In February of 2021, Sir Partha Dasgupta, Professor Emeritus of Economics, published a report titled "The Economics of Biodiversity" which included an important formula: G(s) < Ny/a Dasgupta's formula is an attempt to show that the Earth's natural resources—G(s)—are organically produced at a slower rate than global human economic production—Ny/a. In other words, the global economy is using resources at a higher rate than the Earth can replenish them. According to Dasgupta, he created the report to put Nature back into global economics: “my overarching aim is the reconstruction of economics to include Nature as an ingredient.” This artwork draws inspiration from Dasgupta's desire to include nature as an ingredient and re-presents his formula using an experimental printmaking technique called “mycography,” which uses Saccharomyces cerevisiae (brewer's yeast), and UV light grow images. “Mycography” shares some similarities with traditional photographic prints made in a darkroom; however, instead of printing on photo paper, brewer's yeast is grown on a large plate of agar (a seaweed substrate). Then, a UV light is utilized to expose an image on the surface of the plate for 48 hours. The final print uses a living organism as the medium to showcase Dasgupta's formula, G(s) < Ny/a, thereby furthering the desire to “include Nature as an ingredient.”

Devon Ward is a designer and artist whose research focuses on design-as-an-expanding field that blends new materials, technologies, and theories to adapt to changing environments.

My work explores the idea of attention as a measure of value. I use drawing and making to document and measure what I pay attention to and use them as inputs for more complex processes. I am interested in how aesthetic perception or experience can translate poorly into formats that rely on measurement and precise description. I gather and build an archive of drawings, contact prints and materials. Each drawing simplifies a moment, breaking it down into x and y information. This information is processed through algorithms to create various outputs, including CNC processes that generate printing plates and paper cuts. The final prints are handmade using traditional techniques like intaglio and chine-collé. My process aims to gradually build up complexity over time, iterating over different aspects of a subject to only bring them together as an image at the end.

Andy Holliday is Assistant Professor of Printmaking in Auburn University's Department of Art and Art History. He earned his MFA in Printmaking from Southern Illinois University Carbondale. His studio practice ranges from printmaking to digital interactive work. He seeks to broaden the boundaries of technical printmaking and expand accessibility to the medium.

A Functional, Expressive, and Aesthetic Outdoor Jacket for Wheelchair Users Introduction: This study explores designing a functional outdoor jacket tailored to wheelchair users, guided by the Functional, Expressive, and Aesthetic Consumer Needs Model. It addresses two research questions: RQ1: What are the specific design requirements for an outdoor jacket for wheelchair users? RQ2: How can these needs be met effectively? Method: Interviews were conducted via Zoom in February 2023 with two participants: a 26-year-old male from Europe with a spinal cord injury and a 24-year-old male from the US with Spina Bifida. Findings: 1. Fit: The prototype features a shortened front and an elongated back to prevent excess material in the front, enhancing comfort for seated postures. 2. Comfort: An adjustable hood and breathable fabric at the armpits are incorporated for increased comfort. 3. Mobility: Large darts in the elbow and shoulder areas enhance mobility, facilitating easier wheelchair propulsion. 4. Accessibility: Magnetic zippers and snaps are utilized to simplify dressing. 5. Protection: The jacket protects against rain, wind, and cold, using waterproof fabrics and reflective bands for visibility and safety.

Jia Wu's scholarly accomplishments emphasize interdisciplinary and industry collaborations in functional apparel, primarily focusing on user-centered inclusive apparel design research.

The Jefferson, GA, house painting features the most pleasing and peaceful area of the residence: the breakfast nook. With floor-to-ceiling windows, nature, and tall trees in the background, the house brings back memories of a relaxing and peaceful space during a stressful and uncertain time in life.

Dr. Meirav Goldhour explores watercolor illustrations to capture places, significant times, and challenging or beautiful moments. The method combines detailed technicality with fluid watercolor painting.

This painting is a perspective section of the first house my family and I built in Greenville, SC. The painting style approach was an experimental process combining architectural illustrations with abstract painting, merging textures, splashes, water drips, detailed work, and mixed media with a final finish of colored pencils.

Dr. Meirav Goldhour explores watercolor illustrations to capture places, significant times, and challenging or beautiful moments. The method combines detailed technicality with fluid watercolor painting.

The painting features a Menorah of the Jewish holiday of Hanukkah, also known as the holiday of lights. In the background is the old city of Jerusalem, with dropped string lights merging with the candles. The lights hitting the old stones of the historic city create a magical beauty, producing a feeling of warmth and home. It is hard to describe how mesmerizing and unique the city of Jerusalem is during the Hanukkah holiday.

Dr. Meirav Goldhour explores watercolor illustrations to capture places, significant times, and challenging or beautiful moments. The method combines detailed technicality with fluid watercolor painting.

The artwork presents a sharp one-point perspective from a hotel hall photo. It explores watercolor painting techniques, combining multiple reflections, glare exposure, and warm color schemes. The process features a realistic illustration while adding color and painting more abstractly- leaving room for vision and imagination.

Dr. Meirav Goldhour explores watercolor illustrations to capture places, significant times, and challenging or beautiful moments. The method combines detailed technicality with fluid watercolor painting.

This purple cactus is native to Phoenix, Arizona, and was photographed during a visit to the city. The cacti, a resilient and robust plant, is combined with a vibrant purple color and stands out among Arizona's desert brown color scheme. The cacti produce robust fruit on its outer part but sweet and soft on the inside. Like the cacti, people and communities can appear resilient and tough yet sweet and vibrant inside.

Dr. Meirav Goldhour explores watercolor illustrations to capture places, significant times, and challenging or beautiful moments. The method combines detailed technicality with fluid watercolor painting.

Bristles is a specialized approach that focuses on creating ephemeral and atmospheric experiences. These experiences are carefully crafted using a variety of elements, such as light, materials, form, fabrication techniques, and interactive media. What sets Bristles apart is its unique ability to blend objective design principles with subjective engagement in a nonlinear, iterative, and generative manner. When applied to a surface, Bristles creates an enchanting interplay between the object and the observer. As individuals interact with the installation, whether by moving around it or simply being near it, they experience a distinctive engagement shaped by their position, the play of light, their perspective, and their actions. Each movement reveals a fresh and distinct effect, offering viewers a truly unique and unrepeatable experience. Through varied motions and sounds, Bristles activates the flow of air and vibrations through particles, fostering an interactive dialogue between the installation and its audience. This approach represents the intricate interplay between light, form, space, and the viewer in spatial design. Bristles invites visitors to engage beyond mere observation, fostering a dynamic interaction that transforms both the visitor and the artwork.

Passionate about neuro-architecture, a discipline that integrates neuroscience with architectural design to influence human perception and behavior through the seamless fusion of architecture and technology.

"Redacted" explores the concept of hidden identities in the design world, where designers often suppress their personal tastes in favor of client preferences and where social media allows for curated, masked personas. This phenomenon, rooted in the broader societal trend of identity curation, raises questions about authenticity in both personal and professional spheres. The project presents a visual representation of these fragmented identities through a mask that challenges established norms. Using cross-stitching, an ancient craft, and 3D printing, a modern technological advancement, the work symbolizes the continuum of human creativity across time. The pattern, inspired by Cubist art, reflects the multifaceted identities we adopt daily. The iterative process of creating the 3D-printed substrate highlights the technical challenges involved in balancing rigidity and flexibility. Ultimately, "Redacted" is a creative scholarship presentation that uses the mask as a metaphorical tool to confront societal expectations, advocating for transparency and authenticity in design. It aims to foster dialogue within the academic design community, encouraging the use of diverse identities as strengths in challenging and reshaping established norms.

Passionate about neuro-architecture, a discipline that integrates neuroscience with architectural design to influence human perception and behavior through the seamless fusion of architecture and technology.

Anna Ruth Gatlin |
Human Sciences
Consumer & Design Sciences
Interior Design

Anna Ruth Gatlin, PhD, is an Assistant Professor of Interior Design at Auburn University. An award-winning interior designer and design researcher, she also has an established record of traditional and creative scholarly contributions. Many of her creative scholarship works examine aspects of southeastern life through an autoethnographic lens, executed in heritage fiber arts techniques.

