a thermal bath for eggleston, virginia...eggleston is cradled in one such valley with the new river...

A T h e r m a l B a t h f o r E g g l e s t o n , V i r g i n i a :

The Making of Water, Stone, and Light

A B S T R A C T

Through the study of architecture, and thethermal bath, one must ask, “How can theexperience of springwater, heavy, stone walls,and light contribute to the ritual of bathing?”The making of stone walls is the nature of thebath.

The wall is the primordial state ofarchitecture, and is given autonomy throughits passion. The beginning of architecture ismass, and the articulation of it is in thecarving, and shaping of the mass to form aplace. The passion of the wall is in the powerof its nature for placemaking. Not justordinary place but place for one to sit, and aplace that you, or I can inhabit, a nearforgotten element of the pre-industrial era ofarchitecture. This is the power of the ruin.The ruin allows for the notion of placemaking(which for the ruin is place-made). The ruin isstripped of all necessity, it is there as theobject of architecture, and as the beginning forpotential life. The ruined building’s infill isgone, and what is left are the bones of thebuilding, the permanent, the solid, and theeverlasting.

But why so much importance uponpermanence and lasting in an impermanentworld? Because for the very reason that onefrom another life, or civilization stumblesacross a meadow, and upon it rests a thermalbath, in ruin. The ruin, lit only by the sun,reveals itself. In shadow and light, one canthen understand the poesis of architecture,and the whisper of architecture will be heard.The public will be moved, and will say,“architecture has moved me, and has touchedmy soul.” This is permanence amidst theimpermanent.

A Thermal Bath for Eggleston, VirginiaWater, Stone, and Light

This thesis book, is submitted byDerek M. Hudson, in partial completion of theMaster of Architecture degree from theCollege of Architecture and Urban Studies inthe year of 2003, and the Graduate School ofVirginia Polytechnic Institute and StateUniversity. The thesis was defended on thecampus of Virginia Polytechnic Institute andState University in Blacksburg, Virginia on the2nd of May, 2003.

Committee Chairman, Michael O’Brien

Committee Member, William Brown

Committee Member, Frank Wiener

Water, Stone, and LightA Thermal Bath for Eggleston, Virginia

contentsC O N T E N T S

04 Dedication05 Land06 Site09 Thermal Springwater10 Stone11 Light12 Eggleston Thermal Baths26 Plan Key, and Labels26 Acknowledgments and Bibliography27 Vita

Water, Stone, and Light A Thermal Bath for Eggleston, Virginia

dedicationD E D I C A T I O N

I would like to dedicate this book to myprofessors, Mike, Bill, and Frank because theyhave fueled inspiration when there was none,they have relentlessly given time, effort, andabove all knowledge. I will ever be grateful.This book is also dedicated to Raeanna, a greatwife. Without her understanding, patience,and care none of this would be possible. Idedicate this book to my Lord and Saviour, hehas guided me in times of darkness and unrest,and given peace to my soul. All honor andglory to him!

04 Water, Stone, and LightA Thermal Bath for Eggleston, Virginia

L A N D

05 Water, Stone, and Light A Thermal Bath for Eggleston, Virginia

land

L A N D

Out of the earth, in Southwestern Virginia,along the New River, a spring erupts.According to Plato, all springs were arrangedin a circle underground, and that thespringwater flowed from cavern to cavern, asif flowing from cup to cup. His pupil,Aristotle concluded that springs weregenerated by air that condensed, and dissolvedinto water in the earth’s caverns by anomnipresent cold.1 Combining both of thesedefinitions will help conjure our definition.Underground water, warmed by earth’s moltenlava, causes the water to collect minerals suchas sulphur, it then travels from it’s earthencavern in naturally formed tubes of about 40to 60 meters long. From friction of the watermoving against the earthly tube walls it warmsto 250 degrees F. This heat purifies the water,and exits the earth causing a trickle or geyserwith temperatures ranging from 60 to 120degrees F, and thus the phenomenon of pure,sometimes healing, thermal waters.

