mary catherine miller design portfolio
DESCRIPTION
Architecture and Landscape Architecture 2010-2015TRANSCRIPT
Situated in the remote town of Kauttua, Finland, Aalto’s sauna rests on the site of an out of use mill. With the help of plumb bobs, water levels, and triangulation, the Finland Summer Architecture Institute documented and constructed a model of the sauna on its site. Built in an effort to represent Aalto’s subtle connection to the existing landscape, we gained a further appreciation of craft and material, specifi cally wood.
Translation of the recorded data into appropriate elevation points and distances moved quickly into sawing, laminating, and sanding wood masses: the earth in which the sauna would sit. Split into modules due to weight, the model separates with ease to view the saunas section and proximity to the river. Weighing in at over 1 ton, the fi nal model measures 1 meter by 3 meters and has remained at Aalto University since its construction.
summer 2010 | university of tennessee, academicfi nland summer architecture institute
professor katherine ambroziak
aalto’s sauna
01
1 1/8"
7/16"
3/8"
1/8"
5/8"3/8"
e
a
a. interpreting site data b. initial model base sketchc. model elevation and sectiond. initial model base support sketche. fi nal model base detail sketchf. fi nal model base detailg. fi nal model photograph looking towards saunah. model base and land mass photographi. components and assembly
g h
lumber measured, cut, and incrementally laminated together
river made out of copper sheets: shiny where water is slow and patinated where there are rapids
handle for third sectional piece which shifts to show interior of sauna
handles built into sides of model sections in order to lift and carry
base frame with grooves for support
reveal to show separation between base and model components
casters mounted to base of third moveable section are slightly sunken to follow reveal of other sections
An essential component of the New Norris House project was to develop design ideas from concept to fabrication. Because of the minimal footprint of the home (1008 sq. ft.), the dual use of the piece was essential as was the human interaction with it including: ease of construction, convertibility, and comfort.
As the main seating in the home, the two convertible chairs were designed with lounging in mind; the chairs angle comfortably to ensure the use of the accompanying ottoman and have an extra pillow for lumbar support. Once unfolded and pushed together, the chairs make a queen size bed - allowing for the use of standard bed sheets. With details such as button fl aps to keep cushions in place and specifi cally exposed joints, the piece is meant to compliment the rest of the home and to convey the simultaneous softness and saturation of Norris, Tennessee.
convertible chairspring 2011 | university of tennessee, academic
partner: claire cravena new norris house
professor tricia stuth
02
a. button fl ap and hinge pointb. chair vs. bedc. evolution of conceptd. components and assemblye. unfolding process
b
. evolution of conceptd. components and assembly. unfolding process
a
convertible chair
4’ x 8’x 3/4” oak plywood sheetsthreaded steel rodscushionsstandard pillow
01
02100301
complex shapes CNC milled
remaining material cut on table saw
3/4” slats laminated to 1 1/2” thick slats
slats routed to be round on both sides
slats threaded onto rods in a staggered form creating a lighter, yet stronger piece
two 4’ x 8’ oak plywood sheets used to make one complete convertible chair
Based on the life and writings of Antoine de Saint-Exupèry, the Confabulatores Nocturni’s Cabanon Series: Resurrection of the Night, explores the ideas of night, narrative, and season as ways of experiencing space and time. Manifested through models, drawings, and writing, the exhibit design was folded into the same consciousness. In the process of fabricating 12 model bases I discovered different shapes through which the models and gallery could be washed by light.
