http://www.jarededgarmcknight.com/works daily 1.0 2016-05-30 https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464571655740-TJF5T3BBS9NRGQZ06GEY/TEXT+BOX+_Page_1.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1424401763358-MY7KOIACKH3XQO4IQ4RI/PalazzoRucellai-1.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1424402417323-JUSC9L2DTXS2VMKO9X71/PalazzoRucellai-6.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1424401786471-8TE7EGBSQ5GOTEEM46OK/PalazzoRucellai-2.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1424401798919-PZ84D85J3DRIZ2RMNC6M/PalazzoRucellai-3.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1424402389539-OBU0GUJFQ03QJ4SCDF4F/PalazzoRucellai-4.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1424402403875-MBXKLGVVCCK88AZKKZS4/PalazzoRucellai-5.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1424402429026-CHC39U94VW1E7BP04SNJ/PalazzoRucellai-7.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1424403865546-SY06082ZIHSP2MN7L5KX/GlassChair-2.jpg WORKS - GLASS CHAIR spring_2007 glass chair was the result of my first design-build project, and a longterm interest in furniture design. in focusing on the design and fabrication of furniture, i was able to see the project through from a conceptual idea to a final deliverable prototype. beginning with an anagogic model that juxtaposed the fragility and transparency of recycled glass objects with the rigidity and opacity of reclaimed wood, i aimed to create a commentary about risk. my glass and wood chair stands on three legs [two front legs, and one rear spine]. glass bottles branch out from the rear spine, allowing the curvature of the bottles to form to the curves of the back, while the network of glass bottles on the seat allows the seat to conform to the body as well. All materials were reclaimed or recycled. https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1424403875956-7XPJZQGTKFN33WH91QKQ/GlassChair-3.jpg WORKS - GLASS CHAIR spring_2007 glass chair was the result of my first design-build project, and a longterm interest in furniture design. in focusing on the design and fabrication of furniture, i was able to see the project through from a conceptual idea to a final deliverable prototype. beginning with an anagogic model that juxtaposed the fragility and transparency of recycled glass objects with the rigidity and opacity of reclaimed wood, i aimed to create a commentary about risk. my glass and wood chair stands on three legs [two front legs, and one rear spine]. glass bottles branch out from the rear spine, allowing the curvature of the bottles to form to the curves of the back, while the network of glass bottles on the seat allows the seat to conform to the body as well. All materials were reclaimed or recycled. https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1424403880895-MHJHTAR7STF4726Q0GL4/GlassChair-4.jpg WORKS - GLASS CHAIR spring_2007 glass chair was the result of my first design-build project, and a longterm interest in furniture design. in focusing on the design and fabrication of furniture, i was able to see the project through from a conceptual idea to a final deliverable prototype. beginning with an anagogic model that juxtaposed the fragility and transparency of recycled glass objects with the rigidity and opacity of reclaimed wood, i aimed to create a commentary about risk. my glass and wood chair stands on three legs [two front legs, and one rear spine]. glass bottles branch out from the rear spine, allowing the curvature of the bottles to form to the curves of the back, while the network of glass bottles on the seat allows the seat to conform to the body as well. All materials were reclaimed or recycled. https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1424403861451-CS9CC81LFEOB4V994H4J/GlassChair-1.jpg WORKS - GLASS CHAIR spring_2007 glass chair was the result of my first design-build project, and a longterm interest in furniture design. in focusing on the design and fabrication of furniture, i was able to see the project through from a conceptual idea to a final deliverable prototype. beginning with an anagogic model that juxtaposed the fragility and transparency of recycled glass objects with the rigidity and opacity of reclaimed wood, i aimed to create a commentary about risk. my glass and wood chair stands on three legs [two front legs, and one rear spine]. glass bottles branch out from the rear spine, allowing the curvature of the bottles to form to the curves of the back, while the network of glass bottles on the seat allows the seat to conform to the body as well. All materials were reclaimed or recycled. https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464474191445-HM2PXCZ3PHB7OAGMBUBS/GlassChair-7.jpg WORKS - GLASS CHAIR spring_2007 glass chair was the result of my first design-build project, and a longterm interest in furniture design. in focusing on the design and fabrication of furniture, i was able to see the project through from a conceptual idea to a final deliverable prototype. beginning with an anagogic model that juxtaposed the fragility and transparency of recycled glass objects with the rigidity and opacity of reclaimed wood, i aimed to create a commentary about risk. my glass and wood chair stands on three legs [two front legs, and one rear spine]. glass bottles branch out from the rear spine, allowing the curvature of the bottles to form to the curves of the back, while the network of glass bottles on the seat allows the seat to conform to the body as well. All materials were reclaimed or recycled. https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464474231505-ZWQ06ZE3R6VO37RZLOU6/GlassChair-6.jpg WORKS - GLASS CHAIR spring_2007 glass chair was the result of my first design-build project, and a longterm interest in furniture design. in focusing on the design and fabrication of furniture, i was able to see the project through from a conceptual idea to a final deliverable prototype. beginning with an anagogic model that juxtaposed the fragility and transparency of recycled glass objects with the rigidity and opacity of reclaimed wood, i aimed to create a commentary about risk. my glass and wood chair stands on three legs [two front legs, and one rear spine]. glass bottles branch out from the rear spine, allowing the curvature of the bottles to form to the curves of the back, while the network of glass bottles on the seat allows the seat to conform to the body as well. All materials were reclaimed or recycled. https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1424403887349-JDYHPG9HM3B6DVPNPPKJ/GlassChair-5.jpg WORKS - GLASS CHAIR spring_2007 glass chair was the result of my first design-build project, and a longterm interest in furniture design. in focusing on the design and fabrication of furniture, i was able to see the project through from a conceptual idea to a final deliverable prototype. beginning with an anagogic model that juxtaposed the fragility and transparency of recycled glass objects with the rigidity and opacity of reclaimed wood, i aimed to create a commentary about risk. my glass and wood chair stands on three legs [two front legs, and one rear spine]. glass bottles branch out from the rear spine, allowing the curvature of the bottles to form to the curves of the