1. Springlore in Virginia. Marshall Fishwick. pg.14


S I T E

The southwestern portion of Virginia iscountry consisting of beautiful landscape thatcontains the Allegheny mountain range, andintimate, low lying valleys. The village ofEggleston is cradled in one such valley withthe New River knifing through the old, worndown mountains.

The historical bath of Eggleston is the site ofthe spring, which came into its prime in the1880’s.2 This is the site of my proposed bath.Early on, the springs were known as theHygeian Springs. It was called Hygeianbecause of the purifying and cleansing natureof the thermal water. The Greek god Hygeia,was the virgin of health, and the goddess ofcleanliness.

The typological, and classical tradition ofbaths are rich in the history of man datingback to the hollowed out baths in Piraeus from2600 b.c. (shown above). Perhaps no otherculture initiated the grandeur, and scale of thebaths like the ancient Romans, a society thathad record of over 800 baths.3 (continued nextpage)

2. Historic Springs of Virginia. Stan Cohen. pg. 41.3. Springlore in Virginia. Marshall Fishwick. pg. 15-16

S I T E

07 Water, Stone, and Light A Thermal Bath for Eggleston, Virginia

site08 Water, Stone, and Light

S I T E

The Romans built baths to the far reaches oftheir empire, some baths could accommodateup to 3,000 bathers at a time. Sites of thebaths in the empire include the large east bathsin Mactar, North Africa (above left), and theHierapolis baths in Asia Minor (lower left).These baths have grown into ruins ofrain-eroded, and wind-swept solid stone, litonly by the sun. The massive stone wallssurrounded pools of thermal water, bathersmoved in and out of stone rooms made to beinhabited. The walls were made with anintention of carving out a place, making aspace and place within solid mass. The carvedwalls are an essential, primal need for man toexperience place, place that is immobile,fixed, solid, and secure.

The predictability of the stone room allowedthe inhabitant to come to a knowledge, andunderstanding of the place built upon truth.This is the truth of stone; squeezed by weight,it was a pure, and honest gesture towardsmaking a permanent object. The power ofpermanence is in the passion of the ruin. Aruin has remained and will continue to remain,to cite Louis Kahn, “what will be has alwaysbeen.” This is the glory of the ruin, to be apart of yesterday, and also a part of tomorrow.

A Thermal Bath for Eggleston, Virginia

springwater


09 Water, Stone, and Light

4. Springlore in Virginia. Marshall Fishwick. pg. 53-54.5. Hotel Therme Vals : Circulation of Waters. pg. 11-12.

T H E R M A L S P R I N G W A T E R

The Circulation of Waters

Pure, Alkaline, Saline, Sulphur, and Calcic.4This is the classification of the Egglestonspringwater, which is tapped close to theriver’s edge, and pumped to the bath site at avelocity of 700 gallons per minute at 94degrees F. The thermal water is conducted tothe baths via two chrome pipes with adiameter of 2 inches. The water flows-inunrestricted above the surface of the bath’ssmall reservoir in the mechanical hall. Therethe water comes into contact with oxygen forthe first time. The iron, dissolved in thewater, oxidizes precipitating a rust-red depositon the floor of the 6 foot deep reservoir. Anatural deferrization process. Deferrization isa natural water treatment through theexchange of ions when the water contacts air.A small amount of water is diverted from thereservoir directly to the drinking stone whereit bubbles up with its full strength of iron, andnatural warmth, and then is dispersed into thepools of the bath. This water is then fed fromthe fresh thermal water reservoir where theiron has been extracted, it flows into the brasspipes set into the walls, and runs off again intochannels that flow into the individual pools.5

The tracing of the water becomes a journey, ajourney that comes to an end in eachindividual stone block. From the heat, andminerals the stone rests as a sealed containerto the powerful water.

stone


S T O N E

The springwater rises out of the earth, itswater being warmed by the earth’s pressure,heat, and molten lava. The stone, sliced outof the earth, is cut, and laid upon themountain’s meadow, it’s laid layer upon layer,stone upon stone. Absolute Black granite, thewater’s companion, made dense, and hard alsoby the earth’s pressure and heat, accompaniesthe water in this story of the Eggleston Bath.

