Bird+House
For the final project of the semester Students in the First Year Program in the School of Architecture this semester were instructed to create a Bird+House for a designated species of bird. This is no ordinary birdhouse, however. It is an exploration of a bird and its attitude. The Bird+Houses concern the up-close, the tactile, and the sensual. The Bird+Houses will be auctioned off on EBay to raise money for the Alabama Chapter of Habitat for Humanity. More information concerning the auction will be forthcoming.

Read on to learn more about each project. Click on any of the images to launch a slideshow of all the projects.

Aimee Meeker
Natural Current
A bird + house is not only a representation of the bird, but also of the designer and their similarities with the bird. The bird that I was given is the Loon, who is a very easy-going bird unless its territory is invaded. This is the main quality that I share with the Loon so this is the central idea of my bird + house.

The Loon flows through life with what it is given just as my project flows through and around the site. The flow is natural and with out pattern as is the flow of life. The flow of the project evolves from a semi-chaotic beginning and then to a more calm spiral. At the end of the site the flow continues yet with a more territorial feel as the project juts out in all directions deterring anyone from coming too close and destroying the flow.

Another characteristic that I share with the Loon is the love of water and its natural flow. The flow of this project not only goes calmly through life, but also in a similar manner as water does. The spiral up the site mimics the movement and ease of water. To go more in detail the small connected straw weaves that flow up the site also will float in water to show how the Loon is always close to the water even while nesting. The Loon spends a greater majority of its life in the water the on land or in air, so it was necessary to represent this in the materials. The Loon also only lives in areas of the northern United States and Canada so the spiral ends with cattails that are most commonly found in colder climates showing how the Loon will flow though life, but always remain where it is comfortable. This bird + house accurately represents the main attitude of the Loon and combines that with my own views of how the Loon spends it life.

Alex Baker
The Roadrunner
The roadrunner: one of the few members of the animal kingdom who is well known only in cartoon form. However, there is much more to this fascinating creature than running from Wile Coyote, and that is what I am trying to convey in my design.

My favorite thing about roadrunners, or the cuckoo family in general, is that they have zygodactyl feet. Zygodactyl is a term that means the bird has two forward toes and two backward toes on each foot. This characteristic separates the roadrunner from most other birds, and it helps the roadrunner in its travels. The position of the four toes provides great stability, and is accordingly incorporated into my design.

Another amazing trait of roadrunners is that they generally prefer running to flying. Although they are capable of flight for short periods of time, prolonged flight is impossible for these birds, and thus they are usually seen on the ground. Since my design is geared towards roadrunners, I wanted it to accommodate the terrestrial nature of the birds.

Roadrunners are solitary birds by nature, often mating for life and abandoning their young once they leave the nest. I based my design around solitude, with small spaces for the birds and a continuous flow of the materials used.

Lastly, I took into consideration a strange survival method used by roadrunners. Nights in the deserts of the southwest United States can get very cold, and roadrunners survive these extreme temperature changes by shutting their bodies down and hibernating at night. The birds’ body temperatures go very low, and in the morning, they must warm themselves up again in order to function normally. They do this by ruffling their feathers and exposing dark patches of skin on their back to the sun. My bird+house is topped by a sunning platform to help the birds warm up more quickly in order to carry on with their usual routine. (Note: to maximize results, platform should be oriented facing East)

Allison Beatty
Chickadee
This figure was inspired by the chickadee. The elegantly assembled structure is a reflection of the chickadee’s characteristics and its attitude toward the world. It is constructed with three pairs of cones, each made up of one enclosing element meeting one exposing element. Each pair is formed with a material drastically different from the other two, while more subtle variations lie within each pair.

Here, the diversity of the life of a chickadee is reflected as research shows that chickadees travel with different species of birds and do not hesitate to be around and interact with people. They are confident birds who build their nests near cities, making themselves quite vulnerable. While the location of a chickadee’s home is susceptible to interactions with people, their actual nest is usually found in holes inside dead trees and rather private. In order to lend to this character trait of the chickadee, the solid upper cone is made to create an obscured home for the bird and the exposing lower cone creates a vulnerable place for the chickadee to socialize.

