| LANDSCAPE DESIGN | PLANNING | ARTCHRISTOPHER TODD LYNCH

Statement

Projects

[Independent Consulting]

Black Oaks Center EcoCampus | Pembroke Township, Illinois

The Tarriance | OSU/COCC Campus, Bend, Oregon

Dry Stone Maze Proposal | English Harbour, Newfoundland

Compensatory Wetland Planting Plan & Stream Crossing | Williamsburg, MA

Terraced Garden | Williamsburg, MA

Bullitt Reservation Conceptual Plan | Ashfi eld, MA

Thorndike Energy | Palmer, MA

[UMass Amherst]

Tan Brook Watershed | Amherst, MA

Amherst Regional High School | Amherst, MA

Veringcanal | Hamburg, Germany

Mason Square | Springfi eld, MA

Related work

Painting and Installation

| CONTENTS

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STATEMENT

I am inspired by ecological systems and the interdependency that human well being shares with the health of those systems. My design passion lies in seeking connections that improve system function, enhance social benefi t and establish habitat in order to support health and resilience for the nested communities within a region, a town or a site. Creating systems that sustain themselves when exposed to excess fl uxes of water, people, nutrients and toxins is critical with climate change and population growth pressuring ecosystem function.

Micro and macro systems dynamics reveal a narrative that eloquently describes existing site conditions. By revealing processes like wetland formation or stormwater fl ow, I place those processes into the consciousness of others. Giving people a basic language and nuanced appreciation of ecological systems integrates those processes into a community’s bond with where they live and, optimistically, might positively effect their daily choices.

My deep love of language and art informs my process and vision. Art engenders connection and care for place and the systems and processes within that place. The intention of my creative work has been to use paintings and writing, as well as found materials, to narrate my process of understanding a place or situation. By expressing personal interpretations of relationships I see in a watershed, site or culvert, I initiate a dialog that can engage the community with the ecosystems processes around them. It is my intention with my professional life to explore and interweave my love for ecology, art and language into design and art that brings health and resilience to the nested ecologies of a given site, community or region. In so doing, I know that the result will be a refl ection of authenticity true to the eco-region, the culture and the voice of the place.

Black Oaks Center EcoCampusPEMBROKE TOWNSHIP, ILLINOIS

The Final Recommendations for Black Oaks integrate the landscape with the vision for a resilient future articulated by its founders. The plan which will be implemented over a period of ten to fi fteen years follows an adaptive management strategy giving Black Oaks fl ex-ibility to develop portions of the plan to respond to changes in the economy, climate and most importantly, the needs of their immedi-ate community in Pembroke, and Chicago where Dr. Wright’s medical practice is located. This project can serve as a model for other cen-ters that are looking to create community in the midst of change and sustain it with education, medicine, food and connection.

There is also the opportunity to explore a model of ecological restoration where the percentage of medicinal to non-medicinal native plants in the Black Oak Savanna restoration areas would be elevated to a greater proportion than typically found in the wild. The idea behind this restoration strategy is that those maintain-ing the restored sites would have personal health related motiva-tions to seeing the restoration area thrive. Currently there are few sites and studies that have documented the success of ecosystem restorations. Tying in medicinal plants to the restoration could be a compelling approach to involving people in restoration projects and landscapes. The proposed restoration test plot areas within the plan are next to proposed cultivated and managed areas to facilitate observation and management. Examining and interpreting the data and results would help advance understanding of restoration dynam-ics in a model with active human participation.

PROPOSED LOGO PERSPECTIVE OF SOUTH ENTRANCE

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Black Oaks Center EcoCampusPEMBROKE TOWNSHIP, ILLINOIS