With removable lids, the bases are hollow and have a carved notch on the back where they attach to the wall. Mounted and lit, the bases display each model and gently illuminate them from below for gallery viewing.
summer 2011 | time[scape]lab, offi ce-relatedcabanon: resurrection of the night
time[scape]labprofessor brian ambroziak and andrew mcclellan
12 x 12 x 12 x 12
03
a. elevation view of base mounb. evening view of exhibit in chc. top view of base mounted ind. morning view of exhibit in cc. sections showing hardware af. components and assembly
a
b
model base
4’ x 8’ x 3/4” baltic birch plywood sheetthreaded steel rodslight bulb
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010401
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1/2"
1/2"
7/16"
2"
3/8"
1/4"
2"
3/4"
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openings in lid for plexiglass inserts
3/4” baltic birch plywood
wall light-wash opening
hole for electric wiring
carved for internal light bulb mounting
holes for metal threaded rods
carved opening to allow for wall mounting of base
the coated lid is the only removable layer in the model base in order to access the light bulb - when it is stationary the lid is secured by countersunk magnets aligned with the structural rods below
nted in gallery harlotte, nc
n gallerycharlotte, ncand mounting of base
Named after the founding aluminum company, Alcoa, Tennessee offers a unique opportunity to investigate place. Initially, the vehicle through which the project explored place was the programmatic component of an archive. Since its main function is to preserve, record and rearrange the idea of exploring place fell fl at; it was a duplicate of these functions. By projecting these three ideas: preserve, record, and rearrange onto a new program of the home the idea grew. While the 8 residential units are identical, there is a deeper understanding of space and an individual’s place through the homes’ rootedness and potential to transform with each occupant.
fall 2011 | university of tennessee, academicprogramming: a retirement home and an archive
professor james rose
living archive
04
alcoa manufacturing plant
alcoa residential zone
site of archive and residential units as joint between plant and neighborhoods
connection between green way and park
proximity of market and amenities
site showing all of the surrounding context
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archiveoutdoor amphitheater
pathway gardens
residencesparking
grove
abcdefg
a
bcd
e fg
a
bc
archive
toiletcarrelsstorage
abc
residence
entryliving or dining room
librarybedroom
bathroomstoragekitchen
abcdefg
a. sketch of residence in hill b. study model of residence in hillc. section through residence looking towards archive d. residence elevations and plan e. residence components
a
concrete poured in place structure that contains the kitchen, laundry, and bathroom
aluminum prefabricated structure that contains living rooms and bedroom
A joint venture between the College of Architecture and Design and the University of Tennessee, the Learning Lounge seeks to create spaces of dwelling in a place of high turnover, where students come to class and then leave campus. In doing so, it offers a retreat from the classroom setting while providing a place for students to feel connected - to each other and the University of Tennessee community.
In order to promote a sense of place and comfort particular to the Humanities and Social Sciences Building, a wooden ledge extends down the hallway and provides students with an interactive piece of wired furniture that addresses three positions of leaning, standing, and sitting as they wait for classes to start.
Directly adjacent to the “street” condition are two lounges: rooms 119 and 216. By removing the top of the existing brick wall, the lounge space provides a generous invitation to the hallway and its temporary occupants, cultivating an impromptu community that happens before each class starts.
winter 2011 | university of tennessee, academicprototype desig[n]01
professors brian ambroziak and david matthews
learning lounge
05
a. upper fl oor lounge looking towards hallwayb. cross section detail on ground fl oor lounge through deep bench seatingc. hallway section and elevations of upper and ground fl oor loungesd. section through stacked lounges looking at elevations of deep bench seating
existing lockers are replaced with illuminated alcoves to provide a place for the newspaper, fl yers and accents of color
hallway furniture that promotes leaning, sitting and working on a laptop
a
location of the existing classrooms designated for the proposed HSS learning lounges
The ghostly abandonment of Detroit extends west from the city center a mile and a half to the site of the Michigan Central Station. Isolated and monumental, the station acts as a sentry to the city cultivating within it the story of Detroit. This massive structure, built to withstand the vibrations of hundreds of trains moving through its foundations daily remains stable, but is no longer needed for its intended purpose. In a frozen city, the vibrancy of the past wishes to rise again from the ashes, but not in a derivative way. Instead the station is evocative of the present and engages the onset of an urban prairie. Within the spaces of the old offi ce tower artists and community groups are given galleries. Maintained in its ruin, the station relies on the people to transform and re-experience not only the station through installation based art, but also Detroit.
