mackenzie page's portfolio 2014

Mackenzie PageSelected works in

Landscape Urbanism, Art & Design 2014

Panoptic Alienation/Intimate Dwelling

Invasive Remuneration

Woodland Cemetery

Reversible Destinies

New Orleans Emerging Futures

Technical Drawings

Clara Tyner Gardens

We Call This a Tree

Sketchbooks

Academic Travel

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09

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Table of ContentsIntro02

Hello, my name isMackenzie Page.

I am currently a master of landscape architecture candidate at the University of British Columbia and a previous graduate of the environmental design bachelor program at the University of Manitoba with a focus on landscape urbanism. My interest lies at the critical intersection of landscape, urbanism, and built form. I am an avid runner, cyclist, and motorcyclist and enjoy reading, drawing, and travelling. The following pages are a collection of my undergraduate, graduate, and personal design endeavours.

Panoptic Alienation/Intimate DwellingThis three week studio project took place at Pitt

Marsh Ecological Reserve. Under the context of

land art we responded to the existing landscape

and visitor amenities. In navigating between the

dialectics of the scared and profane, I found the

existing access infrastructure provided panoptic

vantage points and give a feeling of alienation.

They do not immerse the user in the wetland

itself.

My intervention seeks to bring closer the

wetland environment through a floating pathway

network of partially submerged steel channels.

The channels follow the palimpsests of former

dredging, failed farming practices, and ecological

flux.

LAND ARTMLA Studio 503

Kris Fox 2013

PROCESSAnalogue Multimedia

PhotoshopModel

LAND ART 03

PANOPTIC ALIENATION / INTIMATE DWELLING 04

Local

Regional

National

Global

Infrastructure

Invasive RemunerationThe final project of the land art studio saw us

study the threshold of the Second Narrows

bridge along the Trans Canada Trail in Vancouver.

Surrounded by industry, I analyzed the

widespread scale of the shipping industry, from

local to global. I synthesized my explorations into

a spatial response which induced the user into a

experience of compression and revelation from

a vegetative condition into a barren industrial

space. The augmentation of this threshold was

aided by the veil of blackberries shrouding the cor

ten steel armature.

Just as the industry remunerates our society, it

has negative consequences as it invades existing

ecologies. This is made analogous by the planting

of Himalayan blackberries, an aggressive invasive

species which gives delicious berries.

LAND ARTMLA Studio 503

Kris Fox 2013

PROCESSAutoCAD

PhotoshopIllustrator

Model

LAND ART 05

INVASIVE REMUNERATION 06

LAND ART 07

Trans Canada Trail

Blackberry Bramble

Corten Armature

1 : 500 N

Invasive remuneration:an inquiry into increasing complexities

mackenzie page larc 504

INVASIVE REMUNERATION 08

310 0m

Rubus armeniacusaverage terminal cane propogation

view eastward

view westward

010

30100

200

meters

24

Woodland CemeteryWe were required to research the design of

the Woodland Cemetery located in Enskede, Sweden, by Eric Gunnar Asplund as a precedent

for this studio. This design plays an important role

in drawing on one’s established notions of Nordic

archetypes: the forest, the woodland chapel, and

the burial mound. In Nordic mythos, forests are

associated with mystery and the unknown, while

meadows denote the antithesis. Asplund uses

each to juxtapose death and life in the landscape. The chapel is the synthesis between temple and

traditional home.

The duality between forest and meadow - dark

and light - is enhanced and revealed by a series

of liminal spaces. We simplified the images

in order to augment the contrasts and liminal

spaces. We then found parallels between a

passage from Dante’s Inferno and the spatial

archetypes found throughout the cemetery

procession (following pages).

PRECEDENT STUDYEnds Design Studio 5

Straub + Wilson Baptist 2009

PROCESSHand Drawn

COLLABORATORS

Carly Moore

PRECEDENT STUDY 09

The contrast between forest and meadow - dark and light - is enhanced and revealed by a series of liminal spaces. These spaces act as intermediate conditions to juxtaposed environments, such as a birch grove in between dark pine forest and meadow. Asplund uses the transitional spaces to produce interest or incentive to the user as they proceed through the site.

We were required to interpret the design intentions and communicate them both graphically and verbally to our classmates. We simplified the images in order to augment the contrasts and liminal spaces. We then found parallels between a passage from Dante’s Inferno and the spatial archetypes found throughout the cemetery (next page).

