David NAILL restored and maintains the modern studio that Betty Cooke and Bill Steinmetz designed as an addition to their historic carriage house in 1963.

David NAILL, as Project Architect with Fitzgerald’s Heavy Timber Construction Inc, completed Design/Build drawings of a timber framed portico on a new stepped stone plinth at the entrance to an existing framed house. The exterior decks were restructured to increase their cantilevered depth and accommodate a new tensioned-cable railing system.

David NAILL, as Project Architect with Fitzgerald’s Heavy Timber Construction Inc, completed Design/Build drawings of a timber framed pavilion at an existing stone terrace with outdoor fireplace.

David NAILL, as Project Architect for Fitzgerald’s Heavy Timber Construction Inc, completed Design/Build drawings of the Healing Headquarters for Warrior Canine Connection. The renovation/addition to the 1938 Schaeffer Road dairy barn will create 12,600 square feet of space for Warrior Canine Connection’s operational facilities and increase their capacity to provide support programs and services for Veterans and Active Duty Service Members through its program sites nationwide.

David NAILL completed the construction of an addition / renovation to the Janezich Residence in Glen Echo, Maryland

David NAILL, as principal architect with MANIFOLDdesign, completed the design of a townhouse renovation for Valerie Maynard, a lifelong activist / artist in Baltimore Maryland.

David NAILL, in cooperation w/ Faster Kitty, LLC, designed a new interpretative exhibition to educate visitors about the history of Fort Ethan Allen during the Civil War.

Fort Ethan Allen was an earth fortification built to defend Washington DC by commanding the approach to the Chain Bridge over the Potomac River in Arlington, Virginia. All that remains of the overgrown earthen walls are segments of the south face, the gun platforms, one bombproof, a guard house, and traces of a stone magazine.

This project established vignettes of information, rebuilt an artillery platform and introduced a monumental base for a bronze fort model by Christopher Erney.

David NAILL , as principal architect with MANIFOLDdesign, worked with Baltimore Development Corporation to plan and preserve historic buildings in various Baltimore neighborhoods. The Community Development Block Grant (CDBG-R) Façade Improvement Project is funded through the U.S. Department of Housing and Urban Development and the American Recovery and Reinvestment Act.

David NAILL, as principal architect with MANIFOLDdesign, designed a garden room addition for Owners who wished to live modesty beyond the boundary of their mid century stone house. The ground level of the original house was extended into the landscape with new stone wall boundaries. A high stone wall with a single symmetrical window, anchors itself parallel to the southern facade of the existing house. This new stone wall protects the dweller from the elements and mediates an engagement with the garden. The adjacent sliding glass wall openings translate the east outward to a magnificent beech tree and the west inward upon an enclosed courtyard. The roof between the new stone wall and the existing house, has a responsive geometry.

While employed with Richter Cornbrooks Gribble, Inc. (RCG) in conjunction with Perkins & Will of Charlotte NC, David NAILL completed the Design and Construction drawings for the Perdue School of Business at Salisbury University.

David NAILL, as principal architect with MANIFOLDdesign, designed the renovation of an existing bank for East Baltimore Community Development Corporation into a small business incubator for the Latino community. A new mezzanine level was precisely configured to fit within the building’s historic envelop and retain the tall arched windows and a coffered plaster ceiling. A new freestanding vertical wall of clear glazing provides necessary separation while maintaining the sense of the connected community within one volume of space. A new core of offices, toilet rooms, and a kitchen is wrapped entirely with opaque colored glass. A new transparent stair, centrally located, activates and ascends to the mezzanine and shared meeting space. The design and fabrication of a large conference table further reinforces the Hispanic community.

David NAILL, as principal architect with MANIFOLDdesign, designed and constructed a 20’ diameter Afghan yurt for the Khalje Oriental Rug Galley. The construction consisted of white oak locally harvested and milled at the Greenwood Sawmill.

The NAILL family, after six generations of farming, decided to enter their farmland into preservation. The Conservation Reserve Enhancement Program (CREP) is designed to preserve wetlands adjacent to streams and other water bodies, also known as riparian areas. These lands have a tremendous impact on water quality and provide critical wildlife habitat.

David NAILL designed and fabricated a new circular roof for an existing wood silo. The faceted roof is articulated of alternating wood and glass segments to emulate the jewelry of Betty Cooke, the client.