back, while the network of glass bottles on the seat allows the seat to conform to the body as well. All materials were reclaimed or recycled. https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464462969501-PJ8YOVLOXHBLLG396MC1/WoodframeHouse-2.jpg WORKS - DANIELSON COTTAGE fall_2007 this wood frame model was an exploration in architectural materials and building construction systems. researching the design and construction of danielson cottage by brian mackay-lyons, this scale model was hand-built based on a modular system. the structure sits on a cliff in nova scotia, and was constructed using a modular system for functional construction. the layout consists of a private unit in the rear of the building, and a two-story public space that exposes the repetitive wood trusses and curtain roof structure in the front of the house, facing the cliff. the majority of the project was prefabricated off site, and assembled on site to effectively deal with a short construction season, and a remote building site at the northernmost end of the appalachians. danielson cottage photograph courtesy of mackay-lyons sweet apply architects. https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464462974078-DW8K9CQ8FCWPKC65R4XQ/WoodframeHouse-3.jpg WORKS - DANIELSON COTTAGE fall_2007 this wood frame model was an exploration in architectural materials and building construction systems. researching the design and construction of danielson cottage by brian mackay-lyons, this scale model was hand-built based on a modular system. the structure sits on a cliff in nova scotia, and was constructed using a modular system for functional construction. the layout consists of a private unit in the rear of the building, and a two-story public space that exposes the repetitive wood trusses and curtain roof structure in the front of the house, facing the cliff. the majority of the project was prefabricated off site, and assembled on site to effectively deal with a short construction season, and a remote building site at the northernmost end of the appalachians. danielson cottage photograph courtesy of mackay-lyons sweet apply architects. https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464462986026-Q3N7NHAVTY82IB4KTPYC/WoodframeHouse-4.jpg WORKS - DANIELSON COTTAGE fall_2007 this wood frame model was an exploration in architectural materials and building construction systems. researching the design and construction of danielson cottage by brian mackay-lyons, this scale model was hand-built based on a modular system. the structure sits on a cliff in nova scotia, and was constructed using a modular system for functional construction. the layout consists of a private unit in the rear of the building, and a two-story public space that exposes the repetitive wood trusses and curtain roof structure in the front of the house, facing the cliff. the majority of the project was prefabricated off site, and assembled on site to effectively deal with a short construction season, and a remote building site at the northernmost end of the appalachians. danielson cottage photograph courtesy of mackay-lyons sweet apply architects. https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464474317902-QFPS2OG8KL12X4Y0NOLU/WoodframeHouse-5.jpg WORKS - DANIELSON COTTAGE fall_2007 this wood frame model was an exploration in architectural materials and building construction systems. researching the design and construction of danielson cottage by brian mackay-lyons, this scale model was hand-built based on a modular system. the structure sits on a cliff in nova scotia, and was constructed using a modular system for functional construction. the layout consists of a private unit in the rear of the building, and a two-story public space that exposes the repetitive wood trusses and curtain roof structure in the front of the house, facing the cliff. the majority of the project was prefabricated off site, and assembled on site to effectively deal with a short construction season, and a remote building site at the northernmost end of the appalachians. danielson cottage photograph courtesy of mackay-lyons sweet apply architects. https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464462961426-ZC4WCRMM9MYP883S5TX8/WoodframeHouse-1.jpg WORKS - DANIELSON COTTAGE fall_2007 this wood frame model was an exploration in architectural materials and building construction systems. researching the design and construction of danielson cottage by brian mackay-lyons, this scale model was hand-built based on a modular system. the structure sits on a cliff in nova scotia, and was constructed using a modular system for functional construction. the layout consists of a private unit in the rear of the building, and a two-story public space that exposes the repetitive wood trusses and curtain roof structure in the front of the house, facing the cliff. the majority of the project was prefabricated off site, and assembled on site to effectively deal with a short construction season, and a remote building site at the northernmost end of the appalachians. danielson cottage photograph courtesy of mackay-lyons sweet apply architects. https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464474320114-0Z5CQT6T1KM4XPA4XGIW/WoodframeHouse-6.jpg WORKS - DANIELSON COTTAGE fall_2007 this wood frame model was an exploration in architectural materials and building construction systems. researching the design and construction of danielson cottage by brian mackay-lyons, this scale model was hand-built based on a modular system. the structure sits on a cliff in nova scotia, and was constructed using a modular system for functional construction. the layout consists of a private unit in the rear of the building, and a two-story public space that exposes the repetitive wood trusses and curtain roof structure in the front of the house, facing the cliff. the majority of the project was prefabricated off site, and assembled on site to effectively deal with a short construction season, and a remote building site at the northernmost end of the appalachians. danielson cottage photograph courtesy of mackay-lyons sweet apply architects. https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464474326740-2NZHLIKX1L637PAZ1HJK/WoodframeHouse-7.jpg WORKS - DANIELSON COTTAGE fall_2007 this wood frame model was an exploration in architectural materials and building construction systems. researching the design and construction of danielson cottage by brian mackay-lyons, this scale model was hand-built based on a modular system. the structure sits on a cliff in nova scotia, and was constructed using a modular system for functional construction. the layout consists of a private unit in the rear of the building, and a two-story public space that exposes the repetitive wood trusses and curtain roof structure in the front of the house, facing the cliff. the majority of the project was prefabricated off site, and assembled on site to effectively deal with a short construction season, and a remote building site at the northernmost end of the appalachians. danielson cottage photograph courtesy of mackay-lyons sweet apply architects. https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464491545496-A2Q6LA5ALG27HWNN6IIQ/FrameHouse-1-Concept.jpg WORKS - FRAME HOUSE