0 10 30 100 200

meters

25

WOODLAND CEMETERY 10

Midway in our life’s journey, I went astrayfrom the straight road and woke to find myselfalone in a dark wood. How shall I say

what wood that was! I never saw so drear,so rank, so arduous a wilderness!Its very memory gives a shape to fear

Death could scarce be more bitter than that place!But since it came to good I will recountall that I found revealed there by God’s grace.

How I came to it I cannot rightly say,so drugged and loose with sleep had I becomewhen I first wandered there the True Way.

But at the far end of that valley of evilwhose maze had sapped my very heart with fear!I found myself before a little hill

and lifted up my eyes. Its shoulders glowedalready with the sweet rays of that planetwhose virtue leads men straight on every road,

and the shining strengthened me against the frightwhose agony had wraked the lake of my heartthrough all the terrors of that piteous night.

Just as a swimmer, who with his last breathflounders ashore from perilous seas, might turnto memorize the wide water of his death-

so did I turn, my soul still fugitivefrom death’s surviving image, to stare downthat pass that none had ever left alive.

Way of the Cross

Way of the Seven Wells

Woodland Chapel

26

PRECEDENT STUDY 11

Midway in our life’s journey, I went astrayfrom the straight road and woke to find myselfalone in a dark wood. How shall I say

what wood that was! I never saw so drear,so rank, so arduous a wilderness!Its very memory gives a shape to fear

Death could scarce be more bitter than that place!But since it came to good I will recountall that I found revealed there by God’s grace.

How I came to it I cannot rightly say,so drugged and loose with sleep had I becomewhen I first wandered there the True Way.

But at the far end of that valley of evilwhose maze had sapped my very heart with fear!I found myself before a little hill

and lifted up my eyes. Its shoulders glowedalready with the sweet rays of that planetwhose virtue leads men straight on every road,

and the shining strengthened me against the frightwhose agony had wraked the lake of my heartthrough all the terrors of that piteous night.

Just as a swimmer, who with his last breathflounders ashore from perilous seas, might turnto memorize the wide water of his death-

so did I turn, my soul still fugitivefrom death’s surviving image, to stare downthat pass that none had ever left alive.

-canto I: the dark wood. the inferno. dante alighieri.

And there I lay to rest from my heart’s racetill calm and breath returned to me.

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WOODLAND CEMETERY 12

We were required to design the entire industrial site (bottom right), as well as design the main burial grounds in detail (left page). We designed an open-ended burial procession within a functional landscape, both following the existing geometries of the site and the concept of a fluctuating homeostasis. We expressed the spatial experience the bereaved may have throughout the procession (next page).

Site Frame

Retaining Ponds andCivic Interface

Procession Burial Grounds

HydrologyActive Recreation Paths

0 15 60 150 300

meters

Bishop Grandin Fwy

Pem

bina

Hw

y

Not to scale

The burial grounds are described as follows. The concrete pads of the major industrial area are crushed for the procession of tree plantings as the main building is redefined as a ceremonial space and crematorium. The cemetery is defined by a swale containing red vegetation that thrives in the existing condition. Tailing ponds are reinterpreted into the ponds which cleanse the storm-water from local

communities and retain it for use in the nursery. Production and retail space for the nursery overtakes existing buildings and fills the civic interface along the highly populated edge shared with Pembina trail. Existing recreational trails such as Bishop Grandin Greenway are connected to and extended throughout the site. These elements together form an unchanging core while the surrounding space remains undefined and flexible.

31

The abandoned Manitoba Sugar Beet Factory was the site of this intervention. We used the information gained from researching burial practices, and from the precedents studied, in partners, to design a cemetery. The post-industrial site contained remnants of its industrial past, including storage silos, buildings, and a unique landscape of crushed limestone.

Studio5|Mackenzie Page+Carly Moore|2010Reversible Destinies

Land left destabilized from the production processes stretches out beyond the iconic silos. Left unused for years, nature has found ecosystems to thrive on these extreme landscapes. The site adapts to the disturbances and never returns to its previous state. There is a constant search for a state of homeostasis; a site learning to adjust, a city in flux, a person overcoming loss.

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FINAL PROJECT 13

Reversible DestiniesThe abandoned Manitoba Sugar Beet Factory

was the site of this intervention. We used the

information gained from researching burial

practices and from the precedents studied, in partners, to design a cemetery. The post-

industrial site contained remnants of its industrial

past, including storage silos, buildings, and a

unique landscape of crushed limestone.