Effortlessly blending the past with the present, this project reimagines the iconic Villa La Rotonda through the lens of modern technology. By leveraging 3D printing, a cutting-edge tool, this model breathes new life into Andrea Palladio's architectural masterpiece, bridging centuries of design evolution. The meticulous process of modeling the villa, relying on a blend of videos, pictures, and research, showcases the seamless integration of historic architecture with contemporary methodologies. As a result, this project stands not only as a tribute to Palladio's genius but also as a testament to the transformative power of technology in preserving and interpreting our architectural heritage. The ability to dissect the villa into three floors, each with intricate details and openings, not only allows viewers to explore its interior but also serves as a metaphor for the layers of history and innovation that define it. This model is not just a representation of the past; it is a manifestation of the harmonious relationship between tradition and technology, inviting us to contemplate the enduring beauty and relevance of historic architecture in the modern world. This work is intended to be displayed as four separate sections, showcasing the process work and the interior details.

Passionate about neuro-architecture, a discipline that integrates neuroscience with architectural design to influence human perception and behavior through the seamless fusion of architecture and technology.

This project reimagines the tactile experience of architecture through highly detailed 3D printed models, featuring the iconic masterpiece of the Farnsworth House by Ludwig Mies van der Rohe. This model, designed for easy disassembly, invites viewers to engage with the intricacies of architectural form through touch, transforming the passive act of observation into an interactive experience. The creation of these models was a labor-intensive process, with extensive research, precise computer modeling, and months of iterative 3D printing to achieve the desired level of detail. This meticulous craftsmanship mirrors the precision of the original architectural works, offering a tangible connection between the viewer and the art of architecture. By emphasizing tactile interaction, the project challenges traditional notions of architectural appreciation, encouraging a deeper, more intimate connection with these iconic structures. The models become more than mere representations; they are art pieces that invite exploration, reflection, and a renewed appreciation for the physicality of design. This tactile exploration transcends the visual, offering a multisensory experience that bridges the gap between Architecture, Planning and Landscape Architecturessical and modern architecture. It celebrates the enduring human pursuit of creation, blending historical legacy with contemporary innovation, and reshaping our relationship with architectural art.

Passionate about neuro-architecture, a discipline that integrates neuroscience with architectural design to influence human perception and behavior through the seamless fusion of architecture and technology.

I'm thinking broadly about color as a formal element in recent photographs of mostly horizonless water surfaces in Catfish Ponds on the western side of Alabama. From my camera's point of view and mediation, the color has remarkable relational and inherent visual characteristics informed by photographic factors such as quality of light, weather, and seasonality. My considerations include the abstract or connotative or metaphorical suggestions color may offer while simultaneously recognizing that color can also be used in more exacting and scientifically relevant ways such as providing important information. Both ends of this spectrum have value. Both add significance to our understanding of the world. I'm making photographs that look at the same subject matter over time, spontaneously observing and carefully selecting, editing, and arranging the images to offer possible interpretations or critiques that decenter the subject matter (the pond or its surface) and focus on larger issues of time, a collective sense of stasis in landscape, or even the photographic instant. Color exists on a continuum from relative to precise, singular to ambiguous and gradated. Both. And. Serialized photographs play with comparisons and can hopefully both challenge and inform one's perception

Chuck Hemard joined the faculty in studio art at Auburn University in 2008 as an assistant professor. He recently developed a photography concentration in the Department of Art and Art History's BFA in Studio Art program. Hemard received a BA degree in psychology from the University of Southern Mississippi in 1999 and earned his MFA in photography from the Lamar Dodd School of Art at the University of Georgia in Athens, GA in 2004. He also studied abroad in France in 1999 and was awarded a research grant to study in Ghana, West Africa in 2001. After graduate school he taught part time at the University of Georgia and then served as an assistant professor for three years at Columbus State University in Columbus, GA. Hemard works across many formats of traditional and digital photography as well as time-based media such as film and video. With an underlying sense of humanity, the work considers how we interact with one another and the natural world. Hemard's work has been exhibited nationally and extensively throughout the southeast United States, including the Museum of Contemporary Art of Georgia in Atlanta, Opal Gallery in Atlanta, the Ogden Museum of Southern Art in New Orleans, Columbus Museum in Columbus, Georgia, Mobile Museum of Art, as well as the Appleton Museum of Art in Ocala, Florida.

Summer 2024 witnessed the simultaneous emergence of two distinct populations of periodical cicadas, Brood XIII (the Northern Illinois Brood) and Brood XIX (the Great Southern Brood). These two specific populations emerge simultaneously only every 221 years in a natural phenomenon known as dual emergence; after gestating underground for years, billions of cicadas appear at once as the two broods ascend to the light. These editioned letterpress posters commemorate this remarkable event. Dual emergence is noisy: cicadas sing! Envisioning dual emergence as a concert tour, these posters reference 1960s band promotion posters. In keeping with the stylistic devices of this genre, early 20th century Art Nouveu typefaces were adapted to create titling typography, while Jonathan Hoefler's Champion Gothic Featherweight was used to present secondary information. The antiquarian cicada image was found in the public domain. The blue and green color fields seen in the posters represent the two cicada broods in the edition. The number of prints in the edition (32) was determined by adding the numbers 13 (from Brood XIII) and 19 (from Brood XIX). The posters were printed on a Vandercook letterpress in May 2024.

Marguerite Dreyer. Designer, educator. BA, Dartmouth College. MFA, Rhode Island School of Design. Work published nationally and internationally, incorporates printmaking, cut-paper collage, photography and film.

This creative scholarship is, in part, an attempt to redefine generative AI as “Collective Intelligence,” emphasizing a collaborative synergy between designers, technology, and the collective intelligence of all those who, throughout recorded history, created the original training data. With text-to-image models, this is accomplished by synthesizing visual content based on the associations the model has learned from the training images; from photographers, artist, and illustrators etc., and their associated metadata. This effort illustrates this collaboration as a Visual Periodic Table of Forms. It consists of a matrix of AI generated images resulting from a single word or phrase text prompt, hyper focused on visually conveying the essence of the word or phrase. It also serves as a morphological matrix of inspiration for designers working to include the essence of the provided words and phrases in the concept development process.

Associate Professor Jerrod Windham fosters curiosity and purpose within the discipline of industrial design, emphasizing creativity, sustainability, and design ethics for over 17 years.

This single-family residence was built on a very small parcel of land in a suburb of Tokyo. The program was a two-bedroom 2000 sq. ft. house with a two-car parking space. The client ‘s main desire was for maximum privacy in a densely populated area. Additionally, the client's interest in a structure that could withstand Magnitude 8 earthquakes and resist possible fires caused by surrounding houses resulted in a concrete bearing wall structure. Since the local building codes allowed only 40 percent of the site for construction, a below ground level was also created. The client's request for the interiors was that they be bright and uplifting. Although the house is small it incorporates many outdoor vistas so that the interior space feels much larger than is. This was also achieved by several vertical slit-like windows that secured privacy while providing ample diffused light in the white interior. The family, husband, wife, and small child, cared more about the quality of gathering spaces than its private functions. The final plan reflects this idea using sliding doors that make the entire interior one large open plan, connected by a large, gentle staircase, a symbolic stem of this tower-like communal interior.

Professor Kim is Chair of the Architecture Program. He received his Ph.D. in art/architectural history from Columbia University's Department of Art History and Archaeology.

Mario F. Bocanegra Martinez and Courtney Windham teamed up to create a compelling series of promotional materials for their panel session, 'Creative Encounters: Exploring the Art of “Thinking Through Making”', at the MACAA Satellite Conference (March 21-23, 2024). This collaborative effort involved two dedicated sessions where they experimented with typography and collage techniques, resulting in a captivating collection of four posters and one animated poster. These promotions, aimed at professional designers, educators, and students, were distributed through LinkedIn and Instagram, reaching contacts across the United States. The campaign successfully garnered 12 submissions for the panel, out of which 8 were chosen to be presented at the conference. Bocanegra Martinez and Windham define 'creative encounter' as a pivotal moment in design where unexpected connections are made, often in overlooked situations. This process liberates designers from conventional thinking, fostering the pursuit of new insights and knowledge. These encounters can challenge existing perceptions with surprising connections, yet they also spark intuitive leaps, serendipitous discoveries, and reflective moments, paving the way for transforming abstract ideas into tangible creations.