spring_2008 frame house is a home for an andy warhol collector. it is the result of an extremely conceptualized process. the first step was to design a display case that would embody the collection in the collector's home. my display case was inspired by the silkscreening process. the frame i created for my display case consisted of three levels of acrylic pieces on an interior track. the layers represent the silkscreening process, overlaying new colors on andy warhol's marylin. the display case also creates an interaction between the observer and the piece of art itself; it is a manipulation of the piece that allows the observer to form their own, individual layers and colors. the display allows for the preservation of the original print in the center of the grid. this concept was translated into the design of the collector's home by framing spaces within the house. the site is a 28 foot wide infill site, and the house is constructed with a series of 12 sectional frames that travel throughout the home, linking different programmatic elements. the large scale of these frames allow for the display of large-scale andy warhol prints that move on a track system, letting the residents interact with the house, and art, to create their own spaces. https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464497516387-U8BZCEBI282OZGDLIQ0Z/FrameHouse-2-Concepts.jpg WORKS - FRAME HOUSE spring_2008 frame house is a home for an andy warhol collector. it is the result of an extremely conceptualized process. the first step was to design a display case that would embody the collection in the collector's home. my display case was inspired by the silkscreening process. the frame i created for my display case consisted of three levels of acrylic pieces on an interior track. the layers represent the silkscreening process, overlaying new colors on andy warhol's marylin. the display case also creates an interaction between the observer and the piece of art itself; it is a manipulation of the piece that allows the observer to form their own, individual layers and colors. the display allows for the preservation of the original print in the center of the grid. this concept was translated into the design of the collector's home by framing spaces within the house. the site is a 28 foot wide infill site, and the house is constructed with a series of 12 sectional frames that travel throughout the home, linking different programmatic elements. the large scale of these frames allow for the display of large-scale andy warhol prints that move on a track system, letting the residents interact with the house, and art, to create their own spaces. https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464497516596-GFTRHV44ZHWQJ2171FJG/FrameHouse-3-Sections.jpg WORKS - FRAME HOUSE spring_2008 frame house is a home for an andy warhol collector. it is the result of an extremely conceptualized process. the first step was to design a display case that would embody the collection in the collector's home. my display case was inspired by the silkscreening process. the frame i created for my display case consisted of three levels of acrylic pieces on an interior track. the layers represent the silkscreening process, overlaying new colors on andy warhol's marylin. the display case also creates an interaction between the observer and the piece of art itself; it is a manipulation of the piece that allows the observer to form their own, individual layers and colors. the display allows for the preservation of the original print in the center of the grid. this concept was translated into the design of the collector's home by framing spaces within the house. the site is a 28 foot wide infill site, and the house is constructed with a series of 12 sectional frames that travel throughout the home, linking different programmatic elements. the large scale of these frames allow for the display of large-scale andy warhol prints that move on a track system, letting the residents interact with the house, and art, to create their own spaces. https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464491546360-PTUF4YXT5UAYI75U2O44/FrameHouse-4-Section.jpg WORKS - FRAME HOUSE spring_2008 frame house is a home for an andy warhol collector. it is the result of an extremely conceptualized process. the first step was to design a display case that would embody the collection in the collector's home. my display case was inspired by the silkscreening process. the frame i created for my display case consisted of three levels of acrylic pieces on an interior track. the layers represent the silkscreening process, overlaying new colors on andy warhol's marylin. the display case also creates an interaction between the observer and the piece of art itself; it is a manipulation of the piece that allows the observer to form their own, individual layers and colors. the display allows for the preservation of the original print in the center of the grid. this concept was translated into the design of the collector's home by framing spaces within the house. the site is a 28 foot wide infill site, and the house is constructed with a series of 12 sectional frames that travel throughout the home, linking different programmatic elements. the large scale of these frames allow for the display of large-scale andy warhol prints that move on a track system, letting the residents interact with the house, and art, to create their own spaces. https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464491547023-4404KVDWHDCYBVL21HQ0/FrameHouse-5-Axon.jpg WORKS - FRAME HOUSE spring_2008 frame house is a home for an andy warhol collector. it is the result of an extremely conceptualized process. the first step was to design a display case that would embody the collection in the collector's home. my display case was inspired by the silkscreening process. the frame i created for my display case consisted of three levels of acrylic pieces on an interior track. the layers represent the silkscreening process, overlaying new colors on andy warhol's marylin. the display case also creates an interaction between the observer and the piece of art itself; it is a manipulation of the piece that allows the observer to form their own, individual layers and colors. the display allows for the preservation of the original print in the center of the grid. this concept was translated into the design of the collector's home by framing spaces within the house. the site is a 28 foot wide infill site, and the house is constructed with a series of 12 sectional frames that travel throughout the home, linking different programmatic elements. the large scale of these frames allow for the display of large-scale andy warhol prints that move on a track system, letting the residents interact with the house, and art, to create their own spaces. https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464497518818-0WBSECGLF9N7QJXBQFUI/FrameHouse-6-Vignettes.jpg WORKS - FRAME HOUSE spring_2008 frame house is a home for an andy warhol collector. it is the result of an extremely conceptualized process. the first step was to design a display case that would embody the collection in the collector's home. my display case was inspired by the silkscreening process. the frame i created for my display case consisted