The cones are carefully placed to balance the sculpture and float effortlessly in the air, not unlike the way a chickadee acrobatically hangs upside down in trees. Chickadees are quite acrobatic birds, and the organized curves of copper that gracefully overlap each other speak about the bird’s movement and flexibility. The curvature of the cones and the way they hang lithely off the ends of copper also accentuate this unique trait of chickadees.

Light is also another important element in making this structure an object of beauty. It is captured and reflected in the smooth metal sheets of the cones. Rays of light are liberated in all directions by the many curves throughout the figure. Chickadees are extremely welcoming and friendly creatures. They are shining lights in the great big bird family, and their warmth cannot be unnoticed.

Cassidy Beam
Festive Coquette
The unique relationship between hummingbirds and flowers is the focus of this bird + house, named Festive Coquette, after a hummingbird found in South America. Hummingbird’s heart rates can reach up to 1260 beats per minute while they are in flight. Consequently they have a very high metabolism and are in constant need of food, making flowers a central part of their existence. Therefore the project as a whole was built to resemble a flower. The mosaic pot incorporates the vast array of coloring not only in the flowers that attract hummingbirds, but also the variety of colors found on hummingbirds themselves. The plant in the pot is a pink azalea. The vertical pole that grows out of the soil represents the fact that hummingbirds are the only bird that can fly vertically. The three leaves on the project contain amaryllis bulbs. The mesh wiring around the pots emphasize how agile the hummingbird is, allowing them to reach places that are otherwise inaccessible to other birds. These leaves can be removed from the project itself to allow for easier access to the pots. On top is a blooming deep-throated flower, much like those off which hummingbirds feed. Heavy wood was used on the bottom because while hovering, seventy-five percent of their weight is supported in their down thrust. The top is made of beveled glass that shows how when in flight the hummingbird’s wings are beating so rapidly that they appear blurred. The color red, which is highly attractive to a hummingbird’s attitude, is the focal point of the design, tying all parts together. This project has been waterproofed, allowing it to be used indoors or outdoors.

Chad Hamman
Harmonic Progression
The beauty of design can be found in the geometric shapes and forms in nature. I’ve long felt that without precise geometric shapes, some organic beauty would be invisible to us. By using this as my inspiration in building this bird+house, I applied principles of mathematics to produce a structure that was both functional and a model of architectural beauty.

“Harmonic Progression” is a hand-crafted representation of the Titmouse. The Titmouse, a common bird to household feeders in North America, is known for its mobility around its habitat. It does not stay in one place for very long as it tends to “bounce” from one thing to another. This quality is the background to this elegantly-simplistic bird+house.

This bird+house embodies the essence of mobility by the flow of the middle structure as platforms tend to weave in, out, and around the circles. The circle provides the most economical form of shelter in today’s society. Titmice are considered hole-nesting birds and live mostly in the natural cavities of trees. These circles represent the cavities in which they live. The universal opposites of the squares and circles are used primarily to differentiate the purpose of the squares as platforms in which the bird might play or eat and the circles as places of rest in which the bird might sleep. The structure’s two foot wide base makes it well stabled. The bird+house is constructed of fine wood that has been stained with an appealing Dark Walnut wood-stain.

“Harmonic Progression’s” slick, but simplistic appearance and convenient size makes it great for any purpose and for placing anywhere. Its design makes it perfect for interior placement and can be used as a commodity to place things on (i.e. shelving unit). Its structural and material durability make the “Harmonic Progression” a great asset outside in the yard or garden as well.