Courtney is a designer, maker, and educator. Her research explores the connection between formal design processes and the intuitive creative process. She is currently working on a book titled "Discovering the Design Process: Into the Beautiful Mess" which will offer insights into how young designers can use personal and formal processes to build design concepts and make informed decisions. In her design work, Courtney combines analog and digital techniques to create multi-layered projects that integrate time-based media with print. She also enjoys creating handmade pieces through collage, custom printing, and kinetic art while repurposing materials. Courtney earned a BFA in Illustration from the Rhode Island School of Design and an MFA in graphic design from the Savannah College of Art and Design. Her creative work has won numerous awards and has been featured in national and international publications, and she was recognized as an "Educator-to-Watch" in GDUSA Magazine's inaugural list of distinguished design professors in the country.

Mario F. Bocanegra Martinez |
Architecture, Design & Construction
School of Industrial and Graphic Design
Graphic Design

Mario F. Bocanegra Martinez is a Mexican graphic designer, artist, and educator. His work bridges traditional motion design processes with experimental image-making strategies. Central to his practice is an in-depth focus on analog improvisational play using the camera and a wide range of found objects and materials. This approach drives his exploration of kinetic forms, photography, and typography.

This project explores the intersection of art and science through visualizations and photographs taken of our experiments like microscopic pictures of leaves, pictures of soils taken with X-rays, root images taken with PET scanners etc. I am interested on studying how plants react to abiotic stress, and which strategies they use to thrive in in adverse environmental situations. I focus my research on detecting genotypic variation to abiotic stress such as drought, high temperature and elevated [CO2]. I am also interested on how symbiotic organisms such as bacteria (rhizobium) associate with agronomical crops and how this association can improve the plant response under a stress situation. As the techniques used to measure plant responses to environmental stress are tedious and difficult to apply in field conditions, I am also interested in the research of new techniques that allow us to measure plant traits in a cheaper and high pace way (high-throughput phenotyping), such as NIRS, thermal cameras, and hyper-spectral cameras and analyzers.

Assistant Professor of Crop Physiology in the Department of Crop Soil and Environmental Sciences (College of Agriculture) and chair of the Crop Physiology section of the Crop Science Society of America (CSSA, https://www.crops.org/).

What happens to your tab once you place an order at Bow and Arrow? It disappears into the kitchen never to be laid eyes on again. Right? What if I told you that these sheets of paper witnesses heroic mages, honorable samurai, and salty pirates who provide commentary and satire to the chaos that exist within and beyond the kitchen. Over 200 sketches are the product of a committed, daily ritual of documenting various adventures from the heart of one of Auburn's most favorite lunch locations.

Benjamin Bush hails from the central woodlands of Alabama. He enjoys making things, teaching students, and consuming tacos.

Zach Teel |
Architecture, Design & Construction
School of Industrial and Graphic Design
Graphic Design

No information was provided for this collaborator.

Observational drawings are of use in design processes for both their digestive and mnemonic qualities. On site, the designer disentangles complex elements of the landscape, translating what is being observed into a composition. More than in the instant of taking a photograph, this act of sustained attention to the physical elements and tacit sensations produces a document uniquely charged with memory, feelings which can be re-triggered when the drawing is revisited off site. These drawings of the Sadgeri Plateau, a historic health landscape in the Republic of Georgia, are an artifact of such a process. This project asked if cultural practices that historically structured the region – namely embodied practices of walking and drinking mineral waters – might be reified through the design of an interpretive trail. Though walking and drawing presented itself as a way to begin to look closely, over the course of the project, the function of the drawings evolved. While their initial use was digestive, the temporal nature of the process of drawing imbued them with mnemonic qualities. Bringing the drawings into relation with one another revealed their potentials as narrative tools, while also inciting action, generating new questions that could be asked in the landscape.

Sarah Coleman is an Assistant Professor of Landscape Architecture. Her research explores layered cultural landscapes and investigates processes of meaning-making in the landscape.

“gifting, ghosting, and giga-waste” (hereby referred to as "ggg") is a representational offshoot from a recently finalized project and exhibition for the 5th Annual Chicago Architecture Biennial 2023, which aims to further develop scholarship and technological innovation by way of AI (artificial intelligence) diffusion modeling to design speculative futures (gifting), illustrate ghosted industrial histories (ghosting), and explore digital representation techniques for mitigating data hoarding (giga-waste). This work speculates upon emerging data centers in the Southeast as situations for holistically considering the impacts of AI on the region, including (1) generating design proposals for restricted access sites, (2) exploring the visual and representational quality of what AI generated imagery, via a /blend(ed) method, of restricted access sites may provide, and (3) the viability of the utilized AI software in our college's design programs and AI focused research courses. The playful and pithy titles for the work (images, animations, and renderings), exacerbates the imaginative nature of working with red-tape locations and redacted contexts.

Eilís Finnegan is an Assistant Professor of Environmental Design, whose creative work and research explores hybrid project generation methods, namely through AI and digital modeling.

The History Lives On exhibit is an interdisciplinary effort to advance research on Alabama's Rosenwald Schools by educating the public on their history and legacy. The goal is to foster advocacy for the preservation of these segregation-era schools. The project involved the digital documentation of existing schools, archival research on related artifacts, and collaboration with experts like Dr. Kwesi Daniels (Tuskegee University) and Alabama Archives staff. The exhibit combines two- and three-dimensional elements, enabling it to travel to multiple venues across the American South. The design integrates diverse fields: specialists in digital site documentation, public historians, archivists, architects, graphic designers, and preservationists. Utilizing digital technology, 3D-printed models, and animations, the exhibit provides a multimodal experience, engaging visitors in various ways. Its public opening featured a panel discussion on the history of Rosenwald Schools, enhancing the public's understanding of their generational impact

Gorham Bird is Assistant Professor of Architecture, and his interests and research explore Architecture as an artifact of culture, documenting the political, social and historical past. His research confronts issues related to architectural conservation, adaptive reuse, and reimagining possible futures for cities' symbols of economic neglect.

David Smith |
Architecture, Design, & Construction
School of Industrial and Graphic Design
Graphic Design

David Smith&apos;s graphic design career spans over 35 years. He&apos;s worked on a wide array of client categories including banking, healthcare, technology, and communications. The bulk of those years were spent on branding, corporate communications, and advertising—often with well-known brands such as AT&T and Siemens. In 2010, after an award-winning career in advertising design, Smith made the transition into academics. As an associate professor of graphic design at Auburn University he teaches courses in interactive and graphic design. Prior to coming to Auburn in 2017, he taught at Jacksonville University for seven years.

Junshan Liu | Junshan Liu
Professor
Architecture, Design, & Construction
McWhorter School of Building Science

Junshan Liu is the Bob Aderholdt Endowed Professor in Auburn University&apos;s McWhorter School of Building Science (BSCI). He teaches BSCI courses in both the undergraduate and graduate levels, in the areas of construction information technology, structures and safety. Liu also conducts research and scholarship focused on practical applications of technologies in construction, including LiDAR scanning, photogrammetry, UAV and BIM.

“It's people like you that...” knows how to own your power. Instead of using this divisive language that may appropriately or inappropriately assign responsibility or blame, I'm interested in redefining its bounds by pivoting perspective and transforming personal mindset. Using different visual combinations of texts and images, the compositions are reflections of internal monologues grappling with conflicting ideas and dealing with cognitive dissonance. In my work, I want to create these encounters throughout physical and mental spaces. "It's People Like You That/Who" consists of 120 small double-sided cyanotypes sewn into garlands that are suspended from the ceiling. The divisive phrase, It's People Like You Who-That, are printed with imageries referencing earth, water, fire, and air. The blue of cyanotypes references idea of sky and water regardless of imagery. 25 large organza banners with iron-on texts fill the space with a positive spin on what were once divisive endings to the phrase It's People Like You Who-That. These iridescent and translucent organza banners reference clouds and mist as the vehicles to deliver the more positive messages. Between the cyanotype garlands and the organza banners, phrases such as it's people like you who ruin family values become it's people like you who break the cycle.