David NAILL also designed and finished the live/work studio for Betty Cooke and Bill Steinmetz within the existing stone barn. Each new space was coordinated to align with the original configuration of the barn. The natural-lit studio and living space occupy the upper level threshing floor , while the sleeping spaces are protected within the stone foundation of the parlor level below. The stone retaining wall of the bank barn, offers protection from cold north wind, while the cantilevered forebay offers seasonal shade to the large expanses of glass to the south. The main floor and roof, suspended upon a timber frame, are pulled away from the perimeter walls, allowing sunlight to penetrate the expansive volume of space. A steel stair with glass railing defines the edge of the new modern infill so that design and construction are directly agrarian and minimally austere.

David NAILL, as Project Architect with Ziger / Snead Architects and Charles Brickbauer, was responsible for digital design of the Brown Center. As a crystalline sculpture, this structure provides an appropriately dynamic image for the college’s growing digital arts department. The angular geometries of the plan, and translated to the building’s elevations, were generated by site constraints . The faceted exterior is clad in translucent white glass to provide solar shading and create a provocative counterpoint to the white limestone of the college’s main building standing across Mount Royal Ave. The new structure stimulates a dialogue between contemporary and traditional forms, technologies, and materials. While it may appear complex from the outside, the Brown Center is a simple plan with classrooms and other programmatic space wrapped by light-filled hallways which become exhibition and critique space for student work. This four-story concrete structure adjoins a dynamic full-height steel-framed atrium functioning as the social heart of the facility.

David NAILL played an crucial role in the renovation and addition to the Madison Theater Building for McIntosh Poris Architects. Features included a roof terrace with views across Grand Circus Park to the Detroit Tigers' Comerica Park Stadium.

He also had the opportunity to work on a full range of projects from the single family Steinhardt Residence to the Michigan State Fairground complex at Eight Mile Road.

Evan Douglis

Autogenic Structures [au-to-gen-ic]

produced independently of external influence or originating from source within the same individual.

The studio proposes to design the new Centre for Contemporary Arts for the city of Rome to highlight new works of the 21st century. In coordination with Rome's existing museum network, the collections displayed will begin with the symbolic date of 1968.

"The set of objects the museum displays is sustained only by the fiction that they somehow constitute a coherent representation of the universe. The fiction is that a repeated metonymic displacement of fragment for totality, object to label, series of objects to series of labels, can still produce a representation which is somehow adequate to a nonlinguistic universe. Such a fiction is the result of an uncritical belief in the notion that ordering and classifying, that is to say the spatial juxtaposition of fragments can produce a representational understanding of the world." Eugenio Donato

Confronted with the inadequacies of the collection as an inexact science of cultural signification one concedes the possibility that its deeper intrinsic value lies with its capacity to initiate serious play. Similar to other artistic modes of production the collection's function is not the repossession of a context of origin but rather its regenerative powers that perpetually modify the outcome of meaning.

"We might therefore say that the archetypal collection is Noah's Ark, a world which is representative yet which erases its context of origin. The world of the Ark is a world not of nostalgia but of anticipation. While the earth and its redundancies are destroyed, the collection maintains its integrity and boundary. Once the object is completely severed from its origin, it is possible to generate a new series, to start again within a context that is framed by the selectivity of the collector. "And of every living thing of all flesh, you shall bring two of every sort into the Ark..." Noah has not invented a world in which he is simply God's broker. What he rescues from oblivion

Victoria Meyers

Institute for the Study and Wind and Light

Marfa Texas

Jesse Reiser & Naneko Umemoto

Architecture One to One - Action and Repose

The human body is utilized as an initiator and receiver of effects to develop a new furniture. The sleeping body in the was recorded upon a constructed material composite of canvas and wax. Arrived at by the interaction of corporeal forces and materials over a specific duration of time, the index is the horizontal datum by which a constellation of issues are brought into focus. This field is translated into a system of relationships and components from which to extract elements of furniture. Finally, the force of the active body, amplified by simple machine, is used to transform material resistance into the form of a chaise lounge. In turn, material that resists the body, now receives the body.

"to touch" implies a reciprocal response "to be touched"

This prototype furniture series was designed and fabricated by David NAILL to express an understanding of the diminished spacing and the tapered draw sides that were utilized by Shaker woodworkers to create their simple unadorned casework.