of three levels of acrylic pieces on an interior track. the layers represent the silkscreening process, overlaying new colors on andy warhol's marylin. the display case also creates an interaction between the observer and the piece of art itself; it is a manipulation of the piece that allows the observer to form their own, individual layers and colors. the display allows for the preservation of the original print in the center of the grid. this concept was translated into the design of the collector's home by framing spaces within the house. the site is a 28 foot wide infill site, and the house is constructed with a series of 12 sectional frames that travel throughout the home, linking different programmatic elements. the large scale of these frames allow for the display of large-scale andy warhol prints that move on a track system, letting the residents interact with the house, and art, to create their own spaces. https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464491560867-HA36DIPUOCAPPM0HUB0G/FrameHouse-7-Models.jpg WORKS - FRAME HOUSE spring_2008 frame house is a home for an andy warhol collector. it is the result of an extremely conceptualized process. the first step was to design a display case that would embody the collection in the collector's home. my display case was inspired by the silkscreening process. the frame i created for my display case consisted of three levels of acrylic pieces on an interior track. the layers represent the silkscreening process, overlaying new colors on andy warhol's marylin. the display case also creates an interaction between the observer and the piece of art itself; it is a manipulation of the piece that allows the observer to form their own, individual layers and colors. the display allows for the preservation of the original print in the center of the grid. this concept was translated into the design of the collector's home by framing spaces within the house. the site is a 28 foot wide infill site, and the house is constructed with a series of 12 sectional frames that travel throughout the home, linking different programmatic elements. the large scale of these frames allow for the display of large-scale andy warhol prints that move on a track system, letting the residents interact with the house, and art, to create their own spaces. https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464498042288-58923QTFJR39NCPKRJDS/DiscoveryMuseum-1.jpg WORKS - DISCOVERY MUSEUM fall_2008 the site for the discovery museum was located on south allen street, one of state college, pennsylvania's main north-south thoroughfares. the site is in a prominent downtown location, along a road that once ran through the pennsylvania state university, but was removed when the campus library was constructed. the site is situated at the point where south allen street hinges from the downtown area into the residential neighborhoods. this building aims to articulate the point at which this change in direction occurs, allowing a portion of the building to follow the line of the road from campus, while another diverges to follow the direction of the neighborhoods. the design inherently creates a filter towards the front entrance at the center of the museum, visually and physically attracting visitors from both the town and the university. unlike the static, hands-off exhibits characteristic in traditional museums, this discovery museum encourages learning through the interaction of people and spaces throughout the program, incorporating resources from the university. https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464498042345-73XJ9UPUR7CR5H13R5W0/DiscoveryMuseum-2.jpg WORKS - DISCOVERY MUSEUM fall_2008 the site for the discovery museum was located on south allen street, one of state college, pennsylvania's main north-south thoroughfares. the site is in a prominent downtown location, along a road that once ran through the pennsylvania state university, but was removed when the campus library was constructed. the site is situated at the point where south allen street hinges from the downtown area into the residential neighborhoods. this building aims to articulate the point at which this change in direction occurs, allowing a portion of the building to follow the line of the road from campus, while another diverges to follow the direction of the neighborhoods. the design inherently creates a filter towards the front entrance at the center of the museum, visually and physically attracting visitors from both the town and the university. unlike the static, hands-off exhibits characteristic in traditional museums, this discovery museum encourages learning through the interaction of people and spaces throughout the program, incorporating resources from the university. https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464498042972-61XKRBRI7NMBVVFEOPC1/DiscoveryMuseum-3.jpg WORKS - DISCOVERY MUSEUM fall_2008 the site for the discovery museum was located on south allen street, one of state college, pennsylvania's main north-south thoroughfares. the site is in a prominent downtown location, along a road that once ran through the pennsylvania state university, but was removed when the campus library was constructed. the site is situated at the point where south allen street hinges from the downtown area into the residential neighborhoods. this building aims to articulate the point at which this change in direction occurs, allowing a portion of the building to follow the line of the road from campus, while another diverges to follow the direction of the neighborhoods. the design inherently creates a filter towards the front entrance at the center of the museum, visually and physically attracting visitors from both the town and the university. unlike the static, hands-off exhibits characteristic in traditional museums, this discovery museum encourages learning through the interaction of people and spaces throughout the program, incorporating resources from the university. https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464498043113-MNNHEAW1O4D3D6HRFDNP/DiscoveryMuseum-4.jpg WORKS - DISCOVERY MUSEUM fall_2008 the site for the discovery museum was located on south allen street, one of state college, pennsylvania's main north-south thoroughfares. the site is in a prominent downtown location, along a road that once ran through the pennsylvania state university, but was removed when the campus library was constructed. the site is situated at the point where south allen street hinges from the downtown area into the residential neighborhoods. this building aims to articulate the point at which this change in direction occurs, allowing a portion of the building to follow the line of the road from campus, while another diverges to follow the direction of the neighborhoods. the design inherently creates a filter towards the front entrance at the center of the museum, visually and physically attracting visitors from both the town and the university. unlike the static, hands-off exhibits characteristic in traditional museums, this discovery museum encourages learning through the interaction of people and spaces throughout the program, incorporating resources from the university. https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464498043384-HTRMWEV8Y01D9W9CSNES/DiscoveryMuseum-5.jpg