Millian Pham received her BFA in painting and printmaking from the University of Tulsa in Oklahoma and her MFA in sculpture from the University of Florida.

Junshan Liu | Junshan Liu
Professor
Architecture, Design, & Construction
McWhorter School of Building Science

Junshan Liu is the Bob Aderholdt Endowed Professor in Auburn University&apos;s McWhorter School of Building Science (BSCI). He teaches BSCI courses in both the undergraduate and graduate levels, in the areas of construction information technology, structures and safety. Liu also conducts research and scholarship focused on practical applications of technologies in construction, including LiDAR scanning, photogrammetry, UAV and BIM.

"Kawii Otinum" translates to "ReArchitecture, Planning and Landscape Architectureim" in Michif, the distinctive language of the native Métis in North America. Although only recently officially acknowledged by the Canadian government following years of suppression, the Métis Nation is fervently reArchitecture, Planning and Landscape Architectureiming its rich cultural heritage. The recent acknowledgment of my family as members marks the culmination of a lifelong struggle to regain our birthright, which was eroded through generations of systematic cultural suppression. For example, my grandmother was forced to attend a distant and notorious boarding school for re-education, severing generational cultural and familial ties. Since the antidote to the erasure of identity is the uniquely indigenous experience of reArchitecture, Planning and Landscape Architecturemation, this artwork is essential in that process. These paintings merge iconic depictions of North American lands by 19th-century colonial plein-air painters like The Group of Seven' with narrative paintings of the original peoples of North America. Employing digital algorithms, native motifs, like the buffalo that embodies spiritual beliefs, intertwine with Eurocentric environmental depictions, breaking them down and methodically reconstructing the scenes. The consequent paintings cause the land to quaver as the potency of the autochthonous imagery reshapes the Eurocentric vision, capturing celebratory moments where the land reconnects with its first partnerships. Analogous to beading or quill work, intricate details echo a slow, meditative process that strengthens indigenous healing through creation. The new visual language seeks to encapsulate the multilayered identities of the land, previously oversimplified by foreign dominance. Complementing the paintings, sound sculptures further the repossession of the first people's traditions, often appropriated for European products. These artworks subtly whisper sounds and stories of generations whose simple existence is an act of resilience and rebellion. Each artwork extends the chronicles of cultural reArchitecture, Planning and Landscape Architecturemation as layered elements that work to disintegrate the devastating lens of colonization. This multifaceted approach makes suppressed stories easier to identify, acknowledge, and understand.

When Canadian Métis Nation artist Wendy DesChene graduated with an MFA in painting from Tyler School of Art, she immediately began to utilize activist and dialogical art concepts in her work. Weary of the limitations placed on art by institutions, for example, she integrated the audience into her installations to promote community conversation. The outcome was a socially engaged exhibition, "WYSIWYG," which toured 11 different communities, including the Art League of Houston, the Art Academy of Cincinnati and The Henry Street Settlement in New York. She exhibited painting and drawing projects that grew from these concepts at The Drawing Center New York, The Soap Factory Minnesota and the Tomio Koyama Gallery Japan. DesChene has received an Alabama State Arts Fellowship, an Andy Warhol-funded Verdant Fund Grant and a Canada Council Travel Grant (twice), and support from the Pulitzer Foundation for these and other projects. DesChene was elected to represent Alabama on the board of the non-profit arts organization SECAC (2014-2020). In 2018 she received an award for teaching excellence from the organization. The same year, she received the AU College of Liberal Arts Outreach Award for her service-learning projects.

Junshan Liu | Junshan Liu
Professor
Architecture, Design, & Construction
McWhorter School of Building Science

Junshan Liu is the Bob Aderholdt Endowed Professor in Auburn University&apos;s McWhorter School of Building Science (BSCI). He teaches BSCI courses in both the undergraduate and graduate levels, in the areas of construction information technology, structures and safety. Liu also conducts research and scholarship focused on practical applications of technologies in construction, including LiDAR scanning, photogrammetry, UAV and BIM.

none submitted

Courtney is a designer, maker, and educator. Her research explores the connection between formal design processes and the intuitive creative process. She is currently working on a book titled "Discovering the Design Process: Into the Beautiful Mess" which will offer insights into how young designers can use personal and formal processes to build design concepts and make informed decisions. In her design work, Courtney combines analog and digital techniques to create multi-layered projects that integrate time-based media with print. She also enjoys creating handmade pieces through collage, custom printing, and kinetic art while repurposing materials. Courtney earned a BFA in Illustration from the Rhode Island School of Design and an MFA in graphic design from the Savannah College of Art and Design. Her creative work has won numerous awards and has been featured in national and international publications, and she was recognized as an "Educator-to-Watch" in GDUSA Magazine's inaugural list of distinguished design professors in the country.

Junshan Liu | Junshan Liu
Professor
Architecture, Design, & Construction
McWhorter School of Building Science

Junshan Liu is the Bob Aderholdt Endowed Professor in Auburn University&apos;s McWhorter School of Building Science (BSCI). He teaches BSCI courses in both the undergraduate and graduate levels, in the areas of construction information technology, structures and safety. Liu also conducts research and scholarship focused on practical applications of technologies in construction, including LiDAR scanning, photogrammetry, UAV and BIM.

This creative work showcases a collaborative city model between Auburn University's College of Architecture, Design, and Construction and Mt. Zion A.M.E. Zion Church, focusing on Montgomery's Peacock Tract neighborhood. Once a plantation reliant on enslaved labor, the Peacock Tract became Montgomery's first African American neighborhood and played a pivotal role in the American Civil Rights Movement. However, the planning and construction of the Interstate highway system fragmented and disrupted the neighborhood, a decision rooted in racist urban planning policies. This complex history captures a pivotal chapter in Montgomery's past, intertwining the fight for African American prosperity with the socio-political forces opposing it. This exhibit features a 3D-printed topographic city model, transforming the geography into a dynamic medium for storytelling and exploring the neighborhood's rich history. Utilizing high-resolution LIDAR point cloud data, the model provides a highly detailed physical rendering of Montgomery's topography, highlighting the interstate highway's impact on the city fabric. The model acts as a canvas for projected mappings, visualizing the neighborhood's spatial history from its Civil War origins to the present day. Animating the history through interactive mappings aims to enhance the understanding of urban development and its long-term consequences on marginalized communities.

Frank Hu teaches in landscape architecture, focusing on landscape visualization, digital media, and GIS, with courses in studio, construction, and graphic studies.

Robert Sproull |
Architecture, Design, & Construction
School of Architecture, Planning and Landscape Architecture
Environmental Design

Robert Sproull teaches in environmental design, focusing on civic engagement and research exploring community connections and the historical impact of racial discrimination on city planning.

Junshan Liu | Junshan Liu
Professor
Architecture, Design, & Construction
McWhorter School of Building Science

Junshan Liu is the Bob Aderholdt Endowed Professor in Auburn University&apos;s McWhorter School of Building Science (BSCI). He teaches BSCI courses in both the undergraduate and graduate levels, in the areas of construction information technology, structures and safety. Liu also conducts research and scholarship focused on practical applications of technologies in construction, including LiDAR scanning, photogrammetry, UAV and BIM.

In the series, “The Other Side,” we explore themes of borders, place, and what it means to belong. With family spread across the world, we understand how hard it is to live split between different homes. Our art reflects this through spaces that blend what we see, remember, and imagine—mixing the real with the possible. The work is also a reflection on the spiritual concepts of this side (?? c?'àn) and the other side (?? b?'àn). By investing our experiences and hopes into this hybrid space, we bring these two sides together, trying to heal the sense of loss that comes from being apart. By using drawing, memory, and indexical processes, we question the tangibility of our memories and hopes through captured shadows and hybrid landscapes. The direct printing of real materials, textures, and shadows imparts an essence or a ghostly remnant of the original, with its cast shadow preserved in a photographic stencil. Each form is layered through printing to construct a shared vision of the reality that is just out of reach. Note: This work is interactive and web-based. The work can be adapted to gallery display and to respond to viewer inputs from the gallery. The finished work can be seen through this link: https://spinningbacktick.github.io/onTheOtherSide.html

Andy Holliday is Assistant Professor of Printmaking in Auburn University's Department of Art and Art History. He earned his MFA in Printmaking from Southern Illinois University Carbondale. His studio practice ranges from printmaking to digital interactive work. He seeks to broaden the boundaries of technical printmaking and expand accessibility to the medium

Lijun Chao |
Liberal Arts
Art & Art History
Studio Art

Lijun Chao teaches drawing and painting at Auburn University in Auburn, AL. She is originally from Heze City, Shandong Province in China. She specializes in drawing and painting, including traditional Chinese watercolor. She earned her MFA in Painting from Southern Illinois University Carbondale. Lijun is interested in themes of motherhood, distance and connections in her work, and she is eager to connect traditional practices to diverse techniques and approaches.