David NAILL assisted Jo Schneider with design and fabrication of sculptural forms and wildlife native to Puerto Rico. This work was fabricated and installed at the public spaces of the Plaza las America shopping mall.

David NAILL assisted Jo Schneider with the design and fabrication of a 1/12 scale conceptual model of steel, copper and brass. The Maryland Stadium Authority commissioned a sculpture to nest upon the stadium as a mascot for the newly named Baltimore Ravens.

David NAILL relocated an abandoned sawmill to the family farm from the neighbors cow pasture. The surviving pieces of cast iron left few clue as to their workings, so research into the history and operation of sawmills was necessary. The level plane is of critical importance and the components were designed to allow for adjustments while maintaining solidity. This entire linear machine is housed in a structure parallel to an existing farm building with southern exposure. A long-span beam allows timbers to be transported parallel to the sawmill. The motor house, with a translucent roof on axis with the main drive shaft, provides light at the circular saw blade. The adjustable louvered wall panel, removable for mechanical maintenance, open and close as the engine manifold.

(HABS) documentation drawings were completed during the Summer 1991 at the Gambrill House and Clifton Farm in Frederick Maryland.

During the following Summer 1992, documentation drawings were completed for the lighthouses at Passage Island and Rock Harbor in Isle Royale National Park on Lake Superior.

city

road

sidewalk

gate

tree

front yard

front porch

front door

front hall

front stairs

parlor dining room

pantry

kitchen

back stairs

back hall

back door

back porch

back yard

orchard

barn

barn yard

pasture

field

earth

one cube

of solid graphite

on the solar axis

for a single day

College of Architecture

Virginia Polytechnic Institute

Graphite from Greek ‘graphein’ to write.

An allusion to its use as a crayon.

Graphite is crystalline form of the element carbon, consisting of stacked layers of graphene. Graphite occurs naturally and is the most stable form of carbon under standard conditions. Under high pressure and temperature, it converts to diamond.

Due to the extreme purity and ability to withstand extremely high temperature, Nuclear Graphite is a synthetic graphite manufactured for use as a moderator or reflector within a nuclear reactor.

16 faces @ 4” x 36” x 72” = 165,888 cu. in. @ 0.081 lb. per cu. in. = 13,436.928 lb. / 2000 lb. = 6.718464 tons

Moved twofold in 24 hours = 26,873.856 lb. / 24 hr. = 1,119.744 lb. per hr. / 60 min. = 18.6624 lb. per min. / 60 sec. = 0.3110 lb. per sec. / 16 oz. = 4.97664 oz per sec.

Internship with Professor Joseph Mashburn 1990

Design and construction of a passive solar house in the Virginia landscape. The linear house is oriented east to west to gain full exposure to the path of the sun. Nestled among the rock formations of a hillside ravine, the stepped-floor slabs organize the daily routines of the house. The approach by automobile to the utility workshop is at the lowest level. The highest level, cantilevered above the hilltop, is a place for private contemplation. All the individual spaces become unified under a continuous sloping roof with a precisely configured cantilevered edge to control the sunlight along the expanse of southern glazing. Transparent and translucent sliding panels regulate the daily and seasonal changes within the house.

Third Year Design Studio 1989-1990

Professor Joe Mashburn

Design a structure to elevate a minimalistic stainless steel dish to hold driftwood fires on an island for Robert Rauschenburg. The structure must reach a height of 18 feet using only dimensional lumber, plywood, galvanized steel shapes and translucent fiberglass as a palette of materials. The artist wishes the structure to express the notion of open fire, wind and surf.

Fourth Year Design Studio 1990-1991 Professor Scott Gardner

The study of the technological stages of development of human civilization takes place at this research facility in Death Valley. The purpose of this structure is to house discovered artifacts in (15”x 20”x 24”) cubicles. The stainless-steel capsules are stored beneath the Earth in a secure and ordered manner. Each time the continuous overhead crane pulls an artifact up out of the Earth, its initial discovery is recreated. The crane delivers the artifact to the research laboratory for further documentation and discovery. An expanding library or written records, archived between the crane buttress, references each crypted artifact along the axis of the platform. The linear structure continuously extends across the landscape as the timeline of historic knowledge expands.