The stone can hold several qualities thatglorify the water, it can reflect the water, itcan diffuse the water, the stone can dispersethe water, and it is the enduring quality of thebath. The bath sees different water from dayto day, and from week to week. The waterseeks its level, raising and lowering with everyhuman submersion. The stone is quitedifferent from the water, it lives on,unchanging in character. It is the permanentelement that endures well beyond the rituals ofbathing. The stone is in harmony with thewater, but it also performs a dissonant note inthe concert of the bath. The dichotomybetween stone, and water is the exploration ofpermanence to impermanence, figure toground, and light to dark.

The stone is the material of the permanent, itis the ground for the figure, and it is theshadow of the light. The stone is thepredictable, permanent object, in theunpredictable, and impermanent world.



lightThe truth of light can be thought of as amaterial, or as mass, in a certain nature. Theroom gets a slice of the sun, and reveals thetruth. Light reveals the nature of a material,it reveals the grain of wood, the joint in theconcrete, the texture of plaster. We can relyupon light to fill the room, it fills the volume,and can become a solid mass of light. Thegoal of this light is to touch the soul byglorifying material, and to find the poeticmeeting of man and spirit.

L I G H T

Filter. Aperture One:Different rooms require different light. In theplace of the public, the communal hall, lightmust be the summon bonum, the highest, andbest. The light that pours in from the holemust be manipulated, it must be filtered orshaded to bring comfort to man. Due to theintense power of the light a filter sifts thelight from above and allows an ambient lightto permeate the hall as it seeps down the wallsof stone.


a p e r t u r e o n e : F I L T E R

a p e r t u r e t w o : C A V E R N

a p e r t u r e t h r e e : S H A F T

Cavern. Aperture Two:This light pierces the overhead concrete lids.The cavern implies a place of darkness, aplace hewn out of the earth and lit by a crackof light in the ceiling of arching earth, andstone. The cavernous light brings forth theage-old knowing and understanding of suchlight.

Shaft. Aperture Three:The light of the shaft is a light that falls fromabove and makes a volume in the room. Thelight reflects itself against the vapor of steamywater and allows the shaft to come into being.

nature and order


Water and Stone.

The springwater in the bath is a homage to itsnature. The water is not acted upon bygadgetry, water sprays, jets, or bubbling watertechnology. The water is presented in itsnatural state, its order is restored as it enterseach bath. It flows, out from walls, andtrickles down surfaces of solid stone, itsplashes upon surfaces of water, stone, andnaked skin. The powerful water carves a pathupon the floor, which flows into largercontainers made of stone. The water is madefor the rediscovery of the ritual of a primitive,and primordial experience, it is made andordered to intensify the qualities of stone, andlight.

Heavy, squeezed, blocks of black granite, thisis the canvas for light. The stone was made inrelation to the question, and investigation ofthe order of it. The stone, laying layer uponlayer, is static, it is made through the detail ofits nature. The stereotomic mass is cut anddressed for the tectonic meeting of floor towall, wall to arch, and wall to ceiling. Thestone is thought of in this way, it was thoughtof from the beginning as the container forwater. The stone is made to receive weight, itis made into carved out spaces of texture, andlight that receive water, steam, color, noise,and reflection. The stone is dressedappropriately to fix the painting of light, it isdressed in rough cut, flamed, and honedfinishes for the casting of light and shadow,and for the need of touch by naked skin. Thestone is stone, and it shall endure.

This is the story of water and stone. Inthe story, the light is the pen that writesits chapters on the building.


E G G L E S T O N T H E R M A L B AT H


T H E B E G I N N I N G S :

From upon the mountain one can feel thebrisk wind coming from the north in winter.With a cover of snow the place becomessilent, and crisp. The summer wind sweeps infrom the southeast, and the sun melts awaythe snow letting the meadow grasses grow.The place changes, and smells of spring air,and of river rapids churning up the pristinequality of the New River water.