Junshan Liu | Junshan Liu
Professor
Architecture, Design, & Construction
McWhorter School of Building Science

Junshan Liu is the Bob Aderholdt Endowed Professor in Auburn University&apos;s McWhorter School of Building Science (BSCI). He teaches BSCI courses in both the undergraduate and graduate levels, in the areas of construction information technology, structures and safety. Liu also conducts research and scholarship focused on practical applications of technologies in construction, including LiDAR scanning, photogrammetry, UAV and BIM.

This project was largely an act in reverse engineering and trial and error. I was commissioned to create a limited run of flat pack inspired, heavy duty, plywood seats. While I did have a handful of images to reference, the main challenges were creating internal components that would structurally depend on one another and structure an assembly process that was efficient and repeatable.

Benjamin Bush hails from the central woodlands of Alabama. He enjoys making things, teaching students, and consuming tacos.

Junshan Liu | Junshan Liu
Professor
Architecture, Design, & Construction
McWhorter School of Building Science

Junshan Liu is the Bob Aderholdt Endowed Professor in Auburn University&apos;s McWhorter School of Building Science (BSCI). He teaches BSCI courses in both the undergraduate and graduate levels, in the areas of construction information technology, structures and safety. Liu also conducts research and scholarship focused on practical applications of technologies in construction, including LiDAR scanning, photogrammetry, UAV and BIM.

Situated in the heart of Opelika's historic cotton warehouses, the Porch House reArchitecture, Planning and Landscape Architectureims an empty brick ruin for residential use. A modest streetside entrance opens into a secret garden shaded with a canopy of redbud and black gum. The generous covered porch is the largest space within the house and gardens, and intimately connects the interior and exterior of the home. The primitive roof cantilevers over the porch, producing a rain curtain effect at the porch edge during rainfall. The yard is both intimate and flexible, lushly textured and open to the sky. Swaths of wooly planting offer occupiable nooks and crannies within the garden. The courtyard walls continue to dampen the urban Architecture, Planning and Landscape Architecturemor of Opelika's downtown. The planting design emphasizes a complex tapestry of colors, textures, and heights, ensuring year-round visual and sensory interest. A native palette of flowering perennials, grasses, shrubs, and trees provides layered visual depth and seasonal adaptability.

David Hill an Associate Professor in Landscape Architecture at Auburn University as well as the Founding Principal of HILLWORKS.

Junshan Liu | Junshan Liu
Professor
Architecture, Design, & Construction
McWhorter School of Building Science

Junshan Liu is the Bob Aderholdt Endowed Professor in Auburn University&apos;s McWhorter School of Building Science (BSCI). He teaches BSCI courses in both the undergraduate and graduate levels, in the areas of construction information technology, structures and safety. Liu also conducts research and scholarship focused on practical applications of technologies in construction, including LiDAR scanning, photogrammetry, UAV and BIM.

Race and the Control of Public Parks is a Research By Design initiative that uses a century long historical analysis of the public park system in Dallas, Texas to uncover the physical and psychological ways in which public landscapes have intentionally been used to segregate urban spaces. This work illustrates a clear link between the social and economic process of racial injustice and the process of park design and urban development and informs design thought and practice to create a more just built environment. The work provides a deep reading of the city and reveals the multiple ways in which we plan, build, and interact with it, through the lens of public parks and residential racial segregation. Through reframing past and current practice this work is part of informing design that seeks to create a more just built environment.

Isaac Cohen researches, designs, and teaches around critical issues of public spaces and social and environmental justice.

buildingcommunityWORKSHOP |
Liberal Arts
Art & Art History
Studio Art

The buildingcommunityWORKSHOP is a Texas based nonprofit community design center seeking to improve the livability and viability of communities through the practice of thoughtful design and making.

Junshan Liu | Junshan Liu
Professor
Architecture, Design, & Construction
McWhorter School of Building Science

Junshan Liu is the Bob Aderholdt Endowed Professor in Auburn University&apos;s McWhorter School of Building Science (BSCI). He teaches BSCI courses in both the undergraduate and graduate levels, in the areas of construction information technology, structures and safety. Liu also conducts research and scholarship focused on practical applications of technologies in construction, including LiDAR scanning, photogrammetry, UAV and BIM.

In Daniel's life, a multiplicity of narratives and multinational experiences has made him think deeply about the dynamics of discourse and narratives in our societies, especially as an Afro-Latino in the Americas. For Daniel, the intersection of different identities has profoundly influenced his work. His experiences as the son of a human rights lawyer and a social worker in a multiethnic and multiracial family in Colombia; as a victim of forced displacement from his hometown in 1989; as an Afro-Colombian who studied at a HBCU in the US South; and as a citizen living in Colombia and grappling with the legacies and present realities of its civil war; these experiences have all presented points of encounter with the forces of history's multiple faces—unofficial, alternative, contested, surviving—that build and situate someone's identity. His work engages with what he calls political figuration, wherein, through life-size drawings of fragmented print and hand-written texts, bodies, and portraits, he aims to explore and interrogate the forces at play in his own historical reality, the Architecture, Planning and Landscape Architecturesh of the official and un-official historical memories, and what constitutes a politics of remembering.

Daniel is an Afro-Colombian artist/educator born in San Jacinto, Bolivar, Colombia. He is a drawing assistant professor and has exhibited both Nationally and Internationally.

Junshan Liu | Junshan Liu
Professor
Architecture, Design, & Construction
McWhorter School of Building Science

Junshan Liu is the Bob Aderholdt Endowed Professor in Auburn University&apos;s McWhorter School of Building Science (BSCI). He teaches BSCI courses in both the undergraduate and graduate levels, in the areas of construction information technology, structures and safety. Liu also conducts research and scholarship focused on practical applications of technologies in construction, including LiDAR scanning, photogrammetry, UAV and BIM.

My creative practice explores how advancements in technology intersect with human perception and the natural world. It is concerned with the interaction between our natural and rapidly emerging virtual environment, and I'm interested in how conscious we are of the changes that occur while immersed in this new space. Through both digital and analog means, my process involves converting three-dimensional forms into drawings, creating a place where subtle variation evolves as my hand is gradually separated from the work. Ultimately, this reciprocal interaction creates confusion between what is digitally oriented versus handcrafted. My work presents the intersection between the natural and virtual as a perceivable environment, one that is familiar but also distinct from both interpretations of reality. Humanity has reached a place of rapid technological maturation, and we have arrived at a position where the future contains boundless opportunities and immeasurable consequences. We each enter this coplanar environment at definable points, but we reach outward into the entanglement of virtual reality.

Joey Tigert is a multimedia artist whose work has been exhibited both nationally and internationally. He earned his MFA from SIU in 2015.

Junshan Liu | Junshan Liu
Professor
Architecture, Design, & Construction
McWhorter School of Building Science

Junshan Liu is the Bob Aderholdt Endowed Professor in Auburn University&apos;s McWhorter School of Building Science (BSCI). He teaches BSCI courses in both the undergraduate and graduate levels, in the areas of construction information technology, structures and safety. Liu also conducts research and scholarship focused on practical applications of technologies in construction, including LiDAR scanning, photogrammetry, UAV and BIM.