WORKS - DISCOVERY MUSEUM fall_2008 the site for the discovery museum was located on south allen street, one of state college, pennsylvania's main north-south thoroughfares. the site is in a prominent downtown location, along a road that once ran through the pennsylvania state university, but was removed when the campus library was constructed. the site is situated at the point where south allen street hinges from the downtown area into the residential neighborhoods. this building aims to articulate the point at which this change in direction occurs, allowing a portion of the building to follow the line of the road from campus, while another diverges to follow the direction of the neighborhoods. the design inherently creates a filter towards the front entrance at the center of the museum, visually and physically attracting visitors from both the town and the university. unlike the static, hands-off exhibits characteristic in traditional museums, this discovery museum encourages learning through the interaction of people and spaces throughout the program, incorporating resources from the university. https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464498043879-ROWKPZEWVN5TQVBNAAUD/DiscoveryMuseum-6.jpg WORKS - DISCOVERY MUSEUM fall_2008 the site for the discovery museum was located on south allen street, one of state college, pennsylvania's main north-south thoroughfares. the site is in a prominent downtown location, along a road that once ran through the pennsylvania state university, but was removed when the campus library was constructed. the site is situated at the point where south allen street hinges from the downtown area into the residential neighborhoods. this building aims to articulate the point at which this change in direction occurs, allowing a portion of the building to follow the line of the road from campus, while another diverges to follow the direction of the neighborhoods. the design inherently creates a filter towards the front entrance at the center of the museum, visually and physically attracting visitors from both the town and the university. unlike the static, hands-off exhibits characteristic in traditional museums, this discovery museum encourages learning through the interaction of people and spaces throughout the program, incorporating resources from the university. https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464498044196-BLFJ3BT1PB70UA8DI9EP/DiscoveryMuseum-7.jpg WORKS - DISCOVERY MUSEUM fall_2008 the site for the discovery museum was located on south allen street, one of state college, pennsylvania's main north-south thoroughfares. the site is in a prominent downtown location, along a road that once ran through the pennsylvania state university, but was removed when the campus library was constructed. the site is situated at the point where south allen street hinges from the downtown area into the residential neighborhoods. this building aims to articulate the point at which this change in direction occurs, allowing a portion of the building to follow the line of the road from campus, while another diverges to follow the direction of the neighborhoods. the design inherently creates a filter towards the front entrance at the center of the museum, visually and physically attracting visitors from both the town and the university. unlike the static, hands-off exhibits characteristic in traditional museums, this discovery museum encourages learning through the interaction of people and spaces throughout the program, incorporating resources from the university. https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464498532367-22WSPQK1KM43W7BK5KEM/salkboard1.jpg WORKS - SALK INSTITUTE spring_2009 jonas salk once said, "nothing happens by chance. it's a question of accretion of information and experience." though the salk institute for biological studies did not happen by chance, the structure that stands today is only a portion of louis i. kahn's original intention. research: the salk institute is one of the nation's premier independent, non-profit, scientific research institutes. with three design phases initially proposed by kahn, it was important to respect khan's original intentions, and design an addition that would serve as an adaptable accretion of information gathered from kahn's design and my own experiences visiting the site, and honoring kahn's third [unfinished] phase. reuse: though the new structures reuse kahn's original materials, each structure is unique in its form and function. the materiality and scale of the additions are intended to serve as way-finding devices, where horizontal wood louvers wraps circulation spaces and provide solar shading and ventilation, and vertical louvers are adaptable for each user [found on both public and private windows]. reinvent: in designing the addition, it was important to learn from and challenge kahn's ability to frame views and allow people to appreciate the site from new perspectives. additionally, it was important to reinvent the idea of interstitial service spaces between floors in a way that would provide more adaptable and functional spatial conditions. thus, in the residences and laboratories, service programs are located under interstitial and mechanical spaces, allowing for higher ceilings in living and working spaces. revive: in designing an addition to an architectural icon, it was important to respect the initial design. the additions do not impede on the existing salk institute, but rather they pay homage to kahn's design while providing the institute with the space it needs to expand, and offer the public an adaptable answer to the need for additional space along the southern california cliffs. https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464498531524-9IMVW1HLMJGY35N7N8RQ/salkboard2.jpg WORKS - SALK INSTITUTE spring_2009 jonas salk once said, "nothing happens by chance. it's a question of accretion of information and experience." though the salk institute for biological studies did not happen by chance, the structure that stands today is only a portion of louis i. kahn's original intention. research: the salk institute is one of the nation's premier independent, non-profit, scientific research institutes. with three design phases initially proposed by kahn, it was important to respect khan's original intentions, and design an addition that would serve as an adaptable accretion of information gathered from kahn's design and my own experiences visiting the site, and honoring kahn's third [unfinished] phase. reuse: though the new structures reuse kahn's original materials, each structure is unique in its form and function. the materiality and scale of the additions are intended to serve as way-finding devices, where horizontal wood louvers wraps circulation spaces and provide solar shading and ventilation, and vertical louvers are adaptable for each user [found on both public and private windows]. reinvent: in designing the addition, it was important to learn from and challenge kahn's ability to frame views and allow people to appreciate the site from new perspectives. additionally, it was important to reinvent the idea of interstitial service spaces between floors in a way that would provide more