanying the path, structurally set into the contours of the structure-landform is a timeline recalling chorological events, words. Transcendent  meanings arise in final reflection looking back from the hilltop—with site lines to surrounding  monuments and a purveying glimpse of the capitol--  upon departure.)  (A  diversity of  pathways upon approach widen to integrated departure.  The sculpture and site forms also have a resonance to the Lincoln sculpture/ and the architectural plan geometry).   EDIT IN PROCESS: —to which continue upon—to purvey the capitol and other monuments (with sight alignments intact). (There is a subtle  abstraction from the statue’s footsteps to the large scale subtly evident in the ground plane. Accompanying the path, structurally set into the contours of the structure-landform is a timeline chorological events, words.   ? Accompanying the path, structurally set into the contours of the structure-landform is a timeline chorological events, words.   —and site lines with other monuments. The great mall—echoes in podiums asiode here is a pathway upon  which to depart, that holds promise of getting there.   .  abstraction lines of the ; timeline & speeches MLK/ and civil rights/others in history. There is a departing pathway that promises getting to future (with space for demarcating ongoing history0.             8- Harvard Quincy St Gate Cambridge, Massachusetts Harvard University Quincy Street (unsubmitted conceptual; designed after exhibition)     A simple, total, “Gateway QUAD”  is proposed at the south end of Quincy Street-- as a three-scaled climactic entrance node-- continuing the existing sacred perimeter gate-wall schema—while extending outward & upward with multiple-gate horizontal & vertical layers— for an integrated spatial, functional and symbolically-meaningful narrative. Specifically, this entails :   The Quad ’Nodal Space’:  Quincy St  & sidewalks are extended as a “square nodal platform”-- fronting Massachusetts Avenue, connecting to the contextual college & city bound sidewalks. The surface is of Olde Harvard brick, with granite cross path insets— to simultaneously read as a stimulating yet amiable collegiate pedestrian plaza, (for gathering, with edge sitting), and a formidable yet inviting vehicle entry.    For strong focal symmetry, the existing Lamont  solid arc-wall is repeated in partial length on the east side of Quincy Street—to meet at  the existing entrance. Adjacent added definition by loose-grids of  trees  & grass frame signifies  old Harvard Yard— with grass terrace berming for resting, and an earth/snow/ shadow sculpture-- with a Charles River reference.  The  ‘multi-gate structure’— a hierarchy gates then performs with three scales of presence--  as sequentially experienced from different physical and conceptual distances:   a)  As the Quincy Street Gate  (‘Local-scale’ Entryway):  is a unique variation of the campus’s existing “gate-       plurality”  theme. (Includes the symmetrical “embracing arc” solid wall & existing low pillars-- added with      personal height front/ flanking dual pedestrian sidewalk columns. It’s materials and lower scale are that of      existing  fence gate (brick/ black  steel),  but in unique form--  to be distinct in a thematically participatory      way with all other yard gates. This provides for everyday pedestrian and vehicular access to/ from yards,      street buildings (museums, faculty  club), GSD, law school // Mass Ave/ Broadway, Cambridge & Kirkland      Street area off-sites—   and ongoing residential / general through-traffic.       b)    As Harvard’s Main Gate  (‘University-scale’ Entrance):  addresses traditionally as the great institutional            “gateway  to knowledge”— (especially as viewed approaching the central campus from Mass Avenue).            As the design’s main component-- it consists of  large scale, double square-pillared gate— ‘free standing’            upon the (symbolically “foundational”) nodal ‘platform’. (Interpretations of a ‘stance’ is anthropomorphically             potent, but not singularly determinate). This gate works to provided elevated sense of formal-visitor arrival,            procession & access — (vehicular-to-parking- to pedestrian)--  to all destinations in terms of a University             campus-whole. Passage functions are sub delineated by flanking guard house/ and pedestrian walk ports             that have cut-through spatial passages within the square pillars in the silhouette form of rounded columns             (eg like  those of Wilder Library & Memorial Hall). The two square pillars are crafted in neo-classical brick             & stone design, as found in the yard, with Harvard insignia and brass plaque historical chronology. Mid-            height cross-lighting as viewed on near approach/ departure completes a subliminal “H” image; another              image is that of great bookends;.  There is echo in form of Harvard’s many spires chimneys and facades;            Hyperbolic form of Harvard’s many pilaster/ pediments. Details restore motifs of the oldest gate on record.       c)   As an International Gateway (‘‘World-scale’ symbolic-beacon): Atop the two large pillars,  there are invisible            extensions, lifting an abstract-form translucent glass/ mirror top pediment-- appearing to “float” (for           cognitive, emotive, and perceptual evocation),  while changing tone completely with daily sun angles, and           nightly by internal lighting external  aura hologram/  thin sky-laser. This scale of reading of the  gate—            viewed from afar or in global media images—is thereby viewed most abstractl y, as a whole, but with the             top portion and outer relations dominating. This marks  the whole college ‘this side of river, this  part of           world”-- with a quiet-yet-eternal point-frame with bacon-like like presence against the literal or            metaphorical sky... Its pure form acts with an upward pronouncement & ever rising above from and           beyond Harvard’s foundations— while outwardly framing.  (In  both respects there are  visual  and felt           figure ground oscillations (of mass/ space, dark/light, active/ passive reversals)  that expresses-- with a           sense of assuring, intriguing and evocative interlock— Harvard’s  penetrating and interactive focused-           connections to & from  the university and world community of minds. (As such, the gate also has “harmony           with distinction—with aggregated  transference power among local companion colleges: Boston           University’s double-spire gate, MIT’s Center’s columns/ pediments,     Symbolic Note: The tri-hierarchical gateway layers evidenced as distance-relevant markers-- are re-expressed in a multitude coinciding tracheotomies  (that fuse in synergy of coherent geometry and simple narrative):  internal, to  near to far; Personal, to  institutional, to global scale. Past to present to future orientation; Detail, to pattern , to abstraction of truth. Candle, lamp, to hologram of illumination. Earth (Bedrock, to ivy, stone & brick/ great trees/ synthetics/ mirror sky. Spiritual or secular. (Progression: “ of Earth, of college, of human/ spiritual Progression occurs in lighting: Traditional lamping, uplighting, laser/ hologram.             .                PROFESSIONAL  PROJECTS  (Designed by G Berard     PROJECT/ TYPE   ABSTRACT CONCEPT/ PHYSICALIZED IDEA   CONTEXT   Theory   -1- Residence Osterville, MA (built)     Nature & Architecture are mediated by two cross axi—   that connect (reach to/ derive from) the four horizon destines of  the compass (outer genius ordini), and intersect at the house’s great interior central fireplace (inner genius loci):   ·           “OF NATURE”—The site property becomes a hyper-narrative of the greater Cape Cod natural  landscape:         (The N/S axis exaggerates the regional cross-section of “high hills woodland, to low drawn beach & deep ocean”;                   The E/W axis tells of “beautiful sunrise to sublime sunset”.  The property thus participates in the whole region).   ·          “OF ARCHITECTURE”--  Across the same axi, built landscape forms and uses generate a sense of domesticity, by projecting forms and materials from the house interior,  out toward the compass wilds (against the inward direction of the wind & sun). Specifically:           (Southward:  ‘arc’ forms make progression from the living room hearth, to Palladian windows,  to half circle            landscape spaces: a  forecourt & map-inset,  raised  lawn,  ring of birch & vinca, the jetty-echo (arc retaining            wall), flowering plant rupture, woodland, then expansive rounds of marsh bay, ocean cove, and skyline.                  Northward:  rectilinear forms dining room antique mural, to gridded French doors, to square perennial patio, and            series of thematic landscape terraces that go from formal lawn & garden-variations—to native expanses.                  Eastward:  kitchen window (open forms), utility court, arrival garden, winding drive (underscaled) marshland           approach, (considers regional Highway to Main St, Turn-off orientation sequence of hinted views).                 Westward:  leaded-window forms, nightcap patio, moon & stars perch (forms of crisscross), deep woodland.         Cape Cod, adjacent woodlands, wetlands, and a ‘concealed’ ocean.     Axial mediation of juxtaposed polemic-forces.       -2- Residence Cohasett, MA     A PLAY OF RELATIONSHIPS-- (combinational variations of  3 primary types)--  occur between the novel house architecture,  and vigorous responsive landscape interventions—to create an engaging home-place that is at once  reclusive and energetic in spirit.  (Note: Any semiotic meaning occurs resultantly of relationships).   a)  Syntactic Relations:   Axial, cluster, collision, or immersion, floating,  projection, or residual ;   b)  Formal Relations:      Repetition or contrast of shapes, material, or size) ;   c)  Functional Relations: Reciprocal, complementary uses).           ·          The Turret Garden:  (Radial projection): A tall house-turret generates concentric rings of spatial landscape                                             enclosure:  a circular green raised plateau (filled), layered perimeter of plants ,                                             ‘high “retaining wall & step garden”, centrifugal valley plantings. Lateral berm-wave.   ·          ‘Our Backyard’:          (Axial dialogue of contrasts):  square deck &  trellis, round sun patio, Octagonal grass-                                             panel, arc pool, radial to bio-form rising lawn terraces, nook/ cabana, spire vista hill   ·          Kitchen Parterres:    (Immersive-collision) : morning-dew patio; hedge/ herb garden; childhood oak/ swing.     ·          Front Entry Way       (Axial, reciprocal node): trellis walk/ courtyard; with fountain (cluster)   ·          Lost Locust-Alee:     (Axial, free floating view oriented). “Travel with me..”   ·          Driveway / Arrival  :  (Residual field/ground shifting space). Winding approach; drive-court to carriage;                                            greeted by steps to “up there”. Side lawn guest park/ snow storage.   ·          Seasonal Surprises: (Indeterminate): open infrastructure of edges, nooks & plots ) encourages client’s                                           spontaneous seasonally changing creations— e.g. flowers, vegetables, games, festivity tent.                                           Or evolved ambiguities to take to heart.       Old great-estate is subdivided. The original Horse & Carriage House renovated to a contemporary private residence.     Theme of (syntactic, formal, functional) “relational” variations.      variations in three ways: syntactic,  formal, and function.     relational variations   -3- Residence Centerville MA     “SPATIAL MOMENTS” OCCUR  ‘EPISODICALLY’ throughout the garden — creating an experiential mélange of image-potent places that resonate with the very diverse surroundings of ocean/ bay & glacial lake, moraine  woodland & fauna wetland,  enclosed & open views & old estate motifs. (“The moments speak to /from the regional spirit of old Cape Cod”) (A “connecting” narrative of water integrates the whole design & context in surprising ways, both visually & functionally}.   ·          “Leaf Patio”: Leaf-shaped bluestone patio floats in a sea of earth-sculpted vinca, nestled within secret sunpocket.  (Stones are cut/ layered in ‘vein’ patterns; Single canopy tree punctuates terrace; ‘Acorn’ sculpture-bench traces). ((The patio’s abstraction of “leaf properties” in permanent materiel & hyper-scale is seductive for contemplative uses—while calling out to branches above, ever-collecting patterns of filtered sunshine & shadow, raindrops, fallen leaves, melting tracings of snow. Stained glass window ornament articulates an interior/exterior dialogue)).   ·          Driveway Loop/ arrival plateau: (“Ripples-in-Pond metaphor”):  A bubble-up “source” fountain at central island,  generates concentric ripples: the island berm-garden, driveway loop & parking,  concentric lawn-rings,  wave-stonewall graduated planting enclosure,  lower wild-grass terraces & forest garden band —Implying continuity with off property lake on one side, and the harbor on the other—and horizon all around).   ·          “Beckoning Sea Garden”; A moon/sun shaped prospect patio, with center reflecting pool & drip fountain and surrounding  trickle-moat—‘plugs in to’ a planted geo-stream that drains house and site water,  cutting a vivid dynamic life line through grass land, down to the fern and marshland and great ocean habitat below,--which in turn are called to climb and  embrace the patio. (“The stream is ever-changing— with the mico & macro rhythms of day/night, of seasonal attributes abundant and scarce (eco-cycles water, snow, freeze, thaw, dry;  water/dryings/ice & snow, hot /cold, sprout/decay,  birds & butterflies; decades of successional growth to accompanying the spans of human aging. Demarcating ecology outwardly, spiritual perception and attentive emotion inwardly—it is about life symbolically— found always somewhere between a reflective center and connections to all”.   ·          “Crescendo Cliff”: Rhythmic terrace-step garden dramatizes elevational differences— as experiences alternate in          open sun vs bosque shade, direct vs lateral views, external vs internal focus-- while connecting the upper public          arrival area to private lower pool lawn area. Conversely viewed—from ocean boat-- this reads as textual knitting.   ·          Series of modular structured spaces extend architecture, in a theme of dorm & size; variation on introverted /extroverted attributes:  open high deck (by owner);  brick sun court ; granite quad-bosque court. Garden-court; lawn-court ; brick terrace  (rectilinear theme—purveys biomorhphic pool’ Grass court. The courts intercept and transform water from original arrival fountain into various expressions, before releasing it to ocean.   ·          Swimming Pool Area:  echoes the undulating form of the bay,  (inspired by Thomas Church). (A linking stepping stone with grasping walls—a syntactic parting point—make thoughtful release between pool lawn area and the seashore preservation seashore preservation region:    ·          Seashore Preservation Woodland Garden (maintain minimally) accessed by ‘old-path’, to ‘found’ bench-swing—         for cryptic observance and final connection to vast marsh and ocean bay   ·          The untouchable preservation becomes attached and the released by a precious hyperbolic  “linking stepping stone”, nurtured by grasping walls.     Upscale hill top residence flanked by marsh ocean bay one side, and lake on the other. Episodic logic: collage of images.     Episodic reference   -4- Residence Sandwich, MA   A  formal narrative of spaces occurs: ascending from a shady upper woodland circular patio/ garden, to a  wind and leaf collecting square mid-terrace, to front deck / free form lawn garden—to sunny open front ocean vista. (ie The garden connects aftward Cape hill forests to forward Atlantic horizon). Pedestrian access entails syncopated horizontal &  vertical choreographed body movement and shifting vistas.       -5- Residence Nashua, NH   Elevated long-terrace/ walkway (corridor)—is laterally  held by field stone “”wrapping wall”— that longitudinally “reaches out to pond”, then  spirals down with unfurling ( curved hand) step terraces (that also resemble the interaction of pond-ripples)—then  interlocking the lower patio, and  releasing one to meadow conservation land.  (The structure &  planting bring out inherent thrusting-geometric forces of house to site; Forces and materials echo geological configurations and substrata.  Includes  “frost/ dew garden”); Yankee vocabulary.         -6- Residence Dennis, MA Prototypes:   Condominium garden-courtyard— subdivided overall ‘L-space’ into series of interconnected thee/ variation rooms-- for sense of more in  a limited contained area: Spatial zones—and the threshold s and junctions between-- become animated as units, transitions and whole-- as with memory-interplay-- to enlarge the experiential depth (and time-delay)  of spatial sub-experiences;. The simple hard vs soft combination of modular garden divisions includes simply varied, carpet like  bordered rectilinear floors (grass vs paved/  vs groundcover combinations) ;  planting is open vs surrounded vs filled with great trees—and special-native understory/ seasonal planting.  Seasonal /microclimate  make simultaneous diversity. (Eg melting patterns, freezing melting patterns; growth stages; Provides eating/ social area, contemplating & rest area,  or open garden. The proportions give false perspective illusion. Trellis/ fence articulations have frame-ports to off site elements. Open-ended area invites annual experimentation by owner.  Trickle stream, lighting and sound play further theme variation through series of spaces and thresholds.  (The L shape/ and walls cerate haptic “mystery” extension, orientation sequence, vista shifts, and  dramatic light & shadow calendar marker patterns         -7- Residence Duxbury, Ma   Childhood memory of client evokes “Azalea / Rhododendron/ boxwood/ dogwood”--  woodland understory garden;  sub scale experience delineated within whole ; is ornate as object in he space as viewed; Acts as a walking garden within; a spatial delineator without; and as an ornate, changing  landscape object. Infrastructure         -8- Residence Hingham, Ma   Historic-vernacular street, yard, and foundation plantings;  two  formal terrace areas extend house architecture are  of opposite character:  Utility patio-- square, shady, introverted, enclave; front entry  circular, sunny, extroverted, protruding Naturalistic fringes meet conservation woodland. Cross paths.         -9- Residence Cotuit, MA   House hilltop siting, with an anthropomorphic gesture:  ” the house itself turns oblique to the sea— for “far away” gaze & contemplation.   anthropomorphic allegory     -10- Residence Plymouth, Ma   Whitney: (Elderly) min budget -l form belonging of terraces by function attach; garden mow path; schedule of flower/leaf /branch  color sequence, and forms evokes feel of off-site lake; house  as island; house in bed; bed around house buffer showpiece.; steps back; elderly minimal maintenance;       -11- Residence Kingston, MA     Conceptual plan “flowing’ lawn appears as water glen metaphor; Three patios thematics (as islands about the house) circle, square, free-form variations , pub/private uses, com-pass orientations   (Schematic/)       -12- Residence Lincoln, MA   Preliminary 32)  Created  horizontal plane-layering of space (distance illusion, from modern rectangular house-plan trellis; inner outer; pasture motif; (Partial built) -- embracing arm”/ waving Modernist house, bucolic – conservation. (Eclectic issues to resolve)       -13- Residence Plymouth, Ma Griswold     Hilltop garden : lawn/ border echoes form of lake and peninsula; steps terraces activates sense of glacial moraine, kettles, terraces in the regional geology-- and resultant native planting-- connecting with lakes/ oak/pine/ understory natural history— (property as ‘design” is self-invisible). Exterior of house architecture occurs as patio, deck, trellis, and pergola, fence/ lattices; Ornamental sky reflecting  garden pool acts medially. stone drive/ parking terrace. Vegetable garden. Needle wood-chopping nook.       -14- jerinda   Woodland  botanical/  with  modules of grass, hard, deck; simple ; planting beds rectalineal /oranic-forms; within planting dialogue with pons (plant shags) calling properties; attaching the pond;  hidden spots:;; special  plant typologies—groves,, woodland meadow; lawn, peninsula;. Entry drive garden.     Botanical; modular; -15- Residence Pembroke, Ma Drive way frames g cnetr  planting House treatment; open lawn areas stret frontage; Gardensque; acrc; lines of house, framing; panorama’/neclcalss; too     Street Planting ----           -13- Perry Drive Community St. Treatment Duxbury, MA     Significant  place-identity of a neighborhood street is brought by layering large scale lines of close-on center great street trees, understory, and ripple-pond landform berms:  creating clear, strong unified “corridor / expanding-node” overall spatial definition; within this overall spatial integrity, special sub phenomena distinction occurs by the unique juxtaposition of several species— causing intriguing dynamic seasonal changes in plant dramatics (of pattern, texture, color,  timing)—and in turn the variations of lateral &  longitudinal spatial -view articulation. Specifically:           The corridor layers: sunburst honey locust in grass (define street/ sidewalk);  planetree in bluegrass  (define yards);                                        rhythms of open vs closed woodland and field grass (define outer edges).                                       Long gentle terracing visually drains to the pond while laterally reaches to yards).      The node layers:      (cul de sac):  creates concentric waves that reach out to pond:  center island crown of                                         grass and ring of skyline (reaching) honey locust;  ring of ‘droplet shaped’ dark leaf                                        linden trees (are staggered on outer ripple earth-berm) against distant golden weeping                                        willow (at pond shore). Conifers frame rhythmic vistas through the site’s perimeter boundaries     Old Historic Farmland becomes 10 acre-lot resident subdivision with  cul –de-sac       Minimalist Strategy With sub-scale slight complexity.   ie ((Plants)) Simple large-scale geometry (emphasizes bold longitudinal space of public corridor & node). Simple layering-complexity dynamically expresses semiprivate lateral space, seasonal variations ((Landform)):  Enforces enclosure. Provides identifying semiotic “berm ripples” of adjacent pond.; Views & microclimate accentuated)) -14- Shallow Pond Estates, Plymouth MA       Two residential streets & gateway entrances are created—unified, yet distinguished-- by a theme of inverse landscape variations-- bringing a heightened sense of a coherent major new neighborhood cleared and settled within Pilgrim’s Old-forest.   Primary Entrance Way  (Katherine Avenue):   ·          Double boulevard and bermed center island align west to east—toward ocean—an abstract formality of            vernacular landform & vegetation. Central sign focus; two sidewalks. ·          Long running Pilgrim fence; Concave fence terminus with convex fieldstone walls.          extended running fence, ht-syncopated ·          Major Pillars with vertical cast iron lanterns; ·          “Pond-Springs” fountain ·          Shade oriented landscape; enclosed ; extroverted; in cut; encl.         broadleaf understory; existing trees dominate (slipped in woods garden) ·          The Sign: “S” (Shallow Pond) stylizes a swan.                                                                                                                                                (Design of Inverse relationships)                                                                                                                                                                     Secondary Entrance Way (Donna Drive):   ·          single roadway; no island;  /         subordinate signage; one sidewalk ·          Short-running Pilgrim fence; Convex fence terminus / convex fieldstone walls; ·          Smaller pillars, with global  lanterns; ·          “Pond-dry fountain” ·           sun oriented landscape; open; introverted; in fill; open; needle understory; Precleared. ·          Sign (discrete)   (Spatial Hierarchy transition occurs between the large scale public (street corridors & entrance nodes), and the smaller scale semi & private yards/ diverse private garden).)   Residential Streets & Entrance Areas  to 200 lot subdivision) Plymouth old forest becomes semi-cleared 200 lot woodland (loop road) / major new neighborhood Esker-bermed road center island , with plane tree/ and hemlock arcade hemlock, ee ; lateral locust and plane; yew infrastructure broadleaf and ornamental decid; Rhododendron, azale,. dogwood juniper/ barberry/ cypress’/ pjm/ cotoneaster; locust and plane tree street m terraces, lin, (“ Bradford pear, hemlock, purple wintercreeper’ ) Living Complexes         -15-   The Cushing Residences— Elderly Community (HUD) Hanover, MA   (Three multi-story complexes) Planting/ active & passive spaces unites disparate over-scaled buildings and parking areas, and absorbs them within abandoned south shore old forest farm context. Entails three scales (nested hierarchy) “ from larger to intimate scale spaces and planting design occur for elderly/assisted living :   Overall scale:    1)  Larger scale: (ubiquitous ‘setting’ interpreted / supported as “Natural-Romantic”};                           Roadway allee (exaggerated oc to appear larger scale). Vistas to adjacent woodland (‘borrowed                     view off-property site); Conifers, oak, wildflower/ grasses; at fringes seem continuous with far hills.      2)   Mid scale:   Community park garden spaces: sporting area; public vegetables & orchard ; neighborhood lawns;                             Add-alternate gazebo; aux function patio recreational amenities.       3)   Personal Scale:  Private gardens and   (Note: Building Architecture motif derives from the original hen-house forms; ).   Farmland HUD development   nested hierarchy Two aesthetics-scales : the “Romantic Park”; and personal domestic.   Species and images  of childhood; present commuting with  friends. Outdoor garden, resting, semiprivate planting areas, s c games, visitors-rest   -16- Two Cape Cod Nursing Hms:   White Hall Mnr (Hyannis, MA )    Eagle Hill (Dennis, MA)         Simple planting and outdoor spaces in disrupted woodland areas for two HUD complexes: Includes parking lot trees & screening; walkway and entry & sitting areas; Window-arc panorama   Planting changing “seasons”  for  the heart. Selected pruning for varied transitional under/ overstory relationships; borders; Within existing;  (Add-alternate courtyard & passive  recreational areas. NIC)       -17- Pine Hill Estates Retirement Condominium Community Mashpee, MA Entrance   ·          (Gatehouse/ Double Rd Entrance Garden)         Elevated seaside ornamental planted area, with bermed fencing and graduated planting/ geo-terrace definition.         