Dimensions
57.5” H x 23.75” W x 24.0” D

Charles Spires
In[re]flection
Inflection, by definition, means the modulation of the voice; the change of pitch in tone. Much like the word, mockingbirds are known for the changes of pitch and tone in their own calls; or rather, the calls of the birds they mimic. My bird+house, in[re]flection embodies the spirit and attitude of the mockingbird, both in name and structure. The skeleton of the project is constructed purely of stainless steel, delivering a deluded feeling of simplicity that is representative of the unadorned look of the mockingbird. However, the stainless steel structure acts as more than a means of cosmetic representation. The dull suggestion of imitation comes to life through the forces of nature. Water and wind allow different sound to resonate from the structure, revealing a side of the project that is not seen at first glance, which embodies the mockingbird’s ambiguity. Small, round pieces of metal are attached to the project that strikes the metal when the wind hits it, providing a different sound from when rain water falls on the panels. Each panel has it’s own pitch, representing the numerous variety of sounds the mockingbird imitates. The curved sections of the project and piping that connect them also represent the mockingbird’s territorial nature, which are identified by their individual songs. The durability of the structure allows the project either be placed indoors, or stand outside in nature’s elements to reach its maximum functionality. This bird+house is a melodic structure that represents the mockingbird’s attitude, spirit, and nature.

David Frazier
Copperch
The beauty of nature can be found in the clean lines of a bird’s wings about to take flight and in the flowing shapes of roots that anchor and create a sculptural effect on the ground adjacent to trees. I believe that all sculpture should take form and be developed from nature. Nature is truly the best resource and inspiration for design.

Copperch was designed to blend with and stand out in nature simultaneously. It has elements of and even emulates nature. Copperch was designed to facilitate the nesting, mating, and territorial habits of the Yellowhammer. Although Copperch seems purely sculptural it is a fully functional birdhouse.

The piece is constructed around a five foot long site of pine. The site is stained a deep ebony to blend with nature. Atop the site is a copper covered perch in a ‘V’ shape. The shape of the perch suggests a bird in flight. The perch is covered in elegant, wavy copper sheeting that reflects a gleaming yellow light. Copperch is supported by ten quarter inch copper legs bound to the site with copper wiring. The space beneath the site and inside the safety of the copper legs is the intended nesting place for the ground-dwelling Yellowhammer.

Copperch’s beauty is in the flexibility of uses. Simplicity of design and classically elegant materials make this piece perfect for interior spaces. Whether used in a walnut paneled library or a large formal dining room, Copperch introduces the “unexpected element” that is used by many modern day interior decorators and designers. Durability and sturdiness of structure and materials facilitate exterior placement. It would be at home in both formal and casual garden environments or anything in between. Copperch is a sculptural work that is a fully functional bird+house.

Gwyndolyn Mowbray
Párajo de Juego
This structure was designed and crafted for the Habitat for Humanity auction. It is a reflection of a Ring-Necked Pheasant (Phasianus colchicus). Each of the different characteristics is represented by a different part of the structure.

The Pheasant is most known as a hunting bird; however I wanted to depict the bird taking flight and show its beauty. The bottom portion is a representation of a thicket. It is weaved into the wood. Pheasants live in thickets along the ground until threatened, which is when they take flight. The color of the glass represents the color of pheasants, starting with the goldish-brown wings and body at the bottom, to the clear glass that is for the white ring around its neck, and working up to the bold green and red colors of its head. The panes of glass themselves get larger as the bird spreads its wings. The trapezoidal shape is the bird’s body and wings as it flys away.

The Pheasants eat their own young. The wood platforms are supposed to provide a place for them to lay their eggs. The glass on the end of the platform obscures the picture behind it, so the adult pheasants can not see exactly where they laid their eggs, allowing them to hatch safely. The hole in each platform allows the young to slide down into the thicket once they are hatched. Baby Pheasants are not able to fly immediately after hatching, because their wings need time to dry first, therefore they can slide down to safety.

As a Pheasant could not actually live in this structure, it a unique inside ornament for any Pheasant hunter. The structure would look its best by a window. The sunlight coming in through the window will cast beautiful shadows as it shines over the structure, and the light refracting through the colored glass panes really makes a splendid color scheme.