Located on the east and west ends of the tower are two service cores replacing the previous towers which had fallen to the point of disrepair. Bookends to the forsaken, the cores span the new and the old, providing places of movement in viewing stasis and serve as an exploration of the in-between.
spring 2012 | university of tennessee, academicself directed projectprofessor tricia stuth
michigan central station
06
a. site planb. approach from michigan avenuea
b
1” = 32’
10’
30’
60’
200’
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a. entry level planb. view of colonnade at ground levela
b
a. park benchb. south exterior view
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b
Originally an oil tank storage yard, the Hess site in East Boston typifi es the urban riverfront of the American Northeast. Being only partially remediated, its industrial past can, at this moment, either be obliterated or rethought.
The project creates a new ecosystem in which vestiges of the site’s industrial and pre-industrial states can coexist. The marsh–with its grasses, mudfl ats, minerals, and wildlife–is usually welcoming and accessible to residents and visitors. Kayakers can row through the shallow waters between the massive walls. When the site is mostly fl ooded at high tide or after storms, however, its transient and shifting character becomes a way for those involved in further remediation to explore its various ecologies.
Rather than removed and remote, the researchers associated with remediation have both dwelling and lab space directly on site. They occupy the remainder of the units marching out into the water, offering access to this and other neighboring decommissioned facilities. The barge-like lab spaces work in pairs: one moves out to the site and the other remains docked as a stationary testing lab. The vertical nature of these residences become beacons for the remediation. Traveling the bay in the barges, each resident fi nds her home easily in a predominantly horizontal marshland.
fall 2013 | competition, personalpartners: adam richards and joseph watson
regen boston: energizing urban living competition
momentary permanence
07
lofted living room and kitchen
master bedroom
guest room and bath
fl oating laboratory
Culturally, ecologically, and geographically signifi cant the landscapes of Cape Cod are evolving in terms of their literal edges and the fi gurative ideas people associate with them. The coastline is a critical component of the vernacular of Cape Cod as it often defi nes the entire Cape for visitors and tourists who consistently photograph, but don’t necessarily inhabit, the spaces of the dunes and marsh. Seemingly insignifi cant, the postcard, we argue, is powerful, specifi c, and an opportunity to project change.
#Wanderers’ deconstructs ideas specifi c to the vernacular identity of Cape Cod to propose new ecologies, promote novel forms of peripatetic occupation, and bolster nascent economies in an effort to ensure the resilience of the landscape. We propose that the protected, yet artifi cial, dunes are inhabited through structures which are left to shift with the sand and the people.
In order to thoroughly present the sights, sounds, scents, and textures of Cape Cod, we created interactive drawings and models. By printing drawings on transparent media and displaying them on light boxes, we encouraged people to recompose and overlay the drawings in unexpected ways. Animations, built from footage of physical and digital models, served as a tool to portray the effects that ecological and built entities have on each other.