The physicality makes a semiotic spatial sequence of: “Check entry (sense of security)” ; “Welcome”; and         “Something climactic ahead to reveal ahead”. Strong order of street planting then acts as unifyimng public necklace           through neighborhood.   (Inverted ties in planted ‘sea” have dock connotation; Fence a theatrical curtain effect,         unveiling the arrival The Exaggerated topography of entrance sets up intriguing anticipation for hills and water- cliff          beyond; Ornamental Plantings are suggestive of qualitative community with amenities). Streets trees similar great           scale, vary severally for sub neighborhoods;   §          Prototypes Yard/ House Plantings and walk for four type units, x three types solar orientations).     Pine / Oak forest + ac subdivision   Residential Complex, Nashua/ Amherst NH Crestview: Erosion control;  steep ledge site NH;  banking plant gradations of elevation/ lineal story band.    distant approach, the entry, the assent, the arrival, the background. domestic motifs;: Ridge; steep slope high ridge;       Residential Complex, Nashua/ Amherst NH   (Four large block buildings, with court entrance) Treat central green space as “romantic Park”, with double loop promenades  and axis walkway system—and square entry court; landform enhanced—echoes walkway form with river-oxbow reference. Compass directional cross axis between building NH setting .                 -18- Kingston Residential Community Center: The special site is wrapped as a planted oasis surrounded by great trees, seaside type plantings  and landform “shore”;  within spaces literally express community center program’ behavioral-patterns—with more “inland “ type species.  (Arrival/ park/ walk/ entry;  room-uses exploded to courtyards;  Community flower & vegetable; garden Passive/active rec: reading, meeting, cookout/ picnic functions; badminton horseshoes, gathering; overall patterns extend from building in energetic vortexes. Public to private. Planting species gardenesque to seaside outer edge schemes; plants                 -19- Pilgrim Center Juvenile Rehabilitation Home/ School Braintree, MA     Focal Planting inspired  by the Chapel’s symbolic stained glass window  (a cherished gift of hope). Wandering path, Therapy Courtyard and Contemplation Perch. Discrete natural entry way. Stabilization edges & swale. Existing woodland/river Stained Chapel window with rainbow leucothoe, upright beech, red twig dogwod— community patio/ three-   Commercil---------         -20- Bayside Expo Center Boston, MA   (Co-design phase 1)     Conversion and expansion of existing buildings for Oceanside Exhibition Hall,  on vast beautiful point park site-- to attract & accommodate day and night and seasonal rhythms of varied crowded  events (eg flower show)— are integrated by tree planted Bayside-Promenade, festive entryways, café terrace; parking plaza & green courts; intimate window panorama gardens &  fountain (nic). Grand walkway allee; window “sea-waves—panorama”     Urban retail area redeveloped and expanded.     -21- Ferry Chiropractic Clinic Weymouth, Ma)   Signature designed medical building on a busy suburban Main Street is given landform and planting to unify site as whole—distinct from adjacent lots, with sense of special identity,  security and amenity-- to attract and comfort new and repeat clientele.   (Formal-Referential):   An abstract modular-composition of foundation and site planting is inspired by the new clinics                                       special architectural character. Parking lots become spatial quadrants.   (Emotive-Referential):  An underlying feel of “quilt”  permeates a nurturing domestic quality across the domain.   (Anthrop-Referential):   In counterpoint,  one weeping beech tree,  and 2 to upright poplar depict the polemics of                                         “chiropractic postures”.   (Functional aspects):    Focalized sign area, clarified safe vehicle-entryways/ coherent access (vs dificult  Main st traffic);                                      Pedestrian connections from parking to office to patient’s therapy- walk. Protective screening.   Private Main street lot;     -22- Quincy Office Building Washington  St & McGrath Highway Quincy, MA   The building (stilted over ground  parking area)—  is surrounded by sculpted landform perimeter  berm ,planted  with great trees and architecturally layered planes understory-- embraces interior site like a jeweled necklace. (Alternately reads as original landscape around cleared space,  or an esker-event).  Acts as protective buffer defining coherent interior space,  as larger scale anchor of  building to ground;  (distinct from surrounding properties) - Inward or outwardly for offsite hides parking and celebrates building/private transition  vernacular gesture. Evergreen and deciduous mix diversity off season effects—and sense of ephemerally. Shaded walking  areas;  protective enclosure. Framing of building viewed from streets. Distinct from smaller scale; unified disparate elements;   Includes sign-terrace area as nodal focus, and perimeter treatment.   simple (acts at three scales—the larger scale necklace and building seen from a distance—eg from other town areas and vehicular approaches ; as viewed along side at automobile speed mid scale; and intimate scale of pedestrian or from interior window views, scale of larger building complexities at pedestrian scale). screens vehicles, calls to distant existing neighborhood conifers in vernacular gesture ; new glistening loc; strong corporate feel.           -23- Self-Storage Auto Park, Nashua, NH     (For Multi/ long-row garage-structures newly existing on steep east facing ledge hillside):   Planting design/  outdoor walkway &  space provisions provide:  stabilization, clarity of access, visual integration with context, functional/ amenity uses. Entails primary longitudinal vs secondary lateral roadways, with hierarchy of entry and sub-entries and arrival nodes, sign-focals delineated:  Planting/  boulders/ landform  ( spatial definition)-- occurs along the longitudinal primary access roadway/ at the ends of lateral buildings —thus reading in  two ways:   Longitudinal (vertical reading)--  spatially enforcing  the sense of access road climbing against (rhythmically pulsating. “measured”)  contours—with the experiential theme of “ascending”— that amplifies site’s original spirit of place).   