Black Oaks Planting Plan - Herbs of the World Garden

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code la n name common name amountAD Andrographis Andrographis 3AN Angelica archangelica Angelica O cial 3AW Withania somnifera Ashwaganda 3AM Astragalus membranaceus Astragalus 3SB Scutellaria baicalensis Baical Skullcap 3PC Platycodon grandi orum Balloon ower 3PG Penstemon grandi orus Beardtounge 3MD Monarda didyma Bee Balm 3VH Verbena hastata Blue Vervain 2CO calendula o cianalis calendula 12MR Matricaria recu ta Chamomile 3CS Coriandrum sa vum Cilantro 9CP Codonopsis pilosula Codonopsis 3SL Silphium laciniatum Compass Plant 3VV Veronicastrum virginicum Culver's Root 3SD Salvia dominica Dominican Sage 3IH Inula helenium Elecampane 3BA Bap sia australis False Indigo 3GL Gen ana lutea Gen an 2LB Lycium barbarum Gogi Berry 3HA Hydrocotyl asia ca Gotu Kola 3NR Nico ana rus ca Hopi Tobacco 3HO Hyssopus o cinalis Hyssop 6EP Eupatorium purpureum Joe Pye Weed 3SO Salvia o cinalis Kitchen Sage 3BC Belamcanda chinensis Leopard Flower 4GG Glycyrrhiza uralensis Licorice 5LI Lobelia in ata Lobelia, o cial 3LO Levis cum o cinalis Lovage 2MM Althaea o cinalis Marshmallow 6AR Arnica chamissonis Meadow Arnica 2SM Silybum marianum Milk Thistle 3PI Passi ora incarnata Passion ower 3AT Asclepias tuberosa Pleurisy Root 2EY Eryngium yuccifolium Ra lesnake master 3RO Rheum o cinale Rhubarb 5RM Rosmarinus o cinalis Rosemary 3SC Schisandra chinensis Schisandra 3SA Spilanthes acmella Spilanthes 3HP Hypericum perforatum St. John's Wort 2OS Ocimum sanctum Tulsi 8AM Achillea millefolium L. var. litoralis Yarrow 6

The world healing garden represents a cross sec on of healing herbs brought by visitors from around the world highligh ng the universality of healing tradi ons and the importance of passing on that knowledge to all who visit, work and live at Black Oaks. The garden is quartered into Western, Ayurvedic, Tradi onal Chinese and Na ve Ameri-can Herbal Medicine tradi ons. The en re outer circle of the garden contains herbs that aid diges on, par cularly the stomach and liver. The middle circle contains those plants that help respiratory func on in par cular. The innermost circle contains those plants that help mental and spiritual func on. Through this organiza on, the visi-tor can see where in the human body the plants can help across the diverse healing tradi ons. As the plants grow, cu ngs and root divisions can be replanted elsewhere on the property or given as starts to other similar learning landscapes.

TULSISCHIZANDRASAGEPASSION FLOWERLAVENDERHYSSOPELECAMPANEECHINACEACODONOPSIS

PERSPECTIVE OF KITCHEN GARDEN

ASTRAGALUSASHWAGANDHA

PLANT LIST & PLANTING PLAN FOR WORLD HEALING GARDEN

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PERSPECTIVE OF PROPOSED FOREST GARDEN

The TarrianceOSU/COCC CAMPUS, BEND, OREGON

This proposal by Dan Snow and Christopher Todd Lynch won the design competition for art installation at the Science Library shared by Oregon State University and Central Oregon community College in Bend, Oregon.It consists of cribbed stone and river boulders ar-ranged over a series of terraces with medicinal plants as the ephem-eral elements of the sculpture.

The integration of plant with the stone evolves at eachterrace level, as though in concert with a student’srising knowledge and understanding. At the lower level,low-growing plants like lavender, thyme and California poppyfl ourish in the beds beside the terrace. In the middle, tallerplants like elecampane and baptisia embrace the cribbing/stone. And on the top of the terraces, the installation will becompletely integrated with plants as passionfl ower and codonopsisvines twist along the crib-rails and over the featurestone. An environment of ephemeral plants and eternal rocksis a living metaphor for fi nding ones path to a profoundunderstanding of healing. Education is a transformativeexperience. New-found awareness and resulting change willbecome a reoccurring theme expressed by the sculpture ineach moment and over the span of years.

Plants create a dynamic relationship with the rock throughseasonal change, motion and texture. Springtime and summerwill see foliage growing and blooming, creating a cushionedtopography and leafy backdrop. In autumn, the skeletalremains of stalks and vines will cast a web of shadows. Inwinter, the feature stones will be capped with snow and thevoids under them turned to soft, white hollows. The look andfeel of the piece will change with the seasons.