fall 2014 | graduate school of design, academicpartners: devin dobrowolski and cannon ivers
critic: luis callejas
#wanderers
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a. dune postcardb. marsh postcardc. occupation postcardd. framing postcarde. bury postcardf. acetate print -> marsh view of grounded and fl oating structures and boardwalksg. acetate print -> marsh view of tethered structures
f
g
48” x 48” x 4” foam CNC milled marsh model -> fi lled with water during exhibit
shelves for iPad’s [played project animations] and for display of postcards and camping permits
plexi light box lid -> drawings were lit from below and displayed on this during exhibit
plexi base for dune foam model
18” x 48” x 4” foam CNC milled dune model -> fi lled with salt during exhibit
48” x 48” x 4” foam fl ip CNC milled dune model -> hung upside down to be viewed from below in exhibit
50m
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450m
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acetate prints
3.5 miles CAR PARK SITE
SANDY NECK BDY NECKSANDY NECK BSAN EACH EACEACHA
6 MILES 6 MILES6 MILMMILES
a. dune animationb. marsh animationc. marsh detail animationd. location plane. serial section location planf. camping permitsg. dune structure detail section-plan with circulation notation
d
1 of 6 animations, each one was created from fi lming physical models [milled foam bases and 3d printed or laser cut structures] innundated with either water or salt to mimic the movement of sand in the dune or the tide in the marsh-> the footage allowed us to understand how the structures both impacted and were impacted by their landscapes over time
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Boardwalk City is an exploration of surface at the iconic boardwalk of Coney Island, New York. By introducing sectional undulations to an otherwise fl at and linear typology, the boardwalk engages much more than foot traffi c adjacent to the beach. This boardwalk folds itself into the sand to allow for seamless beach access and extends back into the city. At the seam between the introduced podium typology and the urban city scape is a terraced landscape of vegetation, water retention, and pathways. The podium surface incorporates structural elements of architecture, vegetation, water retention, benches, shade devices, food truck parking, and a variety of surface materials.
spring 2015 | graduate school of design, academicpartner: devin dobrowolski
critic: david mah
boardwalk city: connecting, protecting, and expanding recreation at coney island
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1900
1890
1966
A BRIEF HISTORY OF CONEY ISLAND & ITS BOARDWALK
At the turn of the 19th century, Manhattan’s development of bridges and a subway system allow for Coney Island to be accessible to the masses.
In 1949 after Luna Park was damaged by fi re, Robert Moses began the process of rezoning much of the land on Coney Island. Th is is also when he moved the boardwalk back from the beach several yards.
Steelplechase Park was one of the fi rst of many attractions for the visiting “cosmopolites” who came to Coney Island from nearby.
1903
Electricity in attractions such as Luna Park and along the shoreline create a second daytime at Coney Island. During the summer the island was activated around the clock.
1906
Th is image shows the middle zone of the island and includes Steeplechase Park (left) and Luna Park (rear center) among other parks, roller coasters, and attractions in relation to the beach and the Atlantic Ocean.
1907 Original plan of Luna Park
1949
On November 12, 1966 the last remaining building of Steeplechase Park is demolished.
While this demolition was intentional, throughout the history of the various parks in Coney Island there were plenty of unintentional fi res that demolished multiple parks at once. In some cases there was public disbelief at these fi res and they were understood as planned parts of the spectacle of Coney Island.
2015
By subway today, Coney Island is at least an hour from Manhattan. Take the D, F, N, or Q train from downtown to the last stop in Brooklyn, Stillwell Avenue.
2012
Along with the rest of Brooklyn’s southern coast, Coney Island was hit incredibly had by Superstorm Sandy. Flooding reached up to at least fi ve feet and subsided to sand-covered streets, sidewalks, and open lots in the city just beyond the beach.