adaptable and functional spatial conditions. thus, in the residences and laboratories, service programs are located under interstitial and mechanical spaces, allowing for higher ceilings in living and working spaces. revive: in designing an addition to an architectural icon, it was important to respect the initial design. the additions do not impede on the existing salk institute, but rather they pay homage to kahn's design while providing the institute with the space it needs to expand, and offer the public an adaptable answer to the need for additional space along the southern california cliffs. https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464498532868-ZR7DDRLNQ6XFKTVJR08W/salkboard3.jpg WORKS - SALK INSTITUTE spring_2009 jonas salk once said, "nothing happens by chance. it's a question of accretion of information and experience." though the salk institute for biological studies did not happen by chance, the structure that stands today is only a portion of louis i. kahn's original intention. research: the salk institute is one of the nation's premier independent, non-profit, scientific research institutes. with three design phases initially proposed by kahn, it was important to respect khan's original intentions, and design an addition that would serve as an adaptable accretion of information gathered from kahn's design and my own experiences visiting the site, and honoring kahn's third [unfinished] phase. reuse: though the new structures reuse kahn's original materials, each structure is unique in its form and function. the materiality and scale of the additions are intended to serve as way-finding devices, where horizontal wood louvers wraps circulation spaces and provide solar shading and ventilation, and vertical louvers are adaptable for each user [found on both public and private windows]. reinvent: in designing the addition, it was important to learn from and challenge kahn's ability to frame views and allow people to appreciate the site from new perspectives. additionally, it was important to reinvent the idea of interstitial service spaces between floors in a way that would provide more adaptable and functional spatial conditions. thus, in the residences and laboratories, service programs are located under interstitial and mechanical spaces, allowing for higher ceilings in living and working spaces. revive: in designing an addition to an architectural icon, it was important to respect the initial design. the additions do not impede on the existing salk institute, but rather they pay homage to kahn's design while providing the institute with the space it needs to expand, and offer the public an adaptable answer to the need for additional space along the southern california cliffs. https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464498533738-822Y391BVDPNK5CSAZTD/salkboard4.jpg WORKS - SALK INSTITUTE spring_2009 jonas salk once said, "nothing happens by chance. it's a question of accretion of information and experience." though the salk institute for biological studies did not happen by chance, the structure that stands today is only a portion of louis i. kahn's original intention. research: the salk institute is one of the nation's premier independent, non-profit, scientific research institutes. with three design phases initially proposed by kahn, it was important to respect khan's original intentions, and design an addition that would serve as an adaptable accretion of information gathered from kahn's design and my own experiences visiting the site, and honoring kahn's third [unfinished] phase. reuse: though the new structures reuse kahn's original materials, each structure is unique in its form and function. the materiality and scale of the additions are intended to serve as way-finding devices, where horizontal wood louvers wraps circulation spaces and provide solar shading and ventilation, and vertical louvers are adaptable for each user [found on both public and private windows]. reinvent: in designing the addition, it was important to learn from and challenge kahn's ability to frame views and allow people to appreciate the site from new perspectives. additionally, it was important to reinvent the idea of interstitial service spaces between floors in a way that would provide more adaptable and functional spatial conditions. thus, in the residences and laboratories, service programs are located under interstitial and mechanical spaces, allowing for higher ceilings in living and working spaces. revive: in designing an addition to an architectural icon, it was important to respect the initial design. the additions do not impede on the existing salk institute, but rather they pay homage to kahn's design while providing the institute with the space it needs to expand, and offer the public an adaptable answer to the need for additional space along the southern california cliffs. https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464498533836-6DJ5AMPICZDUSW7B99TO/SalkInstitute-1.jpg WORKS - SALK INSTITUTE spring_2009 jonas salk once said, "nothing happens by chance. it's a question of accretion of information and experience." though the salk institute for biological studies did not happen by chance, the structure that stands today is only a portion of louis i. kahn's original intention. research: the salk institute is one of the nation's premier independent, non-profit, scientific research institutes. with three design phases initially proposed by kahn, it was important to respect khan's original intentions, and design an addition that would serve as an adaptable accretion of information gathered from kahn's design and my own experiences visiting the site, and honoring kahn's third [unfinished] phase. reuse: though the new structures reuse kahn's original materials, each structure is unique in its form and function. the materiality and scale of the additions are intended to serve as way-finding devices, where horizontal wood louvers wraps circulation spaces and provide solar shading and ventilation, and vertical louvers are adaptable for each user [found on both public and private windows]. reinvent: in designing the addition, it was important to learn from and challenge kahn's ability to frame views and allow people to appreciate the site from new perspectives. additionally, it was important to reinvent the idea of interstitial service spaces between floors in a way that would provide more adaptable and functional spatial conditions. thus, in the residences and laboratories, service programs are located under interstitial and mechanical spaces, allowing for higher ceilings in living and working spaces. revive: in designing an addition to an architectural icon, it was important to respect the initial design. the additions do not impede on the existing salk institute, but rather they pay homage to kahn's design while providing the institute with the space it needs to expand, and offer the public an adaptable answer to the need for additional space along the southern california cliffs. https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464498534134-WWM2F5V1LJFB6WPG5CJ4/SalkInstitute-2.jpg WORKS - SALK INSTITUTE spring_2009 jonas salk once said, "nothing happens by chance. it's a question of accretion of information and experience." though