The building is ordered around theencompassing path of the sun, but moreprecisely, it is ordered around the path fromsunrise to sunset on the winter solstice. Therising sun of the winter solstice pierces thespine of the building, the communal hall,which is parallel with the spine’s long axis.The setting sun of the winter solstice reststhrough the opening in the bath’s short axis.



Stone enjoys pressure, and weight, it feelscomfortable under the heaviness of itself, andwhat it carries. The stone is of the world ofRuskin, a place crafted by the stone mason, aworld of mass and shadow. The concrete ismade into parts and pieces, an assembly oftilt-up and site cast concrete. It is a world ofassembled pieces that mediate the stone’stouch. The concrete is about surface, andmachine, it lives in honor of the mode ofmodernity. The formal order for the bath isthe stone, heavy, and crafted, supporting thetectonics of constructed concrete.


*Refer to page 26 for plan key, and labels

section on page 19

section/elevationstudy on page 21

section on page 24

section onpage 18

section on page 23

partial sections on page 16


ROOMS OF COLUMNS AND WALLS

In the order of the building, the plan is thegenerator but it is through section that weperceive architecture. We are given access tothe plan through the thought of the ruin.Taken from this book are the sketches,models, and sections, they are the bath, andplace of life. We will be taken through thebath by the drawing, it gives up secrets of itsmaking, power, light, darkness, heaviness, andjoy. We can seen the people move about thebath enjoying the water, and light. The plan isthe ruin of drawings. Like a ruin, the planreveals the geometry, and order of thebuilding. It places, on record, the thickness ofits walls, and the making of place, steps, andstone floors. With each drawn line the plan ismade. Layer after layer, the floor, the steps,and their stones; the seats and their stones,and the walls and their arches and stones aremade.

The rooms are revealed through their mass,the beauty of the mass as a room is its powerto have a place carved out of stone. Carvingaway to make a place gives glory to the wall,then the room, and ultimately the building. Inthe main pool mass is carved again, and again,it is carved away to be columns that come andtouch the floor. The private pools have beenmade by the less generous carving out of theroom. The order of those pools are madethrough the mass of their walls.

t h e a n a t o m y o f a c o l u m n


Partial section study of south/main bath, andrapid prototype models of vaulted roof study

The project evolved to the sectional qualityof the bath. The question “what can a roofand ceiling become?” was explored in section.The section as a drawing tool allowed theexpression for the main themes of the bath tobe explored. The concrete lids and theirdirect connection to the stone was studiedthrough the section. The lids informed thestudy of space and light, and then questionsarose.

What was the nature of the light in relationto the space, and what was the nature of spacerelated to the pools, and to the floor? Theconcrete lids were designed in accordance withthe room that it covered. Each lid allowedfor the sun’s light to pass through. Shaft lightlids were for the main events for the bath.The lid is a modern equivalent to the vault forthe relation to stone arches in the pools.

The pools are the place of water andrelaxation, central to the notion that mancan experience the power of place. The poolreflects the vaulted roof, and is made by thefloor submerging into warm mineral water,while the roof above moves towards the sky,elevating man’s senses to a greater good. Thegreater good is the summon bonum, it is thesensus communis that Emmanuel Kantexpressed in his treatises of judgment, “thesensus communis is the aesthetic value that isenabled in all human life, the common sense.”

In this sectional study, the community hall,the main ordering element of the bath, wasstudied in relation to light and space. Lightenters the communal hall through a filteredlid. The filter allows for the hall to beilluminated with light, and is a room for thepublic. As one exits the pools, the floor stepsup along with the hall’s concrete lid. The halllid pokes its head above the pool lids,enlarging the spatial height and structuringthe sectional hierarchy for the bath. Thecommunal hall lid was one of the first studiesof tectonic connection, and qualities of roofto wall.