ba
Boardwalk Components:-> Levee-> Footings-> Columns-> Beams-> Joists-> Glu-lams-> Geotubes
Podium Surface-> vegetation and wood slats in a fl exible and editable tessellated panel confi guration
Podium Structure-> columns and trusses rotated 30 degrees to promote varied circulation and development patterns-> the space created by lifting the boardwalk 3.5M becomes a covered parking lot
Building Structure-> column grid of the parking lot doubles as the foundation for the retail, residential, and commercial space above allowing for a fl exible, yet varied development system across a variety of sites
Ramp Structure-> creates a dense vegetated transition zone between the podium and the street which also collects and fi lters rainwater
Program Components-> throughout the podium there are small moments where the structure from below is expressed in a fl exible and seasonally appropriate way
Building Floorplates-> extended towards the south and west in some instances the fl oorplates are corrugated to allow for both balcony space and a parallax experience when walking below
Geotubes
3.5M Levee
Glu-lams
a. coney island timelineb. 1:25,000 region map with distances and seasonal wind rosesc. construction components of prototype site
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SITE
1) Need for
Retail/ Commercial
Amenities
2) Low rise
development,
retail and
open space
on a long
thin lot
3) High rise development,
retail and open space
on a large high
pedestrian traffi c lot
4) Low rise development,
retail, open space
and residential
units with street
frontage
SUMMER SOLSTICESUNSET20:31
WINTER
SOLST
ICE
SUNSET
16:33
WINTER SOLSTICE
SUNRISE7:17
SUMMER
SOLSTI
CE
SUNRIS
E
05:26
SITE
High rise development, open space, and mixed use towers with sunken retail patios for high traffi c use near public transit
ELEVATE
TESSELLATE
CORRUGATE
ent,
evelopmene
n space lot
ise ent, en
a. neighborhood considerationsb. site plan and solar positionc. performative operationsd. boardwalk and dune sectione. discrete site axonsf. laser cut sectional modelg. folded paper modelh. 3D printed and laser cut fi nal model
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h. 3D Printed and Laser Cut Final Model-> of terrace towards city scape
g. Folded Paper Model-> of early ideasof boardwalk folding
f. Laser Cut Sectional Model-> of boardwalk sections and undulations
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e
Supported by a grant from the Harvard University Graduate School of Design’s Penny White Project Fund, we traveled from southeastern Arizona to northwestern Wyoming during May 2015 to visually document these “wild interfaces.” We also interviewed a wide range of people actively engaged with these issues. Through our travels and conversations, we became increasingly confi dent that each site we visited—from the scale of a fence post to a suburban development to an interstate right-of-way—was rich in potential for landscape architects.
Interactive footage, maps, fi lms, and narrative can be seen at: www.wildinterfaces.com.
2015 | graduate school of design, academic & personalpartner: joseph watson
advisors: rosetta elkin & etienne benson
wild interfaces: conservation, connectivity, and landscape architecture
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a. trip driving route with timeline and length of trip in milesb. detail view of route and adjacent landuse and ownershipc. location map of wyoming overpass and underpassd. detail animated gif view of wyoming overpasse. detail animated gif view of another wyoming overpassf. website design for mobileg. website design for mobile with table of contentsh. website design adapts to any screen size/type
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In his contribution to the Natural History of North America, Louis Agassiz describes the jellyfi sh through a series of experiential and metaphorical analogies. As an observer and dissector, Agassiz’s interactions with a jellyfi sh pulled from the Charles River are similar to designers’ observations and dissections of a place.
City as Curiosity proposes additional circulation networks at the congested site of Charlesgate at the mouth of the Emerald Necklace into the Charles River. The city, through it’s various modes of transportation, is read as an organism from the outside and also from the inside experience of the network. For those travelling on and through the proposed walking, jogging, and cycling paths there are views above and below the motorways, the Riverway, and the Charles River, direct access to the tree canopy, and a close experience of artist installations. Through regrading, planting trees, pathway construction, and public art installations, Charlesgate is reimagined as a prototype for dwelling with the infrastructure that cities currently require to thrive. An underbelly park and vertical garden of delights, Charlesgate attracts and instills a sense of curiosity for those who run, walk, cycle, or paddle through it by allowing them direct access to the water, a dense, forest-like planting scheme, and spaces for permanent or temporary artist projections and installations.
