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    <loc>https://cl-aw.com/campsite</loc>
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    <lastmod>2025-04-08</lastmod>
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      <image:title>A Campsite for Arts - A Campsite for Arts</image:title>
      <image:caption>A large industrial waterfront in Fair Haven, Connecticut is reimagined as an arts campus that engages the shoreline with meandering canopies and galleries.</image:caption>
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    <image:image>
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      <image:title>A Campsite for Arts - A Campsite for Arts</image:title>
      <image:caption>A large industrial waterfront in Fair Haven, Connecticut is reimagined as an arts campus that engages the shoreline with meandering canopies and galleries.</image:caption>
    </image:image>
    <image:image>
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      <image:title>A Campsite for Arts</image:title>
      <image:caption>Isolated, untreated, and unclaimed. A rare swath of grass in the industrial landscape of Fair Haven wants to be preserved. Rather than a raucous densification, singular containers for art are placed along the shore.</image:caption>
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      <image:title>A Campsite for Arts</image:title>
      <image:caption>Fluid, delicate, and tenuous canopies dance between shapes, drawing lines from one site to another.</image:caption>
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    <image:image>
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      <image:title>A Campsite for Arts</image:title>
      <image:caption>The in-between is left to its own devices. A tree, some shrubs, many wildflowers.</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5d423a0dd91d150001fdc3db/1616039224493-OJ33BCYDY07HCJBSFJFM/Windbreak2-2.jpg</image:loc>
      <image:title>A Campsite for Arts</image:title>
      <image:caption>What exists in the buildings are a reflection of the unique needs and specifications of the site and through a dialogue between enclosure and canopy; a series of interstitial spaces of light, field, and gathering are formed.</image:caption>
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      <image:title>A Campsite for Arts</image:title>
      <image:caption>No container is unique, but an uncanny resemblance carries through each one. Memory fades over time, but a lasting impression is made.</image:caption>
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      <image:title>A Campsite for Arts</image:title>
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      <image:title>A Campsite for Arts</image:title>
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      <image:title>A Campsite for Arts</image:title>
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      <image:title>A Campsite for Arts</image:title>
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  </url>
  <url>
    <loc>https://cl-aw.com/montage</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2025-04-08</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5d423a0dd91d150001fdc3db/4209dea3-0578-4d2e-af6e-d07a70b61ee7/00_SITUATIONSAXO.png</image:loc>
      <image:title>A Montage of Artifacts - A Montage of Artifacts</image:title>
      <image:caption>The adobe wall is used as a syntactical tool of resistance against palimpsests of suburban development in Santa Fe, New Mexico.</image:caption>
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      <image:title>A Montage of Artifacts</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5d423a0dd91d150001fdc3db/4209dea3-0578-4d2e-af6e-d07a70b61ee7/00_SITUATIONSAXO.png</image:loc>
      <image:title>A Montage of Artifacts - A Montage of Artifacts</image:title>
      <image:caption>The adobe wall is used as a syntactical tool of resistance against palimpsests of suburban development in Santa Fe, New Mexico.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5d423a0dd91d150001fdc3db/fb7cd4fc-821e-40bf-bd1a-9ef89ff31dc1/00_Diagrammatic+Axonometric.png</image:loc>
      <image:title>A Montage of Artifacts</image:title>
      <image:caption>The site located in Midtown Santa Fe is a unique collision of Santa Fe’s tangible and intangible histories of development. It holds memories of an arroyo, a military hospital, a rehabilitation center, a strip mall, and an arts college in its manifestation.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5d423a0dd91d150001fdc3db/dc1c4693-2387-4fff-9dd8-229e06873c11/01.png</image:loc>
      <image:title>A Montage of Artifacts</image:title>
      <image:caption>This has left the present realities of the Santa Fe Arts Institute, Greer Film Company, fitness center, and state office with little room. Walls, fences, and ledges act as markers for the various stages of compartmentalization and territorialization that have been exacted on the site.</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5d423a0dd91d150001fdc3db/1684208148247-UYLAS83ACF9JS03R3COM/03_Wall+Section+B-01.jpg</image:loc>