This map represents the conflict between Marchers and State Troopers that unfolded for several minutes on Bloody Sunday, March 7th, 1965. It has been recreated from an initial laser scanning survey of the area in its current condition. Historical photographs taken during the conflict by the news media and law enforcement were analyzed using digital photogrammetry software to obtain the location of buildings, stationary vehicles, and individuals as they existed on that day. Film footage from one of the three cameras taken at a high angle, were cut into a single unedited video to establish an approximate timeline of the conflict. Aerial photographs taken by the FBI and accessed through a freedom of information request were used to confirm the movements of individuals and the sequence of events.

Robert Finkel is an Associate Professor and Program Chair of Graphic Design at Auburn University, where he teaches courses, including Graphic Design History, Identity Design, Packaging Design, Environmental Signage. His creative work has earned recognition from esteemed institutions such as Communication Arts, PRINT Regional Design Annual, Creative Quarterly, Graphis, GDUSA, and UCDA, and has been featured in several publications. In 2018, Robert was honored by GDUSA as a "Design Educator to Watch." He is also the co-author of the book "The IBM Poster Program: Visual Memoranda," published by Lund Humphries in 2021.

Richard Burt |
Architecture, Design and Construction
McWhorter School of Building Science
Building Science

No information was provided for this collaborator.

Junshan Liu | Junshan Liu
Professor
Architecture, Design, & Construction
McWhorter School of Building Science

No information was provided for this collaborator.

Through the process of collage with typography, and what I call the “act of responsive play” I create works that solve visual problems that ask to be solved. When I begin, each work is framed through an initial procurement of ephemera. It is those choices that drive the problem and the solution of the piece through a series of reactive processes that can occupy either a 2D (collage) or a 3D (artist book) format. My intent is to engage the viewer's curiosity through interactions, intersections and visual juxtapositions within composition and message. The collages are meant to be straightforward initially, but also contain visual complexities that only become apparent as one spends time with the work. In particular, the artist books are meant to be interactive; asking the viewer to use the senses of touch and sight alongside curiosity and engagement as they visually move through these multi-page environments.

Kelly Bryant is a Professor of Graphic Design and a designer/maker who teaches in the areas of typography, publication design, and foundations.

Junshan Liu | Junshan Liu
Professor
Architecture, Design, & Construction
McWhorter School of Building Science

No information was provided for this collaborator.

Soil is memory. When we touch the soil or pick up a pebble, we connect to place. Soil holds human stories and the stories of our planet. Soil is alive. This project seeks to closely study soil and reveal its complex ecologies and its recordings of history. It engages with the tools and techniques of pedology, soil biology, archaeology, and paleoecology, and reveals the findings through expressive drawing and narrative. It looks at multiple scales—from what can be seen with the unaided eye to what a microscope reveals to us. It also looks at different scales of time, including the present—the plant roots that it supports and the living soil microbiology of nematodes and bacteria. It considers the past from the geologic origins of the parent material to historic records of previous ecological communities. By selecting a single soil area in Alabama, the Blackland Prairie Soil Area (more commonly referred to as the Alabama Black Belt), this close look will reveal the individual nature of a handful of soil. The soil will be analyzed through different disciplines and at different scales—from the region, to the site, to the handful, to the microscopic.

She holds a Master's in Landscape Architecture from the University of Virginia and a Bachelor of Fine Arts from the Rhode Island School of Design.

Junshan Liu | Junshan Liu
Professor
Architecture, Design, & Construction
McWhorter School of Building Science

No information was provided for this collaborator.

Space is the Vessel: In this series, I explore painting as a symbolic vessel for physical, emotional, and spiritual journeys. Inspired by stories of bodily transformation and allegorical depictions of feminine divinity in art and myth, these paintings serve as channels for expressing and transforming personal experiences, acting as exercises in traversing the vastness of one's inner world through reflections on nature and space. The circle, a central motif, symbolizes a poetic space beyond linear time. With no distinct beginning or end, it becomes a vessel encapsulating the sacred, encouraging contemplation of nature and the cosmos. These tondo paintings blend naturalistic vegetation with ethereal celestial backdrops, representing the vastness of outer space (as a symbol of consciousness) contrasted with tangible material elements in the foreground. For this exhibition, I propose three 60" diameter works created during my semester release from teaching as an opportunity to share completed creative research with the university community. If you need/are seeking additional multi-disciplinary work, these paintings translate into projected scenic designs for live dance performances. I envision collaborating with a musician for original music, creating digital animations from paintings, and choreographing a dance piece.

Lauren Woods' creative research explores embodied expression, nature's consciousness, and the transformational properties of time through mediums such as painting, video, and dance performances.

Junshan Liu | Junshan Liu
Professor
Architecture, Design, & Construction
McWhorter School of Building Science

No information was provided for this collaborator.

This booklet is crafted to enhance the experience of the exhibit titled "The Big Business of Dressing Like A Little Kid" by offering an in-depth exploration into the lives and creative journeys of three designers—Hila Klein, Sandy Liang, and Mira Mikati. Through interviews and quotations, it brings the viewer closer to the playful nostalgia and bold innovation that define each designer's unique approach to fashion and streetwear. The booklet aims to provide a comprehensive understanding of the inspirations that shaped their iconic careers. Hosted by The Fashion Institute of Technology (FIT) and The Museum at FIT in New York City, the exhibit highlights FIT's commitment to creativity and innovation. The featured designers, known for blending youthful aesthetics with forward-thinking design, bring a whimsical touch to contemporary fashion. The booklet's design reflects this playful spirit, with vibrant colors, dynamic typography, and imagery that echoes the distinctive styles of each designer. The booklet serves as a source of inspiration and insight into the intersection of creativity, fashion, and business for undergraduate and graduate students of design and merchandising at FIT.

Isaac Cohen researches, designs, and teaches around critical issues of public spaces and social and environmental justice.

Gwen Cohen |
Architecture, Design, & Construction
Architecture, Planning and Landscape Architecture
Landscape Architecture

Gwendolyn Cohen is a landscape designer whose work considers kinship to the ground, the stories of prairie landscapes, and ways of reading the landscape.

Studio Outside Landscape Architecture | Studio Outside Landscape Architecture
Landscape Architecture Firm
Architecture, Design, & Construction
McWhorter School of Building Science

Studio Outside is a Landscape Architectural practice based in Dallas, Texas, that thrives on the challenge of projects which demand a comprehensive, intellectual, artistic & collaborative design process.

The House on Sand Hill is a 2,400 square foot private residence designed for a rural hilltop site in Lee County, Alabama. Located on one of the highest points in the area, the three-bedroom home enjoys a nearly 180 degree panoramic view of the surrounding pine woodlands. The home is designed to minimize energy use by combining optimized air sealing strategies, active ventilation, high-performance windows, high-efficiency heat pump HVAC systems, and hybrid water heating.The interior environments are rich in natural light. Windows in each space are strategically placed to frame distant vistas. Tall, slender windows accentuate each of the vaulted spaces and telegraph the presence of these spaces on the exterior. The plan is configured as simple T shape, with bedrooms and baths in the east and west legs and the entry and social spaces arrayed along the north/south spine. A screened porch expands the social spaces of the plan and features a vaulted ceiling to accentuate the sweeping vistas and dramatic skies visible from this vantage point. The exterior language of the design centers on a metal skin that begins as a wall surface and folds to become a roof. The north/south social spaces, entry foyer, and primary bedroom suite are expressed as the primary form, with the second and third bedrooms expressed as a secondary mass. The spaces under the folded metal skin are Architecture, Planning and Landscape Architectured in painted fiber cement, and the additive elements of the massing (entry porch, home office, pantry, etc.) are Architecture, Planning and Landscape Architectured in stained cypress.

David Hinson and Christian Dagg are the founding partners of Hinson+Dagg Architects. H+DA has earned multiple awards for its work in custom residential design.

Christian Dagg |
Architecture, Design, & Construction
Architecture, Planning and Landscape Architecture
Architecture

Gwendolyn Cohen is a landscape designer whose work considers kinship to the ground, the stories of prairie landscapes, and ways of reading the landscape.

Studio Outside Landscape Architecture | Studio Outside Landscape Architecture
Landscape Architecture Firm
Architecture, Design, & Construction
McWhorter School of Building Science

Studio Outside is a Landscape Architectural practice based in Dallas, Texas, that thrives on the challenge of projects which demand a comprehensive, intellectual, artistic & collaborative design process.