Fall 2015 | graduate school of design, academiclandscape architecture option studio
critics: eelco hooftman and bridget baines
city as curiosity: dwelling in charlesgate
11
A glance at the beautiful plates (Pis. III., IV., V., and V*) of this animal, drawn by Mr. Sonrel, which adorn the third volume of this work, will at once facilitate the further illustration of our inquiry. Plate V. Fig. 1 represents the aspect of the disk as seen from above. Th ough no attempt has been made to represent, in connection with it, any parts of the lower surface which may extend beyond the limits of the disk, yet, when seen fl oating near the surface of the water, the marginal threads, as well as the curtains hanging from the centre, are often observed extending far beyond it, — the tentacles even to a distance of ten, twelve, or twenty feet, and more. Pl. III. gives a profi le view of the same, and as the disk is seen edgewise, with the edge slightly bent downward, its thickness is, of course, brought into sight, at the expense of its circumference; while, on the contrary, all the organs that hang from the lower surface are beautifully exposed to view, and their diversity cannot fail to excite surprise, even though, from the manner in which they are represented, only one half of them is seen, and the marginal threads are, in a great measure, represented as a cut, in order not to enlarge still more the frame of the plate.
-Louis Aggassiz (1862)
Contributions to the Natural History of the United States
[...] in short, that the details in which the fi gure diff ers from its mathematical prototype are more important and more interesting that the features in which it agrees; and even that the peculiar aesthetic pleasure with which we regard a living thing is somehow bound up with the departure from mathematical regularity which it manifests as a peculiar attribute of life. Th is view seems to me to involve a misapprehension. Th ere is no such essential diff erence between these phenomena of organic form and those which are manifested in portions of inanimate matter*.
[...] If no chain hangs in a perfect caternary and no raindrop is a perfect sphere, this is for the reason that forces and resistances other than the main one are inevitably at work. Th e same is true of organic form, but it is for the mathematician to unravel the confl icting forces which are at work together. And this process of investigationmay lead us on step by step to new phenomena, as it has done in physics, where sometimes a knowledge of form leasd us to the interpretation of forces, and at other times a knowledge of the forces at work guides us towards a better insight into form.
-D’Arcy Wentworth Th ompson (1942)
Growth and Form
Ugly roads are often taken to be one price of civilization, like sewers or police. Th e boring, chaotic, disoriented roadscape seems to be the natural habitat of that useful but awkward monster, the American automobile. From this point of view, we spend too much of our lives in the car. It would be better to arrange cities so that everyone could walk to work, or to let automatic devices take the wheel, so that we could pull the shades and watch TV.
Th e authors take a diff erent position: road-watching is a delight, and the highway is - or at least it might be - a work of art. Th e view from the road can be a dramatic play of space and motion, of light and texture, all on a new scale. Th ese long sequences could make our vast metropolitan areas comprehensible: the driver would see how the city is organized, what it symbolizes, how people use it, how it relates to him. To our way of thinking, the highway is the great neglected opportunity in city design.
-Kevin Lynch, Donald Appleyard, John R. Myer (1964)
Th e View from the Road
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a. Agassiz’s writing on jellyfi shb. Thompson’s On Growth and Formc. Lynch’s The View from the Roadd. meeting points between main travel arteries and the emerald necklacee. topography and road networkf. sectional modelg. exploded sectional modelh. gabion axon
Existing Water’s Edge-> composed of layed stone or concrete the water’s edge at Charlesgate is inaccessible both because of the design and also the collection of garbage and algae
Removal of Existing-> layed stone or concrete removed
Reuse of Existing-> layed stone or concrete removed, crushed, and inserted as fi lling for metal wire mesh gabions
Gabion Edge-> metal wire mesh gabions are inserted as a new way to mediate use of the water’s edge and also erosion
Proposed Water’s Edge-> the gabions reshape the edge overtime and fi lter water and refuse as Charlesgate is reconnected to the Charles River
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Grading-> Riverway widened and regraded to allow for swamp conditions and kayak access directly from the Charles River to the Emerald Necklace
Pedestrian Water Access-> Gabion reconstruction of water’s edge and pontoon islands extend from the Riverway into the Charles River
Swamp Forest and Fall Color Identity-> Tree plantings include: Acer rubrum L., Magnolia virginiana, Liriodendron tulipfera, Quercus palustris, Metasequoia glyptostroboides, and Chamaecyparis thyoides
Pathways-> Red = jogging and walkingBlue = bicycling-> Both paths offer access to underside of bridges, tree canopy, and views to the water’s edge
Projection-> Numerous bridge support structures on site become public art projection and installation surfaces
Motorway Converted-> Storrow Drive posits the only at grade road interference, which I propose is sunken to a tunnel to allow for access between the waterways
Institutional Relationships-> Charlesgate is located amongst an ecletic collection of art, health, and sport institutions who could make use of the space and support future installations on site
This project contributes to contemporary debates about designing continental scale landscape connectivity, by designing discrete interfaces between Horse Management Areas (HMA) and dense development, agricultural lands, and other federally managed public lands.