Land left destabilized from the production

processes stretches out beyond the iconic

silos. Left unused for years, nature has

found ecosystems to thrive on these extreme

landscapes. The site adapts to the disturbances

and never returns to its previous state. There is

a constant search for a state of homeostasis; a site learning to adjust, a city in flux, a person

overcoming loss.

FINAL PROJECTEnds Design Studio 5

Straub + Wilson Baptist 2009

PROCESSAnalogue Multimedia

Photoshop

COLLABORATORS

Carly MooreWe were required to design the entire industrial site (bottom right), as well as design the main burial grounds in detail (left page). We designed an open-ended burial procession within a functional landscape, both following the existing geometries of the site and the concept of a fluctuating homeostasis. We expressed the spatial experience the bereaved may have throughout the procession (next page).

Site Frame




0 15 60 150 300

meters

Bishop Grandin Fwy

Pem

bina

Hw

y

Not to scale



31


Site Frame




0 15 60 150 300

meters

Bishop Grandin Fwy

Pem

bina

Hw

y

Not to scale



31

Site Frame Procession Burial Grounds Recreation Circulation Retaining Ponds/Housing Hydrology

REVERSIBLE DESTINIES 14

0 30 75 150

meters

B

A

B

A

30


Site Frame




0 15 60 150 300

meters

Bishop Grandin Fwy

Pem

bina

Hw

y

Not to scale



31

C

C

0 30 75 150

meters

B

A

B

A

30

the grid of elms stand solemna composed welcomeshrouded by their shaded veilthe silos lurk above their canopiesthey rise stronglysentinels of the site

the breathing city is watchedfrom its agrarian ruinsmnemonic landmarks litter the groundwith photographic impressionthe city reads as a palimpsest

order appearswhite trees guide the waythe pace slowsthe sky fades awayas shade takes overa division occurs between realms

Contextual Still Frame

Reception of Elms

The Approach

32

FINAL PROJECT 15

Cemetery Procession

dense spruceforms the dark unknownmystery unfolds into vastnessthe smell, the carpetthe shadowy path is illuminatedperpetually dark

it’s a pause away from the worldenclosed by willows in a bed of wet fernsfocused, enclosedthe dead rest in the scatter gardenthe dead rest in the wall of urnsprotectedsilence and reverence ensues

the solemn geometry rises from the grounda shearing tectonic plate ofcompact limestone forms the expansethe aftermath of industrythe context is revealed againit was always thereit never stopped

Dark Forest

Submerged Forest

Plinth

33

REVERSIBLE DESTINIES 16

Cemetery Procession

Orleans. The study ranged in scales from continental, regional, to municipal. We explored how the Louisiana wetlands are integral to the protection of New Orleans. Our analysis assisted ourselves, as well as our classmates, in understanding this foreign and complex environment. We responded to our experiences through self-directed study in a studio setting.

In January of 2010, our studio travelled by train to New Orleans, Louisiana to study the political, environmental, and cultural conditions existing in the wake of 2005’s Hurricane Katrina. In groups, we were required to analyze the city and region in many dimensions, including the infrastructure, ecology, music, food, culture, and history. My group researched the ecology of New

Studio 6 | Mackenzie Page | 2010New Orleans: Emerging Futures

35

FINAL PROJECT

New Orleans: Emerging FuturesOur studio travelled by train to New Orleans to

study the political, environmental, and cultural

conditions existing in the wake of Hurricane

Katrina. In groups we were required to analyze

the city and region in many dimensions, including

the infrastructure, ecology, music, food, culture, and history. My group researched the ecology of

New Orleans. We explored how the Louisiana

wetlands are integral to the protection of New

Orleans. Our analysis assisted in understanding

this foreign and complex environment.

Subsequently, we responded indiviudally to our

experiences through self-directed study in a

studio setting. My focus fell on augmenting the

levee wall in the Lower Ninth Ward into both

park space as well as remediatative infrastructure

for the vernacular ecology.