Dimensions: (approximately)
4’-6” x 2-’8”

Hannah Leigh Dulaney
Jezebel
“Jezebel” is a hand constructed representation of the cowbird. A promiscuous bird, the cowbird is never satisfied with one lifelong mate. I based my sculptural representation around the biblical description of a prostitute. “The woman was clothed in purple and scarlet, and adorned with gold and precious stones… full abominations and of the unclean things of her immortality.” ~Revelation 17:4. From the very top of the tree, a cowbird resides watching other birds’ nests. Once a host bird leaves its nest full of eggs, the cowbird swoops into the nest to lay its egg for it to rear. In under a minute the cowbird disappears long before the host bird returns.

Starting from the middle of the tree all the way to its pointed tips every piece strategically works together to explain the cowbird’s personality. Every piece which composes the structure of the cowbird’s home is a wooden one by two that has been hand cut, sanded, and spray painted giving a distinct almost metal, gold look. Traveling outwards, gold bangles and small scraps of fabric are sewn together into nests which are also sewn into the corners of connecting branches. The many different brightly colored jewels, or eggs, tucked away inside the bangles give an idea of the variety of hosts a cowbird may feed from. Within the electrically powered hands on the clock, the cowbird’s quick egg-laying skills are characterized. Sharp angles and tips end every branch of the tree. It’s aggressive points are highlighted by free flowing, leaf like, purple and scarlet fabric sewn onto the ends of a few selected branches. The sharp ends to the seemingly all over the place branches enclose the structure almost protecting all the life ad territory of the cowbird.

Jenna Holk
WoodSong
The simple song of solitude; the wood thrush sings throughout the season. A bird of obvious emotion, this type of thrush perches higher in the treetops earlier in the season while lower as the season grows old; singing its song along the way. The Wood Thrush migrates to the North American forests for mating purposes, and tends to live on its own, claiming a few acres for itself. During these summer months the Thrush entertains willingly. Early in the morning, just before sunrise, and yet again near sunset, the wood thrush shouts out its complicated song to those who are close enough to hear.

This piece is a testament to the wood thrush, made up of an assortment of wood likes the forest itself. Five sheets of quarter inch thick Honduras mahogany make up the roof-tops of this structure. Each sheet is attached to a select pine as well as a red oak one-by-two via guitar string. Each guitar string runs from the mahogany sheet to a red oak dowel, which connects the one-by-twos, creating a natural tuner while locking the structure in place. This upper, wooden portion is detachable from the concrete base by a red oak dowel that connects to a one-by-two fixed into the concrete itself; making for easier transport.

Attached, this piece is five feet and eight inches tall, and spans a foot and a half wide.

Johannes Ubben
Sound + Sphere
The Meadowlark, which is the symbolic mother of my sculpture, is mostly renowned to be “the Prairie musician”. Sitting on a pole in the middle of endless grasslands, it will sing its songs and defend its territory, while always being on the watch for a potential mate or rival bird. In our eyes the bird seems to be lonely, but it is always in hearing range to the next Meadowlark, who also uses his song to mark and to defend its own territory.

The features that were chosen to be incorporated into this Sound Sphere were the notion of a subtle sound maker that will have a distinct, but subtle sound (as wind chimes do) and very remarkable stature. The hollow sphere the chimes are sitting is representing the burrows the Meadowlark nests in, but it is also working as a resonance body for the instruments and therefore it embodies the bird itself.

The fine wooden piecework the sculpture is made of serves to give a subtle texture, but also to visualize the complexity of the western Meadowlark’s song.

The seemingly frail center piece of my structure is connected to a very strong base, a reference to the strong roots and dependence to the grasslands the bird finds its natural habitat in. The hollow base plus the hollow center piece are also a flute extending from the bird, homage to the flute-like sounds the Meadowlark’s song resembles.
All in all, the Sound + Sphere is the bird itself, having a body and a song, but it also makes reference to the house or nest and the habitat the Meadowlark lives in, therefore being a Bird + House.

Julian C. Vida
The Aggressive Spiral
Built for the benefit of the Habitat of Humanity, my Bird + House Project is designed to represent the Seagull. I chose not to focus on one certain species of gull so I decided to design my project around all species of seagulls. My project was designed around the basic social and habitual characteristics of the seagull. These characteristics include aggressiveness, possessiveness, resourcefulness, self-centeredness, and the hierarchical society in which the seagulls live. My project while abstract shows these characteristics very well. The design that I chose in the end was to built in three main parts. The site of my project is a 1×1 inch 5 foot steel beam with half a rotunda at the top and middle of the beam with a base of steel at the bottom in a tripod fashion for support.