The sculpture will have an inviting presence, attracting theviewer’s eye to explore its details of color, form and texture,and at the same time, offer an overall sense of welcome tothose entering the building. The piece will offer surprisesupon fi rst visit, something a little different with each repeatedviewing, and a feeling of grounded comfort to thosewho pass by it every day ascending and the other for descending.

PERSPECTIVE OF TERRACE INSTALLATION

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0’ 2’ 4’ 8’

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The TarrianceOSU/COCC CAMPUS, BEND, OREGON

SECTION/ELEVATION OF TERRACE INSTALLATION

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0’ 2’ 4’ 8’

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Tier 1 Folk Medicine

Tier 1 Folk Medicine

Tier 2 Herbalist Medicine

Tier 3Clinician Medicine

Tier 3Clinician Medicine

Lemon Balm (lb)

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Tier 2 Herbalist Medicine

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Elecampane (el)

Helechrysum(he)

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Valerian (va)

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PLANTING DIAGRAM

DRY STONE MAZE PROPOSALENGLISH HARBOUR, NEWFOUNDLAND

This proposal by Dan Snow and the English Harbour Arts Council envisions a 280’ by 280’ dry stone wall maze to be built by Dan Snow and a team of local craftsmen. The renderings were done using AutoCAD, SketchUp, Shaderlight and fi nished with Photoshop.

“The maze would cover 7,300 sq. metres of ground and have 2.5 kilometers of walls and paths. While a number of routes would allow exploration of alternative destinations within the maze, only one route would lead to its center. Along the paths, and at large open areas, art works would be displayed. At the center destination of the maze there would be a collection of art works and an elevatedplatform accessed by a double helix staircase; one fl ight of steps for ascending and the other for descending. The platform would offer a view of the maze and surroundings.”text by Dan Snow

VIEW OF EXISTING SITE BIRD’S EYE VIEW OF SKETCHUP RENDERING

OVERHEAD VIEW OF SKETCHUP RENDERING

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PROPOSED MAZE WITH SCULPTURES

DRY STONE MAZE PROPOSALENGLISH HARBOUR, NEWFOUNDLAND

ENTRANCE

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VIEW FROM THE TOWER

COMPENSATORY WETLAND PLANTING PLAN &STREAM CROSSINGWILLIAMSBURG, MA

Removal of wetland to install a curtain drain on the north side of a barn to catch surface fl ow necessitated the creation of a compensatory wetland. The 250 square feet of the compensatory wetland planting plan supplements a wetland seed mix to suit the wet meadow ecological context and ensure that the replica-tion is successful. The mix of plants Rose Mallow, Joe Pye Weed, Blue Flag Iris and Turtle head are all in the surrounding wetlands with the possible exception of the Mallow. These plants have important habitat value for all manner of creatures and will be positive additions that can support the incredible diversity of wildlife in the area through the wetland’s nutritive, water stor-age and aesthetic functions.

The Bridge in plan was beautiful, elegant, harmonious and balanced. In the fi eld, it was not going to work because a hard gravel base 3 feet below the surface of the water with giant stone interspersed made it nearly impossible to get the proposed confi guration. The spontaneous evolution of the bridge reduced the impact to the wetland by only having two posts instead of four in the wettest area, and created a strong connection to other landscape design features as seen in the granite cribbing. By letting the genius of the moment work with the combined ex-perience I shared with the project carpenter, the bridge functions on a physical level to go from point A to B without getting wet and on a metaphorical level as well.

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Barn

Upland

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Compensatory Wetland

Legend

Chelone Glabra

Wetland

Garden

Gravel drain

Compensatory Wetland Planting Plan

Hibiscus Moscheutos

Iris Versicolor

Eupatorium Maculatum

TERRACED GARDENWILLIAMSBURG, MA

Three terraces nestle into a precipitous slope within the footprint of an old carriage barn. A curved walking path ascends the levels with steps and a ramp that references an existing ramp on site. The edge of the top terrace recreates the original line of the barn and contains the curvilinear terraces refl ecting the stepped topography of the surrounding fi elds. An informal granite slab stair case accesses the apple orchard beyond.

