The Richmond Maker Museum is a working museum design, offering an inside look at past achievements, juxtaposed with the unlimited future possibilities of an evolving, active maker culture. It is a dynamic place designed to allow makers to showcase skills, take risks, engage the public, and grow their craft in real time. The museum displays finished pieces, introduces makers, demonstrates the processes they employ in their work, and invites the community to meet the artisans who, through skill, ingenuity, and hard work, make the artifacts on display. This type of educational museum experience does not currently exist on this scale in Richmond. While other local museums invite visiting artists and offer lectures, the Richmond Maker Museum takes interaction to a new level, introducing visitors to the routines and procedures of each artisan’s daily practice. Maker culture is a tightly woven network of craftsmen—woodworkers, metalworkers, glassblowers, etc. It celebrates traditional fabrication techniques, while also introducing modern technologies such as laser cutting and three-dimensional printing. The social and educational aspects of the maker movement have created a revolution, revitalizing public appreciation for the role of the maker and the importance of craftsmanship.

What is a periphery? We can think about this word in more than one way. First off, peripheries are places that exist as spatial conditions in cities, They indicate edges and places that have been left behind. Spaces that have lost their meaning. But in this thesis I will use the word in another way as well. What does the periphery mean for us today? What are those parts of our lives that have been marginalized, and how can we begin to reclaim what has been lost? It is the aim of this thesis to address these issues of the individual in a site that exists on the edge of Manhattan--a place physically separated from the city by means of a highway, and in so doing, redeem both a physical space as well as a place within ourselves. One way in which we as a society create this edge condition within ourselves centers around how we structure our time. How do we work? When do we work? And, conversely, when do we rest? An important part of our twenty-first century lives centers around our ability to be in constant communication. Recent advancements in communication technology are fast shaping the way in which we live, and, as a result, we have constructed a world in which productivity and communication are no longer limited by our physical place. For its many benefits, one problem created by this is that of a population simultaneously connected to the world, yet easily disconnected from their physical place. When do we turn off? And, more importantly, what are we missing by being so endlessly connected? In response to this situation, I feel that we as a society need moments of repose to restore balance in our lives. It is during these breaks in our day that we are better able to synthesize information, form memory and maintain balance between engagement and rest. By connecting our minds with our bodies, moments of repose serve as physical and mental experiences that ground us in place.

The structure of this thesis relies on the physical locations of Mme. de Pompadour. Although the chapters are roughly chronological, beginning with her arrival at Versailles in 1745 and ending with her death in 1764, this work makes no attempt to comprehensively chronicle the entirety of her involvement in the decorative arts. Rather, it focuses on several specific aspects of her patronage, with the goal of illuminating her social position and public image, and how she worked to control the two. Chapter One deals with the first rooms Mme. de Pompadour inhabited, from 1745-1750. These upper apartments characterize her early attempts to convey meaning through décor and to shape social interactions within a constructed environment. Chapter Two follows Mme. de Pompadour’s move downstairs, to the lower apartments in 1750. This move parallels an important evolution in her role at court and seeks to explore how her newly political functions were expressed through these interior spaces. Chapter Three is more expansive, examining three architectural projects undertaken by Mme. de Pompadour and Louis XV on her behalf, over the course of her nineteen years at court. These independent homes represented an opportunity for Mme. de Pompadour to actively work to change public perception of herself and her role, an opportunity that she did not waste.

This thesis examines the impact of planning a potential new urban university campus in Springfield, Massachusetts on the city’s long term goals for urban revitalization. By exploring a collaborative and community-oriented process for higher-educational development, I propose a dynamic model that could work as a catalyst for urban revitalization. The study will focus on the following: developing partnerships between the city of Springfield (government, community, local groups) and major educational institutions (such as the University of Massachusetts system); identifying potential sites suitable for the anticipated urban/mixed-use campus or compound; and studying and analyzing the forces within the city (neighborhoods around site) that would inspire and shape the ideal concept for a campus master plan. I will use four major research strategies: (1) Developing a partnership that is to be both interactive and instructive, (2) selecting and analyzing three or more best practice case studies, (3) analyzing the existing conditions in Springfield, particularity the surroundings of selected sites, and, (4) a critically and professionally developed urban design vision for the right kind of university campus in Springfield that would highlight the main ideas and conclude with a master plan as part of the overall recommendations of this research. Data are collected from books, journals, interviews, newspapers, website sources, and other published reports using a mixed-methods case-study approach. I expect that the study of this topic and the urban design programming and work associated with it would yield a successful model for campus planning and be potentially adopted or adapted by others in the future.