FINAL PROJECTEnds Design Studio 6

Eaton + Perron2010

PROCESSGIS

AutoCADPhotoshop

Illustrator

COLLABORATORS

Patrick OystrykLogan Littlefield

(analysis only)

17

EcologyLoss of Wetlands

Coastal land loss 1930-2050

Protection

Habitat Though the unregulated hunting and deforestation practices of the early twentieth century caused extensive wildlife population loss, more recent conservation efforts such as the banning of certain pesticides as well as harvesting regulations and incentives have been very successful in re-establishing many species. However, Now that populations of such species as the alligator and the brown pelican are restored, they face the threat of habitat loss. On a greater scale, Louisiana’s wetlands are a major feeding and resting stop for 75 percent of all birds making their annual migration through the Mississippi flyway.2 Hence, efforts of both species and wetland restoration are by no means mutually exclusive. Therefore, if the wetland ceases to exist, the species cease to exist. This works vice-versa and creates a domino effect which very quickly reaches the human population, as our climactic, nutritional and recreational needs as well as the economic systems that drive them rely on the health of the wetlands.1

It goes without saying much of what distinguishes the way of life of New Orleanians, Louisianians and Americans at large depends on the state of coastal wetlands. This culture and way of life is at risk in many ways because of the continued loss of coastal wetland.

Indian village Brown PelicanIsle St. Catherine

Coastal wetland has the ability to act as a natural barrier to storm surges , protecting much human settlement and industry. However, for every 2.7 miles of wetland that disappears, an extra foot of water from the Gulf of Mexico is allowed to surge inland, threatening all communities and adding additional stress to the already inadequate infrastructure of urbanized areas such as New Orleans.1

from storms

of industry of cultureThough the oil and gas industries have in many ways contributed to the accelerated degradation of the deltaic plain, the health of these industries is, interestingly enough, also completely dependent upon the restoration of the wetlands. This is evident in that 34 percent of the United States’ natural gas supply and 30 percent of the crude oil supply are produced within the wetlands or offshore and are transported via 30,000 square miles of pipeline that also traverse the wetlands.2 This is all not to mention, the commercial fishing and hunting, recreational and tourist industries that the wetlands support. influencing both economy and cultural way of life.1

The establishment of human settlement in the Mississippi deltaic plain and the culture it has developed is in many ways a result of the ecological processes of the region. It’s climate, it’s soils, its geographic location, its beauty, its hostility and its natural resources have established a history, a culture and an economy that relies upon its natural surroundings. For those living within engineered levee system, for those living outside such systems, and for those living on the swamp, the loss of land in many cases means the loss of identity and the loss of place.

1 Campanella, Richard. (2006). Geographies of New Orleans: Urban Fabrics before the storm. University of Louisiana. Lafayette, LA.2 Dunne, Mike. (2005). America’s Wetland: Louisiana’s Vanishing Coast. Louisiana State University Press. Baton Rouge, LA.

Logan Littlefield Logan Littlefieldhttp://media.nola.com/politics/photo/brown-pelicans

1,875 sq. mi23-35 sq. mi515 - 675 sq. mi

coastal wetland lost in the 20th century

annual coastal wetland loss

projected coastal wetland loss 2000-2050

Image adapted from: National wetlands research center. Depicting Coastal Louisiana Land Loss. Retrieved from <nwrc.usgs.gov/factshts/2005-3101/2005-3101. htm> on January 23, 2009

EMERGING FUTURES (group) 18

FINAL PROJECT 19

TThe failing infrastructure lacks more than functionality; this barren landscape offers a blank canvas for opportunity.

lower ninth ward

MRGO canalindustrial canal

mississippi r.

“Any element, any bit or piece of

anything, does not exist in isolation; it alw

ays relates to other bits and pieces of the sam

e kind and those of other types. M

eaning is not inherent in the single bit, but fixed by its relationship to others. Thus an elem

ent acquires meaning or

has its meaning defined only w

ithin a specific context. In Language, a w

ord is ultim

ately defined only when used and

not while standing alone in a dictionary.

In a landscape, it is the context provided by all the elem

ents as a group and system

that structures them; these

interrelationships ultimately define the

element.”

(Mark Treib. Settings and stray paths,

writings on landscapes and gardens.

(Oxford: Alden Press, 2005), 37)

There are disparities between w

here the residents returned and w

here they did not after Katrina. Through the m

apping of the interaction between

the returning residents and the levee w

all, a relationship is formed; from

this investigation of context, the response w

as the Lower N

inth Ward Park.