Lateral (Horizontally reading)--  “framing’  the ends of each “building row”,  varying  to  individuate a theme of sub-entries,  and defining parking/loading areas  as hard-terrace court-like spatial rows.   (Lower vs higher contours are sub delineated). In all,  is a plurality of lineal spaces (and vista) and masses that connect with the geologic/vegetative layered stratification of existing hills:. (ie The expressed  “contour-identity” fuses as lateral macro- connectives across the greater hillside— perceived  especially so from the distant highway). Remote Reference to ns roadway terracing and RR car/ track history (to nearby mill).     * Experiential sequence: Upon vehicular entry, there is initial squeeze, rhythmic open closing / views into or from of lateral roadway entries, exaggerated spatial explosion at upper arrival/  panoramic node. “Apocalyptic summit spot identifies office / visitor plateau (with NH stone terraces)  Alternate reading is a figure ground reversal-- that plants are “remnant nature”. Other old site trees remain at edges, high pruned canopy as transitional zone—and “filtered views, and flickering light”.         -24- Imperial  Millwork W Bridgewater, MA Planting design around exiting infrastructure signals public entry way-. Earth raised planting bed has dynamism of s millwork spinning lathe/ and modular (wood) planes;  add alternate open & bosques spaces.     Weston Reprographics (proposal) Window garden panorama parking lotr, walkway, street boundary t planting  site treatment     Commercial: Professional  Offices Perry offices, Hingham , MA Planting design makes spatial/sensual/ symbolic  “Frames within Frames”:   a) industrial park context;   b) the corporate site as an adorned island;  c) the building as hierarchal program l (primary embraced building whole; secondary accentuation and extension of  three entrances ‘; tertiary highlighting of window-walls. (Alternative reverse-scheme also offered).       Commercial: Spitbrook Professional  Offices Nashua, NH Native vegetation and geological features are  “formalized “ within planting beds (dark brick infrastructure , fieldstone cliff- walls (by arch)-- as microcosm of  the NH  mountain/ forest/ brook context.  Entails Widow panorama & focal garden- pockets; parking glen; undulating ‘land-formed walkway’  / modular sunpocket courtyard as a mediating structural extension calls to the far vista. Saving of vegetation and original site features and selective pruning retains sense virgin forest presence.       .     Mt Ida College College/ Newton, MA 20) Planting Plan & mater plan proposal of thematic courtyards,  Mt Ida: master  circle motive as “place, arch):   wholistic (unifying) campus: entry drive/ gardens; : campus center (plateau, open & bermed green, courtyard); mosaic commemorative mosaic map campus/ Boston; & design school amphitheater; pond area. Master Planning       Commercial Planting/ Fast Food Restaurants McDonalds; J H  McManus Co: KFC; White Hen pantry: Basic planting  vocabulary; moderate maintenance; foundational; enforce safe walking/ through gardens; sign focus; screening. Microclimate; Integrate w street trees                                   GRADUATE SCHOOL PROJECTS (selective, by _________as student, Univ of Mass 1979-81)   PROJECT IDEA Theoretical Course     1   “The Largest Smallest Patio”             The tiny Patio Garden is a ‘venn-interlock’ between the interior house & the off-site landscape context. (ie The interior: is expressed in patio by similar floor/wall materials, proportions, complementary uses.      The off site landscape context: is expressed in patio by mirror imaging the across the pond—      completing a symmetrical site section that is centered on the pond, rock gradation, course sand,       shore grasses, perennials, amalanchier,  birch, and hemlock—making the patio feel “of the whole”.).       The little patio gains “emergent” presence, by the synergy of ‘interior/ exterior contextual interlock’.  (A minimal amount of actual property space becomes virtuously maximized in a simple way; The patio in-itself is transcended).   Residential Design Space; wholism; program for client   2   “Victorian House— In Another Time & Place”       Antique Victorian home is relocated to new long site, for contemporary ‘re-experience’ and uses. Site space is divided into forms and proportions found in the house—and relates to the various interior rooms, and sequence of outdoor uses. Variation in the orientation, plant land and structural material occur within similar size space, vs large single (space, and a system of contrived coniferous and deciduous allee. Drive way/parking court entailed. The house essence is magnified and activated by exterior relationships.  Victorian/ modern Dialogue; Site Planning/ Residential design     3   “Turners Fall Recreational Facilties Park: With Rhythms from Afar”         Fractal geometric expression of the regional shore geologic/planted line is repeated at  the town and intimate scales of site. Space inherent include formal grid-bosque circle and pathways vs the irregular  succession woodland areas. Programmatic elements absorbed include:  Community pavilion / concerts,  picnic areas; Baseball/ football/ soccer fields/ running track/ free paths (connect to region).  tennis courts badminton; horseshoe; children’s play.     Urban Design     4       “Greenfield Waterfall Park: The River in Rhyme”     The ancient river, the historic mill, and cultural heritage are rediscovered-- transforming the  forgotten mason ruin into hard and soft structured recreational spaces/ and gateway landmark. (The design reaps forces of the existing river dam angles, (Greenbie,B)  and recovered mill forms & materials; in a interlocking composition  of Stone/ Green/and great trees. Structured: entryway, overlook, Step terrace-bosques; Grass/Structured play terrace; Grass/unstructured evolving shoreline. Riverwalk links to river corridor green open space.     Urban Design     5   “Fire House Residential Conversion Circle the Square”   An old firehouse barn is renovated to private guest house—maintaining integrity of block structure and open interior space and wide square wall/ door proportions. The antique FIREPOLE becomes a form point generator for embracing layers of radial space and materiality: a circular sculpture-patio, lawn terrace, and graduated rings of planting that when viewed through large square window,  pole-step type outdoor terraces-- make a dynamic visual-text of seasonal changes (of bud,/flower/leaf, yearly growth and weather affectations) that race laterally  with circles of energy, ascend or descend longitudinally. Changing sense of spatial enclosure (varying in size and ephemerally) and materiality (varying in actions of presentation)— emotively play between   intimacy and distance, and in another way between beautiful and sublime.   ??House structural b sun room oritents, cradles garden. fure hose refe, hat cup ref). layering of plants repeats geometry of pure space. Harmonic circles vs house; Min geometry/  diverse planting          of “racing change of colors text, and degrees of spatial enclosure. Other square  /axial spaces play off the circles energy.         6   Residence   Formal: Inverse abstraction of house Rectilinear Walk path and node; through positive and negative spaces; Rectilineal longitudinal walkway with thematic hard nodes, through positive and negative soft spaces—‘surrounding’ house—acts laterally as magic interlocking  threshold between the interior and exterior. Within the wild nature;       7 “Two Ballparks for Westfield— Offense/ Defense ( Give & Take)” Two town common- parks are opposite in formal and recreational nature—but common   Park #1: Theme of Added-Space (by introduced plantings & landform);  Focus on  ‘gathering’ of events. Park #2: Theme Subtractive-Space (carved from existing forest &  landform). Focus on ‘dispersing’ of events.   Civic Design     8 University of Maine-- “Designing a New & Old College”   Natural deep ravine and old forest, is preserved as a spatial-historical disjunction between (apparently) old residential quad and  new academic area. The opposite private/ vs public character of these halves are enhanced for a meaningful dichotomy: the campus bridge becomes symbolic. (Program uses a bifurcated interpretation of the “Dober Model”). The college synergizes organically for a traditional upper New England affinity.         Site Planning/ Institutional     Case Study   Brief case study of the  University of Massachusetts Southwest dormitory complex (Stubbins, & Wacker) Entails history, design development, implementation, and evaluation. Special application of Greenbee’s proxemic/ distemic space analysis.               Light articles a) Song of the Sourwood b) Phenomena— the real stuff of Landscape  Architecture; c) Is there Dogma? d) Our campus landscape. e) Tripto the acropolis (from C Jenks)   Department  Newspaper     9 Condominium  Development—      “Symphonic   Orchard Hills”     Clustered duplex-housing, in a syncopated layout across the hillside-- is inspired by the existing image of double flowering/ apple clusters, and the symphonic “musical score character” of  contour configured orchard trees upon ancient hills. Step-up / staggering spatial character of new buildings have both private yard courts, open vistas occur at various angles through and over orchards. Parking court access occurs as lineal courts—that occurs between structures, with minimal vista obstruction. Pedestrian connections; private decks or patios, community spaces; Includes connections between parking and structure, to surrounding community gardens and orchards, to trails through site, to orchard, town sidewalk & bus-stop.   Syncopated layout of duplex cluster housing is inspired by  the symphonic character of ancient hills, with their music-score seasonal patterns of old double-leaf trees, and clustering of apples. Syncopated character of duplex cluster housing across the hillside- is inspired by the existing image of double branched apple clusters and  the symphonic musical-score seasonal patterns of trees upon the ancient hills.                   Site Planning                   Site Planning     -10-   “Amherst Place” Mixed use Subdivision— “A Virtuous Trichotomy”         Mixed Subdivision, combines 3 EXAGERATED USE-ARCHETYPES. (Each is presented purely  for strongest essence—and play off and complement each other for a robust sense of total place.       ·          Commercial Outlet  (“Corner intersection” Urban-infill”  archetype):  Occupies  the busy most visible corner—condensed grid-type space provides sense of contemporary viability and easy access. Concentrated rectilinear “Parking Court”. ·          Residential Townhouses (Neo-Suburban Archetype): cul de sac/ private parking. Circl/ undulant.                                                    biomorphic foundation and yard ornamental shrub res tree ·          Bucolic old-field/  in picturesque wilderness (Rural Archetype):  Pedestrian and wildlife only. Entails urban bosques/ allees great native and sustain understory; old path/fence; old stone wall/ fence boundary    *  ((A common theme of water reappear in those ways- from forest hill-- farm pond, childhood creek, city fountain. pedestrian), the surrounding grid of town roads, and outer forest hills make this trilogy of pure archtypes a “unity of differences”)).         -11- Construction Pond Design aesthetically a hydromorphic form;  technical: grading, plan/sections; dam; Roadway and Parking Layout and grading  plan & profile sections; Cogo (computered calculations). Wall: slipping, sliding, overturn calculations &  sections Baseball/ football field  layout & grading> Theme of exaggerated terraces; softball/ football; sledding; walking drainage; cut/fill Tennis Courts in cut & Fill   Construction     -12-   4 Spatial Models:    [Exercises base on combinations of form-tyoes, / degree enclosure, orientation, & encl materials]           Landscape space is positive focus, controlled by combined Volpe parameters:   a)  biomorphic-based space/ plants     b)  biomorphic-based space//  landform; sunken /“channeling; undulating vibrancy; +- el; positive/ negative figure ground reversals; space/ material enclosures & object  m/void   c) circle/le-based space/   structures/  open/ closed; Symphony of Circular; (overlapping forms X positive/ negative).: STRUCTURAL/ ¼ open   d) rectalineal based space/ structures/ plants ; spaces/ spine interlock ; open; ephemeral; platforms; postured a  upright open/ enclosed   Spatial Design   Gardenesque Planting  Exercise projects: Complexity, layering of :Planting the old high-wall. Central ized garde planting. House Foundation moser       Washington Residence     Neo-colonial garden. martin                                           INDEPENDENT STUDIO PROJECT see other 2/27; plus drawing behind the lee text       Notes in progress:  ADD TO 11/3 dream gardens : PROJECT                                       Residential Design Plymouth, Ma.       Introduces steps to capture sense of larger  meadow terraces; hose in planting island floats in the larger landscape. ; island in house; prospect/ refuge behind/ from-ness points of view; t; presenting ; shore analog ; etc; false hill exaggerate;     whitnety Science:. (Prelim conceptual; unbuilt)     Science: simple spaces with reference to forms and interconnection between “ atomic, molecular, biological, ecological, galactic”.     SCIENCE GARDEN: Scales and paradigms of difffernt sciences__sense of the atomic/ molecular // geoplogical, horticultual, biological ecological , cosmic // spiritual. ART & SCIENCE GARDEN:  FALSE DICHOTOMY  GARDEN  : art scince vantages and resolution.         