      <image:title>A Montage of Artifacts</image:title>
      <image:caption>The site is now itself an artifact of the palimpsest, with nature’s reclamation of the abandoned as its indication. Landscape has historically been subservient to the built, but perhaps instead the built becomes the backdrop for the natural.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5d423a0dd91d150001fdc3db/faa3be17-3784-4d56-847c-13603fef8d13/03.png</image:loc>
      <image:title>A Montage of Artifacts</image:title>
      <image:caption>Chaco Canyon and the Ancestral Puebloans who lived these lands before us still provide clues to how we should think. The wall is the final artifact of the ruin, speaking to the ground in its adobe composition.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5d423a0dd91d150001fdc3db/1684208148170-R35VAJNEMC9NLLL3A1T9/03_Wall+Section+A-01.jpg</image:loc>
      <image:title>A Montage of Artifacts</image:title>
      <image:caption>The adobe wall adds to vocabularies of containing with those of enclosing, embracing, guiding, leading, and revealing.</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5d423a0dd91d150001fdc3db/a37ea15d-5d36-496b-bb79-0b8f2747f14e/04.png</image:loc>
      <image:title>A Montage of Artifacts</image:title>
      <image:caption>Continuous partial visibilities of the site allow for the acknowledgment of all that exists. The choreography of these moments speed you up and slow you down.</image:caption>
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      <image:title>A Montage of Artifacts</image:title>
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      <image:title>A Montage of Artifacts</image:title>
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      <image:title>A Montage of Artifacts</image:title>
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      <image:title>A Montage of Artifacts</image:title>
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      <image:title>A Montage of Artifacts</image:title>
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      <image:title>A Montage of Artifacts</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5d423a0dd91d150001fdc3db/78aa44d2-28c7-459f-873f-b65fc3a13778/07.png</image:loc>
      <image:title>A Montage of Artifacts</image:title>
      <image:caption>The adobe wall is an artifact - in the present a tool of active resistance against conventions of site development, and in its future as a passive celebration of the land. The new artifactual language encourages a new means of treating the land - embracing the newness of the old and the archaeology of the new.</image:caption>
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  </url>
  <url>
    <loc>https://cl-aw.com/desecration</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2025-04-08</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5d423a0dd91d150001fdc3db/c2358d53-4622-41ba-b269-c9158197f365/Elevation.png</image:loc>
      <image:title>A Desecrated House - A Desecrated House</image:title>
      <image:caption>The Joseph Webb House in Old Wethersfield, Connecticut, is positioned between the themes of coincidence, desecration, and reconstitution, reading it as a shell of coincidence, desecrated character, and reconstituted home.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5d423a0dd91d150001fdc3db/c2358d53-4622-41ba-b269-c9158197f365/Elevation.png</image:loc>
      <image:title>A Desecrated House - A Desecrated House</image:title>
      <image:caption>The Joseph Webb House in Old Wethersfield, Connecticut, is positioned between the themes of coincidence, desecration, and reconstitution, reading it as a shell of coincidence, desecrated character, and reconstituted home.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5d423a0dd91d150001fdc3db/3448c578-f72b-4acc-92bc-025dd5487dd7/230504_FINAL_Situationsplan.png</image:loc>
      <image:title>A Desecrated House</image:title>
      <image:caption>The current preservation of the Webb House as a house museum is warranted by George Washington's 5-night stay during the Revolutionary War, but more precisely can be located to the bedchamber he slept in, and even more precisely, the bed.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5d423a0dd91d150001fdc3db/1684208984189-PAC5A0ITG5T4HWOVB5YN/SIS-08.jpg</image:loc>
      <image:title>A Desecrated House</image:title>
      <image:caption>The bedchamber, and the House itself, are simply containers for this historic artifact. But is the coincidentally important enough to justify the preservation of the entire house? We propose that it does not.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5d423a0dd91d150001fdc3db/a328170f-59d1-4df8-a21b-709af37e8909/230504_FINAL_Plan_EG_House.png</image:loc>