Beginning with a specifi c site, Little Book Cliffs in Grand Junction, Colorado, I will design a series of discrete interfaces, which will then be adapted, deployed, and aggregated throughout the western U.S. territory. The existing enclaves of the BLM’s HMA’s in the western U.S. are used as a starting site, from which the design will expand in and out. The interventions will create new interfaces between horses and humans, horses and agriculture, horses and water, horses and forage, etc. in order to promote potentially new interactions and to reimagine the meanings we take from and give to the large landscapes we inhabit.
Fall 2015 | graduate school of design, academiclandscape architecture thesis
advisor: rosetta elkin
wild interfaces: landscape architecture in the environmental imaginary
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5 Minutes Walking
Playground Lot
Parks
Water
Streets
Amsterdam Playgrounds
Aldo van Eyck 1947 (2002)
0 1km
1:40,000
1:120,000
Remaining Playgrounds
Originally Built Playgrounds
Playground Locations in 1971
1:2,000
Walking Desire Lines from Homes to Playground
First Playground: Bertelmanplein
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DOI
Dep
artm
ent o
f the
Inte
rior
Congress
Secretary of the Interior
Environmental Group Lobbyists
EnvironmentalAcademic Discourse
GeologyAcademic Discourse
EcologyAcademic Discourse
LiteratureAcademic Discourse
Art Academic Discourse
Film Academic Discourse
Design Academic Discourse
Designers
Deputy Secretary
Assistant Secretary of Land and Minerals
Management
Conservation Preservation Ecologic Diversity
Wild Free-Roaming
Horses and Burros Act of
1971
2013 Report: Using Science to Improve the BLM Wild Horse and
Burro Program
Request Evaluation: “An independent, technical
evaluation of the science, methodology, and
technical decision-making approaches,” of the Program
Bureau of Land Management
Th e National Academies
Advises the Nation on Science, Engineering,
and Medicine
National Academy of Sciences
National Research Council
Staff
Resources and Planning
Director of Wild Horse and Burro
Assistant Director
Division Chief
5 Specialists 4 Horse Wranglers
1 Specialist
Operations Manager
Supervisory Wild Horse and Burro
Specialist
Director
Key Findings:
Management not based on rigorous population monitoring procedures
Statistics on national population size not scientifically rigorous
Horse populations are growing
Management practices facilitating growth
Self-limiting is through increased competition for forage
Predation is low
Fertility-control methods with success: vaccines and chemical vasectomy
Management is necessary for genetic health
More comprehensive model of management could help BLM adapt
Handbook lacks specificity
How appropriate management levels are established, monitored, and adjusted is not transparent to stakeholders, supported by scientific information, or amenable to adaptation with new information and environmental and social change
Resolving conflicts with polarized values and opinions regarding land management rests on the principles of transparency and community-based public participation and engagement in decision making. Decisions of scientific content will have greater support if they are reached through collaborative, broadly based, integrated, and iterative analytic-deliberative processes that involve both the agency and the public.
a. Aldo van Eyck Playgrounds precedent studyb. TVA Tennessee Basin precedent studyc. site mapd. continental mape. organizational chart
d ed