The artfully composed spaces accommodate small family gath-erings, provide ample gardening beds and recall the history of the site. South east sun exposure and generous northwest wind buffer make this an ideal place for raising food and medicine. Heat gain from the stone walls, raised beds and removable hoop houses helps to extend the often capricious New England growing season.

Cribstone benches defi ne the gathering area. The porosity of the forms gives a light feeling to the gravity of stone benches. Tall grasses and meadow plants enclose the space and add sensual contrast to the linearity of the cut stone caps and help to place the foundation terraces within their meadow context.

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SKETCHUP RENDERING OF TERRACES

WATERCOLOR RENDERING OF TERRACES SKETCHUP RENDERING OF TERRACES

TERRACED GARDENWILLIAMSBURG, MA

DETAIL SECTION

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Medicinal HerbsVegetablesBerriesNuts & FruitForest and Meadow ecotone

Hawthorn Sassafras

Turtlehead

Tupelo

Sun Flower

Sugar Maple

Switch Grass Little Bluestem Boneset Cone Flower

Elderberry Shad Bush Golden Raspberry Artichokes Carrots Tomatoes Collards California Poppy Elecampane Chamomile Hyssop

AstragalusTulsiSageBasilSwiss ChardPeppersOkraBeansBlack RaspberryPaw PawHazelnutGolden Rod Northern Sea OatsAster

SECTION/ELEVATION WITH PLANT PROFILE DETAIL

BULLITT RESERVATION CONCEPTUAL PLANASHFIELD, MA

This plan integrates the programming vision developed by the Trustees of Reservations with a plan developed by the Conway School and the unique characteristics of the site. The existing house will be restored with appropriate green building practices to accommodate the Conservation Center. The surrounding landscape including the Gathering Area nearest the Conservation Center includes water harvesting technology, well sited trees and no mow zones to mimic natural systems and reduce waste and heating and water costs. The Education Barn and Library provide indoor and outdoor gathering spaces for lectures, concerts and exhibits through creative adaptation of existing structures. The Gardens show different scales of agriculture and demonstrate up to date gardening/farming practices for visitors. The Heirloom Apple orchard helps to preserve heritage stock of apples in the Pioneer Valley and creates compelling spaces for walking. The Sugar Maple Edge gives visitors a strong sense of place as they arrive at the reservation, and helps to frame views of the apple orchard and the fi elds beyond.

This vision embraces the integration of built environment and landscape. All components contained within function together to create a resilient, contained system with minimal inputs from outside sources. People working at the reservation and those that visit for concerts or conferences can glimpse processes like water harvesting, passive solar gain and composting, understand them and be inspired to perhaps work them into their own spaces. The Bullitt reservation can be a model for the upside of responsible, adaptive development of existing sites in the Hilltowns and other places.

RENDERING OF GATHERING AREA AND RAISED BEDS

RENDERING OF GATHERING AREA AND RAISED BEDSRAIN WATER HARVESTING SYSTEM CONCEPTUAL DIAGRAM

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THORNDIKE ENERGYPALMER, MA

This project was submitted to the Valley Development Council’s design competition. The canal and river surrounding the site inform the proposed patterns and systems. The metaphor of water’s fl uidity and power inspired the programming of the site on different scales; the Thorndike institute, inspiring professionals to collaborate on design reuse projects, server farm heat capture and adaptable interior and exterior spaces to meet evolving building and land-use needs. Design with the fl uidity and mutability of water in mind establishes resiliency into the development by embracing fl ux and planning for it, mimicking the volumes of water in the Ware and the canal surrounding the site with their persistent currents.

The Thorndike Institute anchors the mill development area. It is a collaborative design lab comprised of designers, machinists, artists, ecologists and marketers to create ecologically intelligent design as outlined in Cradle to Cradle by McDonough and Braungart. The Thorndike Institute can become a destination for learning and doing. Proposed offi ce and lab space supports start-up fi rms taking part in Institute initiatives and community outreach.