Inspired by the year of the dragon in 2024, symbolizing power, wisdom, and transformative energy, we challenged to create the 2D/3D textile art exploring the potential of using fused deposition modeling (FDM) to develop integrated 3D printed textiles by portraying visual aesthetics and practical user needs (e.g., drapability). This design combines digitally printed fabrics with integrated 3D printed textile structures on conventional fabrics, 100% polyester mesh, using the FDM 3DP method. Iterative experiments, including 3D printed textile sample development using flexible thermoplastic polyurethane (TPU) filaments and its property testing (strength and flexibility), were performed. This approach preserves the inherent flexibility of conventional fabrics while enabling the application of intricate 3D printed textile structures on the fabrics. A water ripple pattern was digitally printed on the transfer paper using the MUTOH digital textile printer and heat-pressed at 400°F onto the surface of a 50”x40” lightweight, glossy poly charmeuse fabric. Our design approach is unique, original, and innovative at (a) experimenting the integrated 3D printed textile development with 3DP materials, conventional fabrics, and 3DP setups, (b) successfully integrating 3DP on conventional fabrics, and (c) incorporating various emerging design technologies for developing multi-functional 2D/3D textile art.

Dr. Young-A Lee, Under Armour Professor and CADS Dept Head, is the expert in design innovation and technology and the recipient of numerous design awards.

Yu Li |
Human Sciences
Consumer & Design Sciences
Architecture

Yu Li, PhD Candidate in CADS, is the expert in 3D printing for wearable product design. His work was recognized through the international-level juried exhibitions.

Studio Outside Landscape Architecture | Studio Outside Landscape Architecture
Landscape Architecture Firm
Architecture, Design, & Construction
McWhorter School of Building Science

Studio Outside is a Landscape Architectural practice based in Dallas, Texas, that thrives on the challenge of projects which demand a comprehensive, intellectual, artistic & collaborative design process.

none submitted

Mario F. Bocanegra Martinez is a Mexican graphic designer, artist, and educator. His work bridges traditional motion design processes with experimental image-making strategies. Central to his practice is an in-depth focus on analog improvisational play using the camera and a wide range of found objects and materials. This approach drives his exploration of kinetic forms, photography, and typography.

Studio Outside Landscape Architecture | Studio Outside Landscape Architecture
Landscape Architecture Firm
Architecture, Design, & Construction
McWhorter School of Building Science

Studio Outside is a Landscape Architectural practice based in Dallas, Texas, that thrives on the challenge of projects which demand a comprehensive, intellectual, artistic & collaborative design process.

As new digital technologies have emerged, the tools that architects and designers use to represent their ideas have radically changed. Projective drawing types previously used to translate two-dimensional ideas of space into physical forms have nearly reversed their role. While drawings remain the primary means of translation, the prevalence of three-dimensional modeling software has increasingly blurred the relationship between 3D object and 2D drawing. Architectural drawings are now created through the manipulation of a single digital model. The drawing is a representation of the digital object, from which the physical object will be reconstructed once again. Through drawings and models, Translations + Projections considers the different ways in which representational techniques common to the practice of architecture can be used as a tool to not only describe, but to reinterpret the spatial relationships of a single generic object. In the models, two-dimensional and three-dimensional modes of representation are superimposed, highlighting the similarities and discrepancies between the two dimensional and three dimensional artifacts. This meditation on the object is intended to shift the focus away from the object itself, and instead considers how conventional and non-conventional drawing projections radically change our perceptions, readings, and understandings of the object itself.

Cait McCarthy is an Assistant Professor of Architecture at the Auburn University College of Architecture, Design and Construction and Co-Founder of design practice office.

Jordan Young |
Architecture, Design and Construction
Architecture, Planning and Landscape Architecture
Architecture

Jordan Young is a faculty member at the Auburn University College of Architecture, Design and Construction and Co-Founder of design practice office.

Studio Outside Landscape Architecture | Studio Outside Landscape Architecture
Landscape Architecture Firm
Architecture, Design, & Construction
McWhorter School of Building Science

Studio Outside is a Landscape Architectural practice based in Dallas, Texas, that thrives on the challenge of projects which demand a comprehensive, intellectual, artistic & collaborative design process.

The adaptive apparel market will hit $400 billion by 2026. For this market to succeed, garments must work for everyone, not just people living with disabilities (PLWD). This project aimed to incorporate multiple adaptive features while being fashionable throughout the day. The ensemble –jacket, pants, and skirt, features handmade laser-cut flowers – allowing a PLWD or non-PLWD to wear different ensemble components while also being able to dress independently. The jacket has two parts, allowing one to secure each side with elastic straps and hooks. The sleeves have a cape-like slit from wrist to elbow, allowing PLWD to use forearm crutches or a wheelchair. The stretch pants have a skirt that attaches to the waistband with a hidden stretch zipper. Lastly, the flowers were laser cut and then sculpted by hand using millinery tools. This ensemble adds to the limited but growing adaptive creative scholarship by adding garment modularity, wearability in multiple apparel categories, and high-end designer details to the pieces. Before the final ensemble was constructed, it was fitted and evaluated in seated and non-seated positions, along with the ease of walking aids or a wheelchair.

Dawn Michaelson's creative scholarship focuses on apparel prototype development and testing of medical, performance, and adaptive apparel, but prior works involved sustainability and fabric manipulation. She aims to improve an individual's psychological, physiological, and physical wellbeing through apparel design innovation.

Studio Outside Landscape Architecture | Studio Outside Landscape Architecture
Landscape Architecture Firm
Architecture, Design, & Construction
McWhorter School of Building Science

Studio Outside is a Landscape Architectural practice based in Dallas, Texas, that thrives on the challenge of projects which demand a comprehensive, intellectual, artistic & collaborative design process.

My work is based on my training in techniques of traditional Chinese painting and the combination with contemporary and experimental approaches. I am interested in using the traditional forms of Chinese painting such as the visual language of calligraphy and watercolor. I explore how elements like marks, leaves, and petals can mean more than their physical form to create a sense of energy and space. These simple forms become forces that help shape the meaning and feeling within the work. I experiment with the boundaries between control and spontaneity. I also play with the history of Chinese written language, where a mark transforms from representation into abstract meaning over time. I often use the word "zi"(?), which means "word" in Chinese, in my recent paintings to talk about that gradual change in meaning and form. I want to show calligraphy as a system of writing and as an abstracted visual form, where the aesthetics of the marks can sometimes speak louder than the word itself.

Lijun Chao teaches drawing and painting at Auburn University in Auburn, AL. She is originally from Heze City, Shandong Province in China. She specializes in drawing and painting, including traditional Chinese watercolor. She earned her MFA in Painting from Southern Illinois University Carbondale. Lijun is interested in connecting traditional techniques of Chinese painting with contemporary approaches.

Studio Outside Landscape Architecture | Studio Outside Landscape Architecture
Landscape Architecture Firm
Architecture, Design, & Construction
McWhorter School of Building Science

Studio Outside is a Landscape Architectural practice based in Dallas, Texas, that thrives on the challenge of projects which demand a comprehensive, intellectual, artistic & collaborative design process.

Since returning to Alabama in 2012, I've become more aware of and inspired by the vernacular forms of graphic expression that are ubiquitous to the region: abandoned storefronts with “ghost signs”, hand-made yard placards, and other bits of advertising ephemera. The vernacular lettering of old signs and advertisements is a counterpoint to the modern approaches to design education and my traditional design practice. But this is not to say that they are not valuable. They represent a sense of place and time; a pragmatic and self-reliant form of communication. They are a visual record of a storefront that was once open, the religious preaching of a self-ordained prophet, or the seasonal economies of a local farmer. This body of work is inspired by two major artistic sources: The photographic sense of place created by photographers such as William Christenberry, William Eggleston, and Walker Evans and the collecting and recontextualization of vernacular lettering by graphic designer Ed Fella and the painter Ed Ruscha. Initially, photography was a way for me to capture moments of visual inspiration to inform the typographic aspects of my design practice. It was also a much-needed excuse to get ‘outside and away from the computer.' Yet, as I continue to pursue this body of work, I find the photographs of lettering and typography to be less of an interim stage for my creative process and more of an independent appreciation of their utilitarian beauty.