Historically, a disconnect has existed between the education and practice of architecture. Architectural education has long prided itself on the value of creative problem-solving, research, and the fine arts. In contrast, the practice of architecture has evolved to emphasize technical knowledge, specialization, communication, business, and collaboration. This disconnect has led education to miss opportunities to teach students business skills and knowledge required for the workplace, and allowed practice to lose sight of the importance of artistry and research. Architecture educators, students, and practitioners each have a unique set of knowledge and skills to offer the other, and a corresponding set of need and challenges which must be addressed for the profession’s continued success. By analyzing history, current debates in the field, and case studies of current innovative practices and educational models, this thesis addresses these issues with a new model of architectural synergy, embodied through a facility for lifelong learning in architecture. The primary goal of this building is to inspire integrative and collaborative processes between students, researchers, educators, and practitioners to address the current disconnect between them. Through this facility, each group will have the opportunity to leverage their unique strengths and successes to help the others. This collaborative model will allow each role mutually beneficial opportunities for lifelong learning through the exchange of knowledge, ideas, and processes between different groups.

This written thesis, transit, accompanies an exhibition by the same name and serves to contextualize the exhibit. The written portion begins with an inquiry into the nature of the contextualization itself, questioning the nature of the relationship between the written thesis, the exhibit, and the University which explicitly requires and connects the two, especially the ways that the written word as granted authority through an institution of higher education might undermine the exhibit’s intent to provoke thought into other forms of knowledge and other avenues of legitimacy than those presented by this institution. The thesis discusses the philosophic question sometimes called “the problem of reference” (how a word comes to refer to something in the world) as well as to the mystery of knowledge (how a human comes to know something). I discuss my own development of the artistic and poetic methods and concepts used in transit. I also inquire into the relationship between the conflicts in the cultures of the region, particularly during the time of the arrival of written language and capitalistic practices from Europe, and my struggle to understand and represent the ways that colonial concepts continue to dominate and frame our culture, even exhibits of art, such as transit, that work to cause thought, emotion, and reflection on other understandings of words, concepts, and knowledge through a physical de-stabilization of text and words.

We live in an age defined by the automobile and its infrastructure. This paradigm of movement has shaped how we live our lives, and the urban frameworks we inhabit. Cars as a form of transportation damage the environment and engender unsustainable lifestyles. They also create anti-social spaces with the infrastructure they require, and therefore their success is inverse to that of the pedestrian experience. I seek to adapt this transit paradigm with a more flexible and resilient multimodal system. My work focuses on reinvigorating a rail line in central Massachusetts and designing a modular station system that can serve as a new kind of civic architecture. The station grows and shrinks between towns of different sizes, and over time. It slots into existing communities with little disruption, and is programmatically fluid and diverse, such that an array of stakeholders become invested in its success. It also presents as a new type of civic architecture; a building that represents a larger system, while also maintaining its place in local communities.

2013 campus map of East Tennessee State University in Johnson City, Tennessee. Created 12/4/2013 by Johnson City GIS. Buildings can be identified using the building index on the left half of the map. Fire suppression system features are also included on index. Physical copy resides with Johnson City, Geographic Information Systems Division. No scale is included. / https://dc.etsu.edu/rare-maps/1049/thumbnail.jpg

Sustainable development practices and historic preservation efforts are imbued with contradictions, overlappings and shortcomings. Adaptive reuse is a tool for the sustainable preservation of existing building stock that bridges these approaches and more appropriately addresses the values of time, energy, place and community with respect to the built environment. Destruction of both material and abstract qualities can be circumvented by actively engaging a site, landscape or context through revealing and crossbreeding complex patterns, traces and perspectives. The value of a datascape is optimized when such a re-contextualization consists of both additive and subtractive manipulations and is flexible, continuous and regenerative. To avoid demolition and severing connections to the past and to extend the potential success of the development of the former Belchertown State School for the Feeble Minded in Belchertown, Massachusetts, I investigated ways by which the existing Auditorium Building and its relationship to the site could be re-contextualized. Since 1992, this defunct state-operated facility has been closed, transferred to the town and considered for economic development. Within the one hundred fifty-five-acre parcel that remains to be developed there are approximately sixty acres of forested areas and wetlands, a freshwater pond, and numerous abandoned school buildings in poor condition. The Auditorium Building, centrally located within the buildable area of the state school parcel, acted as a gateway into the campus and historically served as a gathering, performing and learning space for both school and Belchertown residents. In conjunction with precedent and programmatic research, I mapped patterns of State School site data which included not only existing, visible data but that which is historical, potential and invisible. The interpretation of these vectors, connections and boundaries served as a framework for re-contextualization and aimed to identify contextual attributes that require preservation, accretion or removal. The grafting of this data to the Auditorium Building and its surroundings exposed and affected various patterns of behavior that ultimately impacted its form, program and relationship to the landscape.

Salvation-themed art environments are a roadside rarity, built out of a strong visionary dedication to God, but the sites are disappearing simply because the work is misunderstood. The historiography on the subject is sparse, trending more toward coffee table books with big glossy pictures than real scholarly endeavors, but the consensus among all has been clear. The sites are a valuable part of the recent American cultural landscape, crossing several scholarly fields - art, architecture, and history - and uniting them into a cohesive preservation movement. On a series of trips to visit, see, and experience five of these sites, I began to understand the massive scale that each site required to assemble and exactly what it would take to restore and preserve each site. The preservation goal is not small, but it is not unattainable. There are federal grants, nonprofit groups and localized support committees from which to gather support so that the site may continue to be a piece of history.