Housing to the east of Church street provides eight units. The confi guration of houses refl ects the graceful arc of the canal and siting for passive solar gain and cooling from south east winds. The open spaces in the residences include private gardens and connect to public spaces for active and passive recreation that might host farmer’s markets or ice skating in the winter. The on-site open spaces and trails connect to town-wide open spaces and trail networks, to encourage community use of the businesses, educational resources and open spaces proposed for Thorndike Energy.

SYSTEMS DIAGRAMS

SECTION ILLUSTRATING PROGRAMMING

Throughout the on-site open spaces, exposed areas of rock reference the riverbed of the Ware river, that shows the exposed mantle of the Earth. These designed rock formations provide areas of repose, but also allude to the power and history of fl uidity in this place. The persistence of water determined the site’s history. This proposal interprets that history as something living and dynamic meeting the needs of its surrounding communities.

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RENDERING OF MILL CORRIDOR

RENDERING OF PLAZA

SITE PLAN

RENDERING OF RESIDENTIAL AREA

THORNDIKE ENERGYPALMER, MA

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RENDERING OF RIVERWALK

TAN BROOK WATERSHEDAMHERST, MA

The Tan Brook Watershed becomes a resilient ecosystem thatsustains ecological, economic and social systems and serves as amodel for other communities. Water quality improvement, social benefi t and habitat restoration are the objectives that support the vision. These objectives can be realized through physical actions, policy actions and educational/research actions, these actions in the matrix are represented in different colors for ease of differentiation. These actions are prioritized by time frame according to importance and position in the overall process of the improvement recommendations. The matrix is keyed to the Tan Brook Watershed Vision Map using the same numeric system that the map uses to show an image of that action and its location within the watershed and surrounding area.

CONCEPTUAL DIAGRAM OF WATERSHED GRADIENTTAN BROOK WATERSHED RECOMMENDATION MATRIX

RENDERING OF PROPOSED BOARDWALK AT HIGH SCHOOL

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AMHERST REGIONAL HIGH SCHOOLAMHERST, MA

The design for Amherst Regional High School recommends stream restoration, daylighting and innovative stormwater management to support the high school environmental sciences curricula, to improve water quality and to create habitat. These steps are part of an overall vision for the urbanized Tan Brook Watershed in Amherst, MA to become a resilient ecosystem which can sustain ecological, economic and social systems, while serving as a model for other communities to improve their watersheds function. Re-search and assessment maps have already been used by the town of Amherst, UMass Amherst and Amherst Regional High School to apply for grants to study the Tan Brook Watershed in depth.

POETRY WALK SECTION /ELEVATION DETAIL

VEGETATION SYSTEMThe proposed vegetation strategy eliminates invasive plant species and uses native vegetation and plant communities to provide visual references to place and provides connections to the broader ecological context of the site. Using the Watershed gradient model as inspiration, plant community typologies of red maple swamp, emergent wetland and fl ood plain help to illustrate on a micro scale the experience of traveling through the Tan Brook Watershed and defi ne eco-region according to plant communities.

CIRCULATION SYSTEMThe proposed circulation system provides a clear system for pedestrians and vehicles to move through the site at varying scales of speed and numbers. It links active, passive and learning uses as a comprehensive network. Following the paths of the proposed system, the traveler might experience a lacrosse game, an emergent wetland, a refl ective gathering place or a vehicle corridor that can be cordoned off for street parties and gathering at lunch.

HYDROLOGIC SYSTEMThe proposed system creates opportunities for infi ltration, interception and storage in ways that pre-development hydrological processes handle fl ux in water volumes.

BUILDINGSThe existing footprint of the high school.

CHANNEL DIMENSION SECTION

CONTOURSThe proposed site grading plan.