An important finding was when the concretebecame a true lid, slipped onto the stone, andencapsulated the space. The stone gives theconcrete places to rest, it is the mass that iscarved, and shaped to make places where,upon the stone, the concrete sits.


s k y l i g h t d e t a i l


c h a n g i n g r o o m s e c t i o n

The changing room light is different from thecommunal hall, and pool light. The changingroom is the place of darkness with slits of lightto mark place, and shafts of light to mark thebeginning and ending of the line of the room.The changing room is a private place whereone can remove their cloth facade. Withinsecure walls, a dark, private, and warm moodof blue shadows and yellow light, induce afeeling of security and archaic simplicity. Asimplicity needed to reduce the body andincrease the soul. The sensuality of changingis the removing of the cloth facade, andexposing the soft spirit of the heart, and soul.

S o u t h B a t h S e c t i o n


The section of the bath answered a question ofthe roof articulation. It answered, through thedemand for light and space, that there must bean order appropriate to each space. Thequality of the vaults in the bath complementedthe order of space. The main bath, used byeveryone coming to it, is the common bath,the bath for the public. The vaults honor thepools of water, and the surface of the waterbecomes the pool floor.

It is the water’s floor that reflects light, image,surface, and sound. Through the experience ofthese moments, the water’s surface becomespowerful. The vaults recognize this power andraise up to honor it. In the garden hall theroof is inarticulate concerning the sense ofdepth. The ceiling is flat and the response ofthe room is to the outside garden. Inhierarchical terms, the garden hall payshomage to the vaulted rooms, and baths.

This became the order for the baths, it isconsistent throughout and the pools of waterare glorified by the expansion of the space.The order of dry rooms are made through theintimate nature of the ceiling plane respondingto a function.

s e c t i o n t h r o u g h g a r d e n h a l l s e c t i o n t h r o u g h m a i n b a t h



N o r t h B a t h S e c t i o n v i e w i n g E g g l e s t o n C l i f f s


What is the power of light? Is it the lightitself? Is it the silence of moving texture? Isit the darkness? Louis Kahn noted that, “theroom never new how good it was until it had aslice of the sun.”6 In terms of the goodness oflight Plato records that light is the “memoryof God.”7 What is missing in these profoundstatements? It is the darkness.

A great pleasure for man is for him to walkfrom the darkness into the light, to feel thewarmth upon his or her brow. The light ispowerful, it is light that melts away theshadow, it is the piercing knife that cuts thecanvas of the morning darkness. On the otherhand the missing element, in these statements,which cause them to be in grave error, is thehuman. We are made of light, men, women,and children are spent light, pure and white. Itis our nature to walk in the light, we must talkin the light, and this is our desire. To talk inthe light is to talk of truth, for it is light thatreveals. Deception is of the shadow, fordarkness hides the revelation of what the lightmakes. The light that shines from withincomes out of the eyes which lead to the soul.The soul of the building is pure water, the men,women, and children enjoying the bath arespent light, they are the ones for which thestone is made.

m o d e l o f d a r k b a t h w i t h s i x i n c h o p e n i n g m o d e l o f d a r k b a t h w i t h t w e l v e i n c h o p e n i n g

d e t a i l o f d a r k b a t h a p e r t u r e

6. “What Will Be Has Always Been” Louis Kahn7. Rott, Hans C. Lecture. MArch 3.1 Seminar. Fall 2000.

T h e D a r k B a t h - 1 0 5 d e g r e e s F


A refinement is made with the concrete lids inrelation to light. Concerning detail A, and thenorth side of the concrete lid, which meets thecommunal hall lid, opens up to the north lightadmitting diffused light. The light isappropriate to the north side of the baths; thenorthern side receives subdued light withopenings to the Eggleston limestone cliffs.The northern baths are private, and intimate,pools for one, two, or three, where the tactilenature takes over the senses, with waterspilling out from within walls of stone.