The materials used in the project were selected in order to portray these characteristics to their greatest potential. The clear definitions of these characteristics are vital to the successful portrayal of a seagull. The materials used in the project were all metal. Mostly constructed of steel, the steel represents the global nature of the bird since steel is used globally. Steel was also used in order to construct the main pieces of my project; the rotundas which represent the hierarchical society in which the birds live. The outer skin of the project is created using a very thin steel mesh. This mesh is used to portray the possessiveness of the bird. The seagull’s aggressiveness is represented in the construction of the project by using steel angled at ninety degrees and then cut in two inch sections which are then welded onto the structure of the project. These “spikes” are very aggressive like the bird. Constructed using MIG welds, the discoloration of the steel also showed the very unclean nature of seagulls. The construction of the project by welding began to show a sea house-like coloration representing the seagull’s habitat that primarily being the coastal areas of the world. All the major parts of the steel (site and rotunda construction pieces) were all shined to add a sense of self-centeredness which is often portrayed by seagulls.

The ultimate theme that is seen in my project is a theme of movement. The spiral motion which is evident in my project is suppose too simulate the spiral attack of some gulls on their prey. Since my project is aggressive in nature, and in the form of a spiral, the name which I have given this project can thus be derived. This project could be placed both inside and outside.

Dimensions of project:
Height: 6 ½ feet
Width: 2 feet
Est. Weight: 20 lbs.

Kristy Swann
DenCITY
DenCITY is a visual representation of the Barn Swallow. The Barn Swallow resides in man-made structures, under eaves, in corners and crevices. Their attitude reflects the urban nature and rationality of human beings. DenCITY, as a bird+house, reflects this attitude in its geometric and rational form. The project as a whole reveals the density of an urban setting and creates depth revealing the essence of the space.

There are three major platforms, 3 minor platforms, and a final platform that serves as a roof-like structure. The platforms are all placed at 90 degree angles relative to the site and some include “walls”, which are 90 degrees relative to the platforms themselves. These solid walls create boundaries for the bird+house, yet do not enclose the space to make it separate from nature; rather, there is a communication and relationship between the two: nature and urban density. To enhance this communication, many of the “walls” are made of translucent boxes, making the walls in some locations seem to be open or hollow. These walls allow light and shadows to play off of the structure, while also providing locations for the birds to nest. The back piece of the structure is made of both translucent boxes and solid board. The idea of this was to not only open the space, but also to show the two-sided nature of the bird itself; as a creature of nature and metropolis.

The platforms are placed around a five foot site which physically runs through each of the major platforms. In this way, it serves as the foundation and the main form of support for the project. Finally, the piece is painted white. As a creature of metropolis, the white reveals the idea of industry, in a simplified modern form.

As a representation of the Barn Swallow, DenCITY reveals both the habitat and the attitude of the bird, as well as providing a structure in which the bird could actually nest.

Maggie Johnson
Sniper
“Sniper” represents the noble and powerful bird, the owl. An owl is sneaky when it comes to attack its prey. Their piercing eyes can spot its food from the trees in the blackest of the night. Their flight is silent which allows them to unexpectedly kill. Their ears can hear a creature hiding. One ear is slightly larger and placed higher on an owl so it they can hear more clearly.

“Sniper” is approximately 5 feet and 2 inches tall. It is made out of a real tree branch, wire, iron poles, and four clear acrylic circles. Sniper has two eyes pointing in different directions representing binoculars for an owl’s sight. The binoculars also represent the fierceness of an owl. Sticking out from the 5-foot tree limb are 4 limbs. They are placed at slightly different heights and in different lengths just like a birds ear. Each is 270 degrees from each other because an owl’s head can turn 270 degrees. The base is made up of 3 small logs trying to show the owl’s niche. The 3 logs are attached to the main branch by wire, which shows the aggressiveness of the owl.