38

“Any element, any bit or piece of anything, does not exist in isolation; it always relates to other bits and pieces of the same kind and those of other types. Meaning is not inherent in the single bit, but fixed by its relationship to others. Thus an element acquires meaning or has its meaning defined only within a specific context. In Language, a word is ultimately defined only when used and not while standing alone in a dictionary. In a landscape, it is the context provided by all the elements as a group and system that structures them; these interrelationships ultimately define the element.”

(Mark Treib. Settings and stray paths, writings on landscapes and gardens. (Oxford: Alden Press, 2005), 37)

There are disparities between where the residents returned and where they did not after Katrina. Through the mapping of the interaction between the returning residents and the levee wall, a relationship is formed; from this investigation of context, the response was the Lower Ninth Ward Park.

38

“Any element, any bit or piece of anything, does not exist in isolation; it always relates to other bits and pieces of the same kind and those of other types. Meaning is not inherent in the single bit, but fixed by its relationship to others. Thus an element acquires meaning or has its meaning defined only within a specific context. In Language, a word is ultimately defined only when used and not while standing alone in a dictionary. In a landscape, it is the context provided by all the elements as a group and system that structures them; these interrelationships ultimately define the element.”

(Mark Treib. Settings and stray paths, writings on landscapes and gardens. (Oxford: Alden Press, 2005), 37)

There are disparities between where the residents returned and where they did not after Katrina. Through the mapping of the interaction between the returning residents and the levee wall, a relationship is formed; from this investigation of context, the response was the Lower Ninth Ward Park.

38

It is a Divide- one that does not need breaching, just an understanding.

On one side the industry reigns and humans are absent. Rationality and logistics are the governing principles.

It makes sense.

On the other side, residents live in a unique and dynamic cultural climate in which the loyalty and resilience of the residents is paramount.

It makes sense too.

There is still a dividing line between the residents and rationality

EMERGING FUTURES (solo) 20

high tidehigh tide

low tide low tide

ecotone ecotone woody-herbaceous layermid-elevation grasseslow-elevation grassesOpuntia spp. (prickly pear cactus) Oplismenus hirtellus (basket grass)Ampelopsis arborea (peppervine)Sabal minor (palmetto) Ilex decidua (deciduous holly)

Sabal minor (palmetto) Cephalanthus occidentalis (buttonbush)

Spartina spartinae (gulf cordgrass)Spartina anglica (common cordgrass)Spartina pectinata (prarie cordgrass)Andropogon glomeratus (bushy bluestem)

Monanthochloe littoralis (shoregrass)Spartina spartinae (gulf cordgrass)Andropogon glomeratus (bushy bluestem)

Batis maritma (turle weed)

ecotone ecotone

mesic hammock forest

mid-elevation grasses

Quercus virginiana (live oak) Ulmus americana (american elm)Salix nigra (black willow)Quercus hemisphaerica (laurel oak)Sabal minor (palmetto) Morella cerifera (wax myrtle)

Sabal minor (palmetto) Cephalanthus occidentalis (buttonbush)Spartina pectinata (prarie cordgrass)



low-elevation grassesMonanthochloe littoralis (shoregrass)Spartina spartinae (gulf cordgrass)Andropogon glomeratus (bushy bluestem)

Quercus virginiana (live oak)


sediment depositionthe rise and fall of the tide deposit fine clay and silt particles in between the concrete berms. This action, over time, results in a ground plane that increases in elevation. The vegetation composition thus changes with the shifting topographies.

t=0 t=100

As more vegetation establishes itself, erosion is mitigated while providing habitat to many species of animals and specifically, endangered migratory birds.

horizontal scale 1:200vertical scale 1:100

Lower Ninth Ward Park extends from Claiborne Avenue to Florida Avenue along the Industrial Canal Levee. It straddles either side of the levee, providing an acknowledgement of the divide, both physically and culturally, that the levee creates. On the eastern side Live Oaks are planted in a single row, providing shade while respecting

the attitude of permanence expressed by the residents. The western side, along the Industrial canal, is placed under a strategy that employs the tidal fluctuations of the canal, which aims to enhance erosion resistance, while increase the biodiversity of vegetation and wildlife.

40

high tidehigh tide

low tide low tide






ecotone ecotone











t=0 t=100



41

high tidehigh tide

low tide low tide






ecotone ecotone











t=0 t=100



Lower Ninth Ward Park extends from Claiborne Avenue to Florida Avenue along the Industrial Canal Levee. It straddles either side of the levee, providing an acknowledgement of the divide, both physically and culturally, that the levee creates. On the eastern side Live Oaks are planted in a single row, providing shade while respecting

the attitude of permanence expressed by the residents. The western side, along the Industrial canal, is placed under a strategy that employs the tidal fluctuations of the canal, which aims to enhance erosion resistance, while increase the biodiversity of vegetation and wildlife.