The revised monitors, next to the communalhall lid, tells the bather, through theexperience of light, that there is a threshold,and a change of pace. The south monitor actsas the same type of informer, the south emitsdifferent light, different in color and intensity,which is a part of the type of light in thesouthern pools. The southern pools are forthe public, open and bright, and with lightwarming the naked skin of the bathers. Thelight pours in from around columns of stone,and they make a place to experience thewarmth and texture of the water and light.

d e t a i l A : t h e c o m m u n a l h a l l , a b u t t e d b y n o r t h a n d s o u t h l i d s

South side North side

E g g l e s t o n l i m e s t o n e c l i f f s


C h a n g i n g R o o m S e c t i o n a n d S o u t h E l e v a t i o n


T h e F a m i l y o f A r c h e s


Arches are the fabric of the woven room.Although separated by rooms the archescontain an order unique to themselves, butthey also share an order that is containedwithin the whole bath.The springline of the arch is important, it tellsthe mason that, at a certain point in the layerof the whole building, every arch begins.When the arches are born, and made, thespringline becomes the blood that gives thefamily of arches their life.The building, from the beginning was thoughtof as stone, but was it being drawn as stone?No. The stone was drawn as brick masonry,the stone had to be manifest, and made. Thestone arch is the figure of the building, and thewall is the ground for the figure. There is adifference in the nature of masonry materials.The brick is broken by the mason, and he orshe fits the brick to corners or specialconditions. The stone is cut and delicatelylaid. The power of it is that while being cut itcannot be broken in spirit. It remains a solid,self-serving, independent containment butsuppresses itself by helping support a whole.In a sense, the will of the stone is broken, butthe spirit remains.


N u d e B a t h s a n d C o m m u n a l H a l l l o o k i n g N o r t h w e s t


The rejuvenation of man through the bath.

From being cleansed by water, to the walk oflife, light guides and leads, to and from timesof darkness. Human senses are massaged bylight with its scale, intensity, reflection,difussion, and color.

The water is the connection between stone andbody. It softens the skin, and dillutes thesenses by its warmth, color, smell, and texture.

The stone, a smooth, yet hardened object,cradles the body in the rejuvination of man.The stone is made, remade, and remade againto fit the profile for naked skin, which is theultimate goal for the thermal bath.


L o n g i t u d i n a l S e c t i o n t h r o u g h C o m m u n a l H a l l


The Communal Hall is ordered by the line ofwater that is cut into the floor. It structuresthe beginning of the floor as the entry pool(far left). The drinking stone is the secondpart in the tripartite order of the hall, it is theplace where everyone can enjoy the water atone point, and it connects the secularchanging rooms to the sacred pools. TheMorning Pool, closest left, is the third, andfinal structuring point in the hall for thepublic, the end of the water’s journey.

The contemplators of light.

What value can be given to thinkers? Thethought of man as a part of light provokes usto contemplate the ideas of aesthetics bytrying to make sense out of a star that givesits life to the universe. The sun unifies allthings by the power of its light, it unifies thecycle of the earth’s growth and death, theseasons, and our time of day. This is why wecontemplate the light, to feel and see thecycle of life that the sun gives, and to knowthat we are a part of it.


T h e B a t h o f L i g h t - 1 0 0 d e g r e e s F

a

section a


As the sun sets on the pool of light, the wall,as seen in the sketches, reaches out to grab thelight. It grabs it and releases it into the pool,making a trace of texture, and surface uponthe split-faced stone.The southwestern Virginia setting sun is anevent of beauty. To have a slice of theevening, orange sun illuminate the wall ofstone may remind us that a gracious, fiery starlights our world. It is the bright and powerfulstar which dissolves the darkness. It takes 13minutes for the light of the sun to reach ourearth, traveling at 186,000 miles per second,it seems only fair to give it a voice and to letit sing.

The ending of the light’s journey is thebeginning of it in architecture. It illuminatesthe darkened corners, and gives humanitycourage to face another day.