Heidelberger philosophers garden (conceptual; unbuilt)     * Commerative study gardenf or beloved Univ Massachusetts philosphy professor, deceased premature.    circles simplicity gives way to s compexites of rings and layers of meaning—as one may wish.   At the center lies the 100 year oak tree and the old earthen mound remains; off- concentric circles of presence-- most subtly signify debated rings existence: realist paltonist,  exitentianall relams. Layering: hist of phil mosaic pices—perfectionas and flaw core     . Sunny, shady, win Seasons become metaphoric” spring, summer, fall, winter-  Outdoor classroom, sculpture, gatherings, intimacies- circle ces of: tcicle simpes a presence (tikelienz0 erathedn; matet mid as coneceorh; third platonic  (alleg of cave) centric layer or over. pure/ to not    Grass terraces ---------- * Platonic, Existential, Medieval, Humanist,  etc. Time line ; Historic cross-sections of philosophical views; (Allegoric history) e.g. Enlightenment vs Postmodem ways.  existence  (unresolved) . Meditation garden 1:  pure circle; siting wall; "pieces to a whole In floor mosaic; Parts to whole; cross-sections. alternative transcendence; disappearance;             Numbers Garden   (Prelim conceptual; unbuilt)    “Sense of  ‘numberness per se’ and ‘different numbers specifically’—in terms of abstract meaning and symbolic evocation:  spaces have arrangement of objects/ distances inherent;   conveys  the myth of zero; evoked feel of ‘one-ness’,   ‘two-ness’ (has a relation), ‘three-ness’ (has relations between relations). Includes Infinite modus strip, Arcemiedies walk to a wall; Pythagoras. “Ideal forms  (eg candidate“golden rectangles)”.       Minnesota Corner Park (conceptual; unbuilt) Historic corner parcel becomes building and hard/soft adaptable landscape interlocking terraces—for maximum year round use. (Natural & cultural history expressed in the inside/outside  interlock.       The ‘Dancing-Garden’   (Prelim conceptual; unbuilt) Secret enchanted “hilltop garden place”-- accessed by luring spiral path--  accommodates dance and music performances; The garden spaces themselves subtly express the choreographic sprit of swing, waltz and tango,  modern jazz, and classical dance.                 Poets garden; see othert : structual, poststruct, deconst,       Woodland Ampitheater   (conceptual; unbuilt)     The amphitheaters form is an interpolation of existing vast surrounding landscape: It engages and participates in the forces of the regional  landscape cross section—that passes through it.  (ie Specifically, the amphitheater pattern of grass terraces and stone edge  junctures, unfold  to meadow berms, that  release into existing wildflower undulations-- that visually  connect to nearby lake waves-- with final resolution in  distant rolling hills,  and horizonal stratospheric  cloud formations. Compass points alignment cues; sunrises & sets are framed. Sky-rim. “Rain channels”.         Phenomenology Garden(s) (prelim conceptual; unbuilt) (Experimental reductions and synergies) ) * EMOTIVE GARDEN:  Emotion as an intrinsically valuable palate.  (Translation vs evocation of emotional tone scale: serenity, happiness glee, awe, ---anxiety-- despair-- nostalgia recovered joy. Interrelational play of moods. *SENSATION  GARDEN: visual, audio, touch, smell, kinesthetic, and haptic spaces isolate  and intensify modes of perceptual experience. (An old idea in a new light). * THOUGHT GARDEN: garden tries to be invisible medium to evoke ones own reflections about life           Virtue Garden (Prelim conceptual; unbuilt)   Ethical theory spatiatialized  “Character/ Principles/  consequences”. (Push / pull &  metaphoric weighing”. Pathway chosen “goes around/comes around”-- free will vs  determined aspects; Reflective/& deceptive / surfaces & depths. Short / long term causal connections; Gratification / delay.       Aesthetics Garden conceptual; unbuilt)   Representation, composition , emotion/ and other.           Paradox Garden   (unresolved)   riddle, delima, deception,  illusion. &  revelation;  maze, void, paradise.       Logic Garden (Prelim conceptual; unbuilt) * Elective sequences through garden spaces eloquently express a hidden classical matrix of various possible logical relationships:  affinity, contrasts, contradiction, contrariness, contraposition. There is sense of the ‘’whole’ of ‘parts and cross parts’— of properties, objects, aggregates, events-- and then the ‘relations’ between. (Entails degrees of fusion (singularity, totality, plurality); Transitions, progressions, dichotomy, dialectic, cross/ paradigms.         Astronomy Garden (Prelim conceptual; unbuilt) "Lens-like" circular spaces;  "reaching"  topography & outdoor telescope perch; accurate star-sprinkled calendar pavement/ walls/ and frame-point overhead structure; eclipse feature; moon gate; un-earthform enclosures.         transitions Relational garden:  relations between: dispositional tense;  combination evoke different named and unnamablee relations;                                                                       :  In the thought proecess:  Poets garden; see othert : structual, poststruct, deconst, Perspectives submitted  to Patrick Condon regarding typology, philosophical models etc. void? Model LEVEL CATEGORY                 1 META_THEORY Landscape  Metaphysics ( )   Phys/mental/ //platonic/spiritual; (Monism/dualism/other)     Landscape Ontology (Fundamental  categories)   Objects:     Properties,  substance, objects, aggregates, continuants, events Relations:       Landscape Logic (w syntax)     Tree (Nested hierarchy), cross-tree; lattice-net (rhizome); episodic; deconst   Singular, plural,  total Statement, (imperative, interrogative, exclamation) ), narrative,  dialogue, dialectic, deconst             Landscape  Epistemology Stance   Naive realism, moderate  realism, kantianism,                                   Landscape Semiotics   Simile/Metaphor/Analogy/Allegory/ Symbol/Sign Other tropes & Lit crit applications                           2         LAND ARCH              THEORY Models Style; types etc   school library construction, enviro-psych, hist-th         3 LAND ARCH PARTICULAR     See projects built, unbiult.                 SORT:                 Turret terrace: Historic Turret, filled garden green, ring of vinca & birch, retaining wall, lower plantings   Sunburst locust Plane tree Linden Golden willow White pine.   Understory grasses;   Woodland bb/ abrb Dk/ Bb/ barberry; Rhodo holly Entrance yew, holly, rhodepo, azales, burninhg      Planetree/ locust; Red jp maple; dog/crab/thund  plum; jun   END     Entry drive garden. filled lawn terrace (with lateral “earth wave”, birch/ vinca sunrise arc, high retaining wall, burning bush/ rhododendron/ redtwig  and conifer filter.