      <image:title>A Desecrated House</image:title>
      <image:caption>In Kenneth Frampton's "Towards a Critical Regionalism" we are introduced to the concept of deconstruction. For Frampton the desconstruction is metaphysical - a critique of a homogenized condition of world culture. But for us in Wethersfield, might we take deconstruction literally?</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5d423a0dd91d150001fdc3db/041a4128-002c-4b8c-863b-4414eab7ca6e/230504_FINAL_Plan_UG_House.png</image:loc>
      <image:title>A Desecrated House</image:title>
      <image:caption>We could redefine deconstruction as a productive desecration - a violent dissection. When repositioning a future Webb House, we should seriously consider the impermanence of things, of building, and how desecration can enable possibility.</image:caption>
    </image:image>
    <image:image>
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      <image:title>A Desecrated House</image:title>
      <image:caption>The desecration of the extant Webb House and adjoining visitor’s center give way for a reconceptualization of the house museum as a series of commons.</image:caption>
    </image:image>
    <image:image>
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      <image:title>A Desecrated House</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5d423a0dd91d150001fdc3db/79b686d9-eaf9-4759-a310-4d648738e304/230504_FINAL_Elevation_Front.png</image:loc>
      <image:title>A Desecrated House</image:title>
      <image:caption>The house is desecrated, then reconstituted in a new tectonic language. The motif of stone, derived from stone-enders and property walls in the region, is recaptured and reactivated, married to existing elements.</image:caption>
    </image:image>
    <image:image>
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      <image:title>A Desecrated House</image:title>
      <image:caption>The byproduct of desecration - the street facade of the existing House - creates the opportunity to establish the zone of the desecrated visitor’s center as a lawn, mobilizing the rhythm and reposition of the facade as its marker.</image:caption>
    </image:image>
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      <image:title>A Desecrated House</image:title>
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    <image:image>
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      <image:title>A Desecrated House</image:title>
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    <image:image>
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      <image:title>A Desecrated House</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5d423a0dd91d150001fdc3db/4cdc514e-94e3-40a9-a1a9-abfb0a3a4805/230504_FINAL_Elevation_Side.png</image:loc>
      <image:title>A Desecrated House</image:title>
      <image:caption>The tunnel from the Webb House to the existing barn serves as seasonal access, perforated as to maintain visual relationships to the lawn and adjacent flower field.</image:caption>
    </image:image>
    <image:image>
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      <image:title>A Desecrated House</image:title>
      <image:caption>An oculus that punches through the newly articulated piazza into the basement grotto of the House works inversely - the grotto experiences the shifts in environment due to its exposure, but visual relations are limited to the sky.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5d423a0dd91d150001fdc3db/29d26893-8539-4ddf-b45b-0ff231030189/Grotto.png</image:loc>
      <image:title>A Desecrated House</image:title>
      <image:caption>Ultimately, acts of desecration are mediums for us to reconcile conflicted histories and forge new ground to write new ones, while still communicating with the past.</image:caption>
    </image:image>
    <image:image>
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      <image:title>A Desecrated House</image:title>
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  <url>
    <loc>https://cl-aw.com/about</loc>
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    <lastmod>2025-04-08</lastmod>
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    <loc>https://cl-aw.com/home</loc>
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    <lastmod>2025-04-08</lastmod>
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      <image:title>Home - A Montage of Artifacts</image:title>
      <image:caption>A Montage of Artifacts</image:caption>
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      <image:title>Home - A Campsite for Arts</image:title>
      <image:caption>A Campsite For Arts</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5d423a0dd91d150001fdc3db/c2358d53-4622-41ba-b269-c9158197f365/Elevation.png</image:loc>
      <image:title>Home - A Desecrated House</image:title>
      <image:caption>A Desecrated House</image:caption>
    </image:image>
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