1 - Entry, cleansing pool, waiting areas, and check-in2 - Male and Female changing rooms3 - Communal hall4 - Garden hall5 - Garden6 - Mechanical hall7 - Male and Female nude baths - 100 degrees8 - Single lounge bath - 97 degrees9 - Triple lounge bath - 97 degrees10 - Dry lounge and resting area11 - Northern exterior bath and lounging12 - Physiotherapy bath - 97 degrees13 - Dark bath - 105 degrees14 - Sitting bath - 100 degrees15 - Axis bath - 115 degrees16 - Morning bath - 65 degrees17 - Bath of light - 100 degrees18 - Communal bath - 90 degrees19 - Southern exterior bath and lounging

2 (male)

2 (female)

3

45

6

7f

7m

8 9 10

11

12 13 14

15

16

1718

19

1

1

N


“All my fresh springs shall be in thee.” - Psalm 87

B I B L I O G R A P H Y

1. Fishwick, Marshall. Springlore in Virginia.Bowling Green State University. PopularPress. 1978.

2. Cohen, Stan. Historic Springs of theVirginias. Charleston, West Virginia. PictorialHistories Publishing Company.1981.



5. Hotel Therme Vals: Information and Prices.Anton Schob Buchdruck - Offsetdruck. 2002.

6. Kahn, Louis. What Will Be Has AlwaysBeen: The Words of Louis I. Kahn. Rizzoli.New York. 1986.

7. Rott, Hans C. Lecture. MArch 3.1 Seminar.Fall 2000.

A C K N O W L E D G M E N T S

Thank you goes to my parents for theireverlasting support, and love. I want to thankAhmed, Chad, Derrich Stetlzer, Doug,Elizabeth, George, Greg, Jason, Kelly, Serge,Robert, and Yousef for their support, and mostimportantly, their harsh, and accurate critique.

vita

Date of Birth


Education

Bachelor of ScienceIn Architecture EngineeringFairmont State CollegeFairmont, West Virginia1996 - 2000

Master of ArchitectureVirginia Polytechnic InstituteBlacksburg, Virginia2000 - 2003Graduated with honors - 3.9 GPA

07.25.1978

Name

Derek Michael Hudson

Scholastic Honors

National Dean’s ListFairmont State College1996 - 1997Recognizing AcademicAchievements ofOutstanding College Students

College Dean’s ListFairmont State College1999 - 2000Awarded to Students with aGPA between 3.0 - 3.5

Tau Sigma Delta NationalHonor SocietySociety for Architecture andAllied ArtsVirginia Polytechnic Institute.2001 - 2002Department of ArchitectureAward for Academic Excellenceof GPA’s between 3.8 - 4.0

Phi Kappa Phi Honor SocietyVirginia Polytechnic Institute.2002 - 2003Recognizing and PromotingAcademic Excellence in AllDisciplines


Bachelor’s AwardFairmont State College1998 - 1999Awarded to Outstanding DesignExcellence through the AmericanInstitute of Architecture Students

Architecture ScholarshipUSM Travel Scholarship - $4000Virginia Polytechnic Institute2000 - 2001Incoming Best Student Award

Architecture ScholarshipWilliam “Bill” BrownScholarship - $1500Virginia Polytechnic Institute2001 - 2002Second Year Best Student Award

Architecture HonorHenry Adams Medal andCertificate - AIAVirginia Polytechnic Institute2002 - 2003Top Ranking GraduateArchitecture Student

Architecture Awards

American Institute ofArchitecture Students (AIAS)Fairmont State College chaptermember 1997 - 2000Served as Sargent at Armsduring school year1999 - 2000

Professional Organizations

1998Construction worker forWZM, INC.Fairmont, West VirgniaLaborer, Wall Layout, and Builder

2001 - 2002Work for Professor ShelleyMartin - Photo Lab constructionmanager and equipment assembly

2002 - 2003Work for Professor MichaelO’Brien - Building TechnologyTeaching Assistant andResearcher

Work Experience

Architecture AwardGraduate Thesis ArchitectureAward $300Virginia Polytechnic Institute2002-2003Awarded for Architecture ThesisExcellence

Blue Ridge Masonry AssociationCompetition $300 - 2nd PlaceVirginia Polytechnic Institute2002 - 2003Awarded for projectcompleteness, effectiveknowledge of construction, andproject clarity

a thermal bath for eggleston, virginia...eggleston is cradled in one such valley with the new river...

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