40

high tidehigh tide

low tide low tide






ecotone ecotone











t=0 t=100



41

FINAL PROJECT 21

high tidehigh tide

low tide low tide






ecotone ecotone











t=0 t=100



high tidehigh tide

low tide low tide






ecotone ecotone











t=0 t=100



43

high tidehigh tide

low tide low tide






ecotone ecotone











t=0 t=100



high tidehigh tide

low tide low tide






ecotone ecotone











t=0 t=100



The rise and fall of the tide deposit fine clay and silt particles in between the concrete berms. This action, over time, results in a ground plane that increases in elevation, which would eventually consume portions of the berms. The vegetation composition thus changes with the shifting

topographies. As more vegetation establishes itself, erosion is mitigated while providing habitat to many species of animals and specifically, endangered migratory birds. The planting strategy corresponds to changes in the elevation, and ideal habitats for the specific vegetation.

42

EMERGING FUTURES (solo) 22

Drawing not to scale

44


48


44


44

DRAFTING

Technical DrawingI have produced technical drawings that

responded to various contour manipulation, site drainage, and site planning tasks. These

assignments gave me the technical skills as well

as the understanding of how landscapes are

designed, drawn, and constructed.

FINAL PROJECTSite Grading

2008-Present

PROCESSAutoCAD

23


44

TECHNICAL DRAWING 24

DESIGN - BUILD

Clara Tyner GardensA local elementary school was given a grant

to incorporate a tactile learning component

to their waste and plant growth curriculum. I was contacted to design raised planters and

combined compost containers. The students

grow and harvest the crop while contributing to

the compost year round, allowing students to

actively participate in and learn about the life

cycle of their food products.

DESIGN - BUILDCommunity Initiative

2012

COLLABORATORS

Clara Tyner Elementary

25

INSTALLATION 26

We Call This a TreeThe installation intended to decontextualize the

content of the projected image and render it

in a foreign manifestation in order to explicitly

separate the relationship between form and

semantics. This was an attempt to further

engage the viewer in understanding the mind’s

projected constructs onto physical forms in a

temporary gallery setting by projecting a video

loop of an aspen forest onto 10’ tall paper strips.

INSTALLATIONMidnight Bazaar

2012

COLLABORATORS

Katie Dolphin

‘Landscapes are formed by a series of

relationships. However, if some of these

relationships can be removed, how does one

experience that which we call a tree, a forest, a city?

A flat, blank canvass is cut, jarred, layered. Evoking a world that is at once familiar,

but somehow present. Like looking at a foreign landscape.

A landscape free of semantics.’

Ryoanji and Shodenji Zen Buddhist Gardens - Kyoto, JapanLake lot landscape design sketch - Wizard Lake, Alberta

RECORDING & PROCESS

SketchbooksRECORDING & PROCESS

27

Sketching and drawing are an integral part to my

design studies. This compilation of sketchbook

pages illustrate moments when I have been

thinking with both my head and my hand.

Tadao Ando and Sanaa - Naoshima Island, Japan Les Archives du Coeur | Rice Terraces | Teshima Art Museum - Teshima Island, Japan

28RECORDING & PROCESS

My degree gave me the opportunity to travel abroad with my professors and classmates. We travelled to places such as Barcelona, Sweden, Denmark, Netherlands, Germany, London, New Orleans, and Chicago. These experiences have given me a broad perspective on urban form and many seminal design precedents to draw upon from around the world.

Environmental Design | Mackenzie Page | 2008-2010Academic Travel

53

PHOTOGRAPH

Academic TravelPHOTOGRAPH

29

My undergraduate degree gave me the

opportunity to travel abroad with my professors. In multiple trips I have been to Barcelona, Denmark, Netherlands, Germany, London, New Orleans, and Chicago. This has exposed

me to many seminal design precedents and

varied cultures. I also travelled independently

throughout Japan and New York in 2012.

52

30PHOTOGRAPH

mackenzie page's portfolio 2014

Documents

art design

land art studio

land artmla studio

context of land art

landscape urbanism

existing landscape

week studio project

personal design endeavours