the salk institute for biological studies did not happen by chance, the structure that stands today is only a portion of louis i. kahn's original intention. research: the salk institute is one of the nation's premier independent, non-profit, scientific research institutes. with three design phases initially proposed by kahn, it was important to respect khan's original intentions, and design an addition that would serve as an adaptable accretion of information gathered from kahn's design and my own experiences visiting the site, and honoring kahn's third [unfinished] phase. reuse: though the new structures reuse kahn's original materials, each structure is unique in its form and function. the materiality and scale of the additions are intended to serve as way-finding devices, where horizontal wood louvers wraps circulation spaces and provide solar shading and ventilation, and vertical louvers are adaptable for each user [found on both public and private windows]. reinvent: in designing the addition, it was important to learn from and challenge kahn's ability to frame views and allow people to appreciate the site from new perspectives. additionally, it was important to reinvent the idea of interstitial service spaces between floors in a way that would provide more adaptable and functional spatial conditions. thus, in the residences and laboratories, service programs are located under interstitial and mechanical spaces, allowing for higher ceilings in living and working spaces. revive: in designing an addition to an architectural icon, it was important to respect the initial design. the additions do not impede on the existing salk institute, but rather they pay homage to kahn's design while providing the institute with the space it needs to expand, and offer the public an adaptable answer to the need for additional space along the southern california cliffs. https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464498534339-UXLF5G34HQHUI564P9C7/SalkInstitute-3.jpg WORKS - SALK INSTITUTE spring_2009 jonas salk once said, "nothing happens by chance. it's a question of accretion of information and experience." though the salk institute for biological studies did not happen by chance, the structure that stands today is only a portion of louis i. kahn's original intention. research: the salk institute is one of the nation's premier independent, non-profit, scientific research institutes. with three design phases initially proposed by kahn, it was important to respect khan's original intentions, and design an addition that would serve as an adaptable accretion of information gathered from kahn's design and my own experiences visiting the site, and honoring kahn's third [unfinished] phase. reuse: though the new structures reuse kahn's original materials, each structure is unique in its form and function. the materiality and scale of the additions are intended to serve as way-finding devices, where horizontal wood louvers wraps circulation spaces and provide solar shading and ventilation, and vertical louvers are adaptable for each user [found on both public and private windows]. reinvent: in designing the addition, it was important to learn from and challenge kahn's ability to frame views and allow people to appreciate the site from new perspectives. additionally, it was important to reinvent the idea of interstitial service spaces between floors in a way that would provide more adaptable and functional spatial conditions. thus, in the residences and laboratories, service programs are located under interstitial and mechanical spaces, allowing for higher ceilings in living and working spaces. revive: in designing an addition to an architectural icon, it was important to respect the initial design. the additions do not impede on the existing salk institute, but rather they pay homage to kahn's design while providing the institute with the space it needs to expand, and offer the public an adaptable answer to the need for additional space along the southern california cliffs. https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464549792647-Y09UHHJ2PVDC1C1EXBWU/TORONTO-5.jpg WORKS - WATERFRONT TORONTO fall_2009 as part of an urban design studio, the group or jared edgar mcknight, michelle ouellette, richard kelly and tyeler seagren [moks] undertook a study and design competition to propose a new masterplan for the lower don lands area in toronto, canada. working with the idea of analyzing and manipulating the strata of the city, a masterplan was developed that followed the slight change in direction of cherry street under the gardiner expressway. playing off of this shifted angle, a new grid was developed over the keating north precinct area, incorporating new terrain, water, pedestrian, vehicular, rail, transit, building and zoning layers. in shifting the grid, unique moments were created throughout the site that would serve to bring people back to the waterfront, resulting in a plan that redefined the strata of the city. paying homage to the industrial character of the site, the heritage structures on the site were reclaimed, and left untouched as civic monuments, and in an attempt to recognize the streets that once existed on the site [as a layer of the historic urban strata], the team proposed to excavate a system of canals, which would not only increase the waterfront access on the site, but would also allow for more vibrant areas within the constraints of the site borders. with the material excavated on the site, an ecologically diverse terrain was introduced across the newly zoned blocks. through this proposal, the lower don lands would be transformed into a thriving green neighborhood within the toronto community, and work to bring the people of the city back to the waterfront by manipulating ontario's kinetic strata. https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464549797303-JM5ARJ9YDSO7ZT7UZ7ON/TORONTO-1.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464549822690-N1J5E5E86L7OPN50XSUU/TORONTO-25.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464549796228-OY70HNKJY7LGB2FKTNOZ/TORONTO-10.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464549797427-U1ANQUROEZ0C57VR8618/TORONTO-11.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464549798059-O6A4WCFFT9K59FCGZNA5/TORONTO-12.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464549798967-BH3RNXGDFGGA91NR7QX0/TORONTO-13.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464549798772-38BCPEHYMRY6KQ3RZT5Q/TORONTO-14.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464549800639-ML36HFY5LP39Q64DG4JO/TORONTO-15.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464549799795-XJD4QXYW6LDTR17FYHH4/TORONTO-16.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464549800623-11U2ALS2Q5L037ZI6MCE/TORONTO-17.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464549801378-O46LMJO3PZYWE3DUQGS3/TORONTO-18.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464549790241-L2I4JHB6CP7ZBWSRYRDW/TORONTO-2.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464549793944-3FD9N46GYCETCC87F5LW/TORONTO-9.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464550069411-SP8RNPL14NGT8R00X6LC/TORONTO-5.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464549802971-EGWNLT2YL7NGY565EG58/TORONTO-19.