ARCH 771 Advanced Architectural Design
ARCH 789 History and Theory of Architecture: The Theory and Practice of Design
ARCH 272 Design Studio I
ARCH 273 Design Studio II
Ph.D. Candidate, McGill University MFA., University of Calgary, 2004
M.Arch., University of Calgary, 2004
BFA., University of Alberta, 1998
Assistant Professor, NDSU, 2005 – present
"Incarnations of Paul Celan's Todesfuge in the Painting of Anselm Kiefer and the Interstices of Daniel Libeskind's Jewish Museum, Berlin"
"Anselm Kiefer and the Material of History" (Ph.D. Dissertation Proposal, 2011)
"The Scienza Nuova by Giambatissta Vico" (Paper Presentation, 2011)
"Narrative Transformations and the Architectural Artefact" (Routledge, 2011)
"The Flesh: Embodied Knowledge and Architectural Orientation" (Flesh and Space, CD-ROM, 2009)
"Artefacts and the Coalescence of Memory and Imagination in Poetic Experience"
(Architecture and Phenomenology 2, CD-ROM, 2009)
"Artefacts: A Site for Poetic Inquiry and Embodied Meaning" in Design Principles Practices:
An International Journal, Vol. 3 (2009)
"Essence and Ambiguity: Phenomenological Approaches to Design" in Design Principles and Practices: An International Journal, Vol. 2 (2008)
"Carnal Echoes" (CAAD Gallery, Mississippi State University School of Architecture, Mississippi, September 5 – October 5, 2009)
"Citizen 'X'" (Met Room Gallery, Carrer Nou de Sant Francesc 4, Barcelona, Spain, March 7 – April 9, 2009) "The Hybrid Vigor Project" (Renaissance Hall Gallery, North Dakota State University, Jan 1 – 30, 2008)
AHRA Architectural Humanities Research Association (2006 – Present)
International Maurice Merleau-Ponty Circle (2009 – Present)
Experience and Qualifications:
My experience in art and architecture (BFA, MFA, M.Arch), along with my current Ph.D. research emphasizes embodied knowledge via perception as essential to architectural orientation. In turn, my teaching seeks to instigate architectural questioning from the "bottom up," from our experience of the world, rather than through an application of concepts from the "top down." Through the creation of artefacts which draw upon personal, historical, and cultural stories, students reconcile design objectives through the plasticity of lived knowledge. Here, design itself is something lived-through, since in well-told stories we are able to tie very intimate details into larger contexts, allowing our knowledge of the world to become the atmosphere for our creations. By working obliquely through tangible creations, students' work beyond a direct transcription of one-to-one signs, and are invited to reconcile architectural questions through symbolic thought, via translation. This is done to relay the understanding of architecture as itself a form of knowledge; a site of participation, through which we may recognize empathetic connections to other people, particular situations, and larger contexts.