Robert Finkel is an Associate Professor and Program Chair of Graphic Design at Auburn University, where he teaches courses, including Graphic Design History, Identity Design, Packaging Design, Environmental Signage. His creative work has earned recognition from esteemed institutions such as Communication Arts, PRINT Regional Design Annual, Creative Quarterly, Graphis, GDUSA, and UCDA, and has been featured in several publications. In 2018, Robert was honored by GDUSA as a "Design Educator to Watch." He is also the co-author of the book "The IBM Poster Program: Visual Memoranda," published by Lund Humphries in 2021.

Studio Outside Landscape Architecture | Studio Outside Landscape Architecture
Landscape Architecture Firm
Architecture, Design, & Construction
McWhorter School of Building Science

Studio Outside is a Landscape Architectural practice based in Dallas, Texas, that thrives on the challenge of projects which demand a comprehensive, intellectual, artistic & collaborative design process.

The artist books Void are made using iron dust as a primary printing material through which viewers learn the impact of the overturning of Roe v. Wade through the Pink House Defenders‘ experience. In the fall of 2023, Tordella-Williams and former Defender Liz Egan invited reflections on the closing of the Jackson Women's Health Organization (colloquially known as the Pink House) and the end to their work as clinic escorts in Mississippi. Egan edited those texts with her own experience into the codex of Void. The books were printed as a variable edition of two onto mended bed sheet papers using iron dusted through laser cut paper stencils. . Each signature was then rusted and sealed. Tordella-Williams made the paper from her own used bed sheets, a material embedded with the sites of copulation, bleeding, sweat, and dreaming. The mended areas of the paper look like craters or puckered scars and vary from page to page. The signatures are bound using a secret Belgian binding and have CNC plasma cut covers. The back cover features the Pink House cut in negative. While the covers show hints of white paint that are rusted and worn, the interiors are a bright pink to represent the Pink House's color and vibrant tenacity. The piece commemorates those who preserved access to healthcare that once was tenuously available to all Mississippians. These books serve as a memorial to a community and to the void left behind by the fall of Roe v. Wade.

Kristen Tordella-Williams is an interdisciplinary artist and arts educator based in the American South. She has exhibited nationally and internationally, most recently in Berlin. ordella-Williams has been an artist in residence at the Ateliers im Alten Schlachthof and the TIDES Institute & Museum of Art. Tordella-Williams holds a BFA in Sculpture from the University of Massachusetts Dartmouth and an MFA in Sculpture and Dimensional Studies from Alfred University. She is currently the President of the Mid-South Sculpture Alliance and an Associate Professor of Sculpture at Auburn University in Alabama.

Liz Egan |
Architecture, Design and Construction
Architecture, Planning and Landscape Architecture
Architecture

Liz Egan teaches creative writing and directs the McMullan Writers Workshops at Millsaps College in Jackson, Mississippi. She holds an MFA from George Mason University and her fiction has appeared in This Is What America Looks Like, MAYDAY Magazine, SFWP Quarterly, ink&coda, and Parhelion, and was listed as a 2016 Gertrude Stein Award Finalist.

Studio Outside Landscape Architecture | Studio Outside Landscape Architecture
Landscape Architecture Firm
Architecture, Design, & Construction
McWhorter School of Building Science

Studio Outside is a Landscape Architectural practice based in Dallas, Texas, that thrives on the challenge of projects which demand a comprehensive, intellectual, artistic & collaborative design process.

Winner of a Merit Award from the American Institute of Architects New York State Chapter in 2022, this proposed enclosure for a 1932 hydro-electric water wheel near Cazenovia New York is intended to both preserve and exhibit a historical example of renewable energy infrastructure. The enclosure makes the eighteen-foot diameter steel wheel visible to the public while protecting it from the elements. The structure consists of a two-by-eight balloon frame Architecture, Planning and Landscape Architectured with prefabricated panels of one-by-three vertical slats, anchored to an existing stone masonry foundation. The façade of vertical slats conceals the waterwheel when viewed on the oblique, but as the visitor approaches, the screen becomes transparent to reveal the massive steel object within. Although an obvious choice for the enclosure material would have been preservative-treated wood, the project seeks a more environmentally sensitive method to address rot-resistance on the creek. Tamarack, a naturally durable wood species native to the Adirondacks, was sourced from a mill only a few miles from the site of the water wheel. Untreated, rough-cut Tamarack was specified for both the structural framing and the façade screen to keep costs down while providing long-term durability. The project remains unbuilt after funding for its construction was canceled.

David Shanks is an award-winning architect and educator. He has presented, published, and exhibited his creative work, writing, and research both domestically and internationally.

Studio Outside Landscape Architecture | Studio Outside Landscape Architecture
Landscape Architecture Firm
Architecture, Design, & Construction
McWhorter School of Building Science

Studio Outside is a Landscape Architectural practice based in Dallas, Texas, that thrives on the challenge of projects which demand a comprehensive, intellectual, artistic & collaborative design process.

We are enmeshed. Engulfed. Encircled. Each of us awash in a stream of phenomena, even if we can't feel it. Each of us exist in an umwelt that perceives only a sliver of the world. But murmurs abound. Subterranean. Galvanic. Mercurial. -- "Weathering" is a sound installation that amplifies the subtle, imperceptible actions of microbes and translates them into a sonic experience. Traditionally, microbial activity occurs outside of the human umwelt [1] since we don't have the sensory organs to perceive life at that scale. Yet, microbes are abundant and vital for life. They live in our guts, mouths, hands, below our feet, and in our atmosphere. They breakdown, decompose, renew, and sustain. They are the ecological lynch pin. Through the act of translation, "Weathering" expands our umwelt and amplifies our experience of the microbial life. Weathering is composed of a solenoid, microcontroller, and a microbial fuel cell (MFC): an organic battery made from mud, water, and bacteria. Using voltage from the battery as a tell-tale sign of microbial activity, the microcontroller generates a tapping sound with the solenoid. The result is a stochastic, rat-a-tat-tat intonation: a microbial echo that fills the room. [1] The term umwelt was coined in 1909 by Jakob von Uexküll, a German biologist who studied animal perception. An umwelt describes the social, mental, and perceptual experience of an organism and is sometimes referred to as an organism's “perceptual bubble.” The edges of this “perceptual bubble” are limited by the sensory organs that an organism possesses. For example, bats exist in a different umwelt from humans because their sensory organs evolved to help them navigate via echolocation, while our primary sense-perception is sight.

Devon Ward is a designer and artist whose research focuses on design-as-an-expanding field that blends new materials, technologies, and theories to adapt to changing environments.

Studio Outside Landscape Architecture | Studio Outside Landscape Architecture
Landscape Architecture Firm
Architecture, Design, & Construction
McWhorter School of Building Science

Studio Outside is a Landscape Architectural practice based in Dallas, Texas, that thrives on the challenge of projects which demand a comprehensive, intellectual, artistic & collaborative design process.

My work explores the intersection of art and science. Having studied biology, with a focus on ecology and evolution, I seek through my work to bring my background and research skills into the realm of art. I am interested in topics involving ecology that relate to our environment, including how we would preserve our environment going forward and how we interact and exist within our environment. Reflecting this interest, my artwork has explored various topics ranging from biodiversity, endangered species, water quality, and even agriculture. It thereby demonstrates the ramifications of science and environmental policy, investigating and communicating the implications of these through the language of art. Working in an interdisciplinary manner across different content and media, my goal is to bridge art and science, thereby creating a dialogue between the two fields. I believe that art and science can benefit from such an exchange. Even though one could argue that science is more rationally structured than art, they are not so different. They both question the world and how things work. Though they are similar, art can provide a more open-ended means of exploration.

Sara Gevurtz is an Assistant Professor of Animation at Auburn University. Gevurtz graduated from the CADRE San Jose State University where she received a MFA in Digital Media Art.

Studio Outside Landscape Architecture | Studio Outside Landscape Architecture
Landscape Architecture Firm
Architecture, Design, & Construction
McWhorter School of Building Science

Studio Outside is a Landscape Architectural practice based in Dallas, Texas, that thrives on the challenge of projects which demand a comprehensive, intellectual, artistic & collaborative design process.