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464549804476-WCH5K2DMHBOTLDVAH5Q7/TORONTO-22.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464549802993-T6ZZ0ZK1G59WA16XRL4U/TORONTO-20.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464549803854-FKZSP3JZW7IJU94KH0DW/TORONTO-21.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464549824699-XZZV7LGGUQGA106T3ONJ/TORONTO-31.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464549817544-P3LJ1VDLC3UM1VZLU44Z/TORONTO-30.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464550298348-EH15KUVNLA8YRCS2VJHR/ROME-0.jpg WORKS - PROGRESSIVE ARCHEOLOGY spring_2010 the moretta site connects the tiber river to the cheese nuova across four major traffic thoroughfares in the city of rome, italy. the church and the river embankment are the anchor points, two bodies, separated by empty space, as presented in the "creation of adam" painting at the nearby sistine chapel. the monolithic embankment and the church are destinations connected by active public space and a pedestrian network. the community will be able to inhabit the newly imagined site at multiple strata. sublimated paths connect subterranean civic spaces and columnar tectonic spaces. the anticipation of crossing space and the implied paths between disparate points inspired an exploration of void and mass through reveals. the reveal is an architectural derivative of the archaeological practice of preservation through isolation. voids and reveals separating earth from building didactically preserve the integrity of the archaeological layers and the new architectural structures. this project was submitted under the title <progressive archeology> as part of the 2010 robert auzelle seminar international competition: art urban. the project was sited one half mile from our rome studio, and the design was completed by the team of: jared edgar mcknight, michelle ouellette, and tyeler seagren. https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464550280385-8GEP3RP7AW9HGFPA96LA/ROME-1.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464550285418-0DWL4C4EWG8RKOOUFGGP/ROME-2.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464550290634-A7NY5Q5DKN0D4DH3Q9FS/ROME-3.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464550296036-LBV3YR85XTQ2VYS9C9CT/ROME-4.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464550298003-SGL1Y7WHVI13QFEKM3VM/ROME-5.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464550298975-QQPYFETA9J256303XPX8/ROME-6.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464550301120-M0E1Z94BVBWMB47QJZT7/ROME-7.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464550301185-JVVHY4JLXU4KUVUU8O82/ROME-8.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464550302542-PFVXTAVDU0MV5MBM2P3I/ROME-9.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464550302776-CI4Z4RRKPXYBMKZRUM2V/ROME-10.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464550303447-QC7BMDGKXFA1D43HX7JU/ROME-11.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464550315950-ON2WIDXU319LF5I65MSC/ROME-12.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464550307007-IUIBYEE3R834TOBMBJOZ/ROME-13.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464551645963-8MV6P0V7YZ0F4U27UOKH/thumbnail.jpg WORKS - RESTRUCTURED MARKETS fall_2010 | spring_2011 coming soon... https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464466997947-4NJI0JMBCD2HLU1JINK5/WoodframeHouse-3.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464493152092-2AW8X8TKM9RM9TB6BMEI/thumbnail.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464498246728-HU8QSH17Y1K7ITWBFQIU/thumbnail2.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464499669519-Z33VWE20H0SIOVTKG7MZ/thumbnail3.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464549255924-T1OWBPOIR3YQGAGQYE91/thumbnail.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464550696683-CQIFP09AU41M5R2KT7JZ/thumbnail.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464551398320-7SEPDUK0H2CNWZNUC0XK/thumbnail.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1424403130480-0TA8V6MSICT6EF8Z6LRR/PalazzoRucellai-1.jpg WORKS https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1424403812633-5JQ79L6BMQZJ3VQ3WLYM/GlassChair-5.jpg WORKS http://www.jarededgarmcknight.com/words daily 0.75 2014-10-11 http://www.jarededgarmcknight.com/new-blog daily 0.75 2014-10-21 http://www.jarededgarmcknight.com/new-blog/2014/10/13/coming-soon monthly 0.5 2017-10-01 http://www.jarededgarmcknight.com/new-gallery-3 daily 0.75 2016-05-28 http://www.jarededgarmcknight.com/new-gallery-4 daily 0.75 2016-05-30 http://www.jarededgarmcknight.com/new-blog-1 daily 0.75 2016-05-30 http://www.jarededgarmcknight.com/new-blog-2 daily 0.75 2016-05-30 http://www.jarededgarmcknight.com/new-gallery-2 daily 0.75 2016-05-28 http://www.jarededgarmcknight.com/new-gallery daily 0.75 2016-06-05 https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464572121194-GA7T2JDSIPALFS8IM0RP/PalazzoRucellai-1.jpg PALAZZO RUCELLAI https://static1.squarespace.com/static/543873ede4b032cd80f170ab/5749f946d51cd43e7b7925c3/574b982cc6fc0859c448c0dd/1464571948439/ PALAZZO RUCELLAI https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464571982395-9VVSCLXAENDD94XOPS2Z/PalazzoRucellai-1.jpg PALAZZO RUCELLAI https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464571989015-PJ6X8KXHU3Q7CZH9UM3T/PalazzoRucellai-2.jpg PALAZZO RUCELLAI https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464572400487-YZ4OXBGN9VPOCCNBYIL2/PalazzoRucellai-3.jpg PALAZZO RUCELLAI https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464572401011-44AD6V36PIXQGE1YNUXY/PalazzoRucellai-4.jpg PALAZZO RUCELLAI https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464572401587-TYPJMBYPF7BO1ENZKW8S/PalazzoRucellai-5.jpg PALAZZO RUCELLAI https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464572401798-ISPIXXCNCNT94A30C1T6/PalazzoRucellai-6.jpg PALAZZO RUCELLAI https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464572402694-EAOZNZDNQ1R30VHUUX62/PalazzoRucellai-7.jpg PALAZZO RUCELLAI http://www.jarededgarmcknight.com/new-index-1 daily 0.75 2016-05-30 http://www.jarededgarmcknight.com/glass-chair daily 0.75 2016-06-05 https://static1.squarespace.com/static/543873ede4b032cd80f170ab/t/575376c3c6fc086cfe54cfd1/1465087681325/ GLASS CHAIR https://static1.squarespace.com/static/543873ede4b032cd80f170ab/5753765320c6474068c1e58a/575376c1c6fc086cfe54cfcf/1465087681325/ GLASS CHAIR http://www.jarededgarmcknight.com/about daily 0.75 2017-10-01 https://images.squarespace-cdn.com/content/v1/543873ede4b032cd80f170ab/1464462707122-X8KU7HJUYLOOFZDS7IXB/Jared_formal_bw-White-long.jpg +WITS http://www.jarededgarmcknight.com/new-page-1 daily 0.75 2016-05-28 http://www.jarededgarmcknight.com/read-me daily 0.75 2013-08-21 https://images.squarespace-cdn.com/content/v1/4fd1028ee4b02be53c65dfb3/1377122138273-T4CY2P9250M4AKM3YGHZ/Brand%27s+creative+mind+%2820130821%29.jpg Read Me https://images.squarespace-cdn.com/content/v1/4fd1028ee4b02be53c65dfb3/1377122430471-3N5PIOOQ8YDNX5VOP807/CRAINE%26JONSON+%2820130821%29.jpg Read Me https://images.squarespace-cdn.com/content/v1/4fd1028ee4b02be53c65dfb3/1377122107913-PW08QOSWT7TOGMPCJLIF/HELLO+ZSO+%2820130821%29.jpg Read Me http://www.jarededgarmcknight.com/new-page daily 0.75 2016-05-30