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AMHERST REGIONAL HIGH MASTER PLAN

VERINGCANAL HAMBURG, GERMANY

A closed system of water treatment and harvesting meets the needs of all proposed development and helps to connect residents and visitors to urban ecosystem processes. The arc of remediation showcases is the spine of this system and unites the Veringcanal through alternative transportation corridors. The area has beenthoroughly restored to health through transparent methods that remediated toxins and informed those interested. A remediation technology institute researches and develops methods of remediation using systems like bioventilation grids, and containerized remediation that can be applied to other urbanpost-industrial brownfi elds sites. Residences support nearby industries in remediation and mixed use residential and offi ce development helps to support a vibrant local economy. Remediation, and self-sustaining systems are the components of an overall strategy to bring economic and ecological vitality to the Veringcanal. BIOVENTILATION SYSTEM

images: Metz

SITE CONTAMINATION ASSESSMENT MODULAR TREATMENT WETLAND SYSTEMimages: Maynes & Metz

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MASON SQUARESPRINGFIELD, MA

The master plan seeks to create an effective self-organizing system. It does so through integration with urban ecological fl ows (people, water, time, economics and other urban inputs). This vision works on multiple scales from local to regional and beyond. The approach implies a great sensitivity to sites and the willingness to engage in design as a continual conversation and experiment rather than a mandated solution that will remain forever static. The strategy is rooted in site fundamentals and the embrace of the transformative nature of landscape to continually meet the needs of human and earth systems processes.

ANALYSIS DIAGRAMS

URBAN ECOLOGY CENTER & REMEDIATION PARK

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URBAN FARMING image: intheclassroom.org

BIOSWALEimage: City of Berkeley, CA

GRANGE INSURANCE AUDUBON CENTER image: buildipedia.com

ART INSTALLATIONimage: Todd Lynch

STORMWATER STRATEGY Bioswales are planted drainage catchments that capture stormwater. They work to slow the water, capture sediment and allow water to infi ltrate into the soil. Handling water at the source reduces the amount of pollutants in water and solves problems caused by end of pipe solutions like turbidity, thermal pollution and concentration of pollution. Maintenance for bioswales is considerably less than piped systems. Additional benefi ts of bioswales include habitat enhancement, as well as softer edges for streetscape.

BROWNFIELDS REDEVELOPMENT STRATEGYSites that are on or near dense residential and commercial corridors should be immediately cleaned. Having a development plan, with a specifi c program, like residential housing or mixed use with commercial space on the ground level and residences above will help guide the mitigation process. Cleaning the site before development will ensure a safe and healthy new life forthe parcel and those that use it.

OPEN SPACE & GREEN WAYS STRATEGY Art and community gardens are spaces that defi ne a community’s unique quality. Community gardens are green spaces that the neighborhood cares for. They have the benefi t of getting people together, outside and closer through a shared activity. These gardens, while not appropriate on State Street, because of the high volume of traffi c and edge considerations, wouldbe great additions to McKnight, Bay, Old Hill and Upper Hill neighborhoods and others like them throughout Springfi eld. Art installations, murals and mosaics would be an enlivening addition to the State Street corridor. Residents and visitors could identify with their area through art that depicts history and ecological processes at work within the community.

DETAIL SECTION OF REMEDIATION CIRCLE

SECTION OF VEGETATION COMMUNITIES

MASON SQUARESPRINGFIELD, MA

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RENDERING OF PROPOSED MASON SQUARE

I love water, and growing up, I would always visit the water, be it the Potomac River, or the streams behind our house in Newburyport, MA. No matter what I learn about water academically be it fl ow regimes, or hydrologic cycle, there is an ancient quality that Langobards and Celts incorporated into their art work that I feel deeply and profoundly - which can not be quantifi ed. Understanding the essence of water is a challenge, you can’t hold it really, it either refl ects or is transparent – becoming it’s surrounding, and then moves on. It is in the air around us and most of our bodies are water. I reckon that the quantity of water, as in the Potomac or the ocean causes the water in ourselves to realign with the pervasive currents that surround us. As a painter and sculptor, I attempt to honor that fl ux and dynamism I experience in the world, and to create a language to translate it to those around me.

Where She Was Born, watercolor, 9”x12”, 2009 The Beaver Pond,oil on canvas, 24”x30”, 2009

PAINTING AND INSTALLATION

Matt, Margaret and Kathy, acrylic paint and plaster gauze, lifesize, 1996

Chance Mandalas, ice, mixed media, 2000

Tire Mandala, tires, 2000’ x 2000’, 2000

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The Farmhouse, oil on canvas, 24”x30”, 2007 Big Cabbage, oil on canvas, 40”x40”, 2011