In my bird+house I wanted to show the camouflage of an owl during attack. I kept everything very natural which the exception of trying to show the aggression of an owl. I chose to name my bird+house “Sniper” because when the owl is hunting they act as a sniper. They are sneaky and you can never tell when they are about to attack.

Mallory Garrett
The One
This is a hand crafted sculptural piece designed for the Habitat for Humanity Auction. This piece is especially made for the House Finch. Due to the nature of this bird the artwork has certain qualities. One of the stand out qualities is the one horizontal red dowel. This represents the male species who have red faces when they are healthy. The male finches get the red color from the pigment in the food they eat. So the more food a bird eats the redder he is. The females are attracted to the reddest males, because they believe they can provide for them and there future offspring. The red dowel symbolizes the way a person is attracted to there future mate.

There are multiple dowels placed within the site, which is a sculpted, 5 foot pole. This pole is lifted off the ground by wooden dowels, making it look like roots. Also, the dowels at the top go through the site creating the branches. This gives the site the look of a tree. The dowels serve as an integral part of the project, by representing branches of a tree, as well as serving as perching areas for the finches. These perching areas allow for the birds to do what they do best, socialize. They are often known to travel in flocks. When mating season comes around they even nests in different branches of the one tree, allowing them to socialize.

This sculpture is very versatile; it can go inside or outside. It is also a very unique because it can be used, not only as something pretty to look at, but also as a hat rack or scarf holder. There is no comparison to this piece of art, for it is the one of a kind.

Dimensions:
5ft 4 inches tall
4ft 8 inches wide
4ft 8 inches deep

Meghan Bullard
Aggressively Elegant
This Bird + House is the result of research and study of the bluebird. The different qualities shown in this piece are qualities shown by the bluebird. The bluebird is a small bird, known for its beauty. The bluebird has a light and airy, yet aggressive attitude toward the world, due to its size and its ability to stand up to bigger and stronger competitors in its environment. Although it has a strong attitude its look is elegant and beautiful. The elegance of the tiny bird paired with its aggressive attitude creates the attitude of the piece.

The materials in the piece are those that are elegant yet aggressive. The copper flashing and plexiglass give the piece a flowing look while also creating sharp edges in contrast to the curves. The wood and its finish give a strong look while being subtle. The flow of the piece is not interrupted by screws and nails. It is pieced together without metal attachments, so that the elegance of the piece is upheld. The wood used in the piece is mainly red oak with a contrasting soft wood. The vibrancy of the wood paired with the softness of the softwood also shows some aspects of the bluebird. The main section of the piece is the top. The centerpiece ties the rest of the structure together. The glass in the middle of the centerpiece represents not only the elegance and color of the bird, but also how aggressive it can be. The sharp edges create an interesting contrast to the curves of the copper holding it up. The copper wire that is wound around the glass holding the pieces together symbolizes the elegance of the bird tying the aggression and beauty together.

The end product of my research and studies of the bluebird is a piece showing the bird’s elegant beauty while giving the suggestion of the bird’s aggression.

Melanie Butler
Strength of Song
Developing to a maximum length of approximately four inches, the winter wren boasts a phenomenal voice for its size. In fact, this bird has more song for its weight than any other North American song bird, making its song a major focal point in its behavior.

The complex, long, exuberant song of the winter wren emanates from the dark crevices in the entangled floors of dense coniferous forests. A black wooden box displays the reclusive behavior of the bird, flitting from one vanishing point to another and from within which singing its complex love songs to the female they attempt to attract to their nest. The high-spirited song can be heard from the depths of the floor to the tops of the trees and is represented with an enthusiastic yellow in complex glass swirls (the more complex the song, the more likely the female will respond) on rotating beveled gears that allow the song to move through the dark box just as it moves through the underbrush.

The music soars upward through the trees from the base of the forest, but at times a male winter wren may sing from an exposed perch, much like the branches that have been attached to the metal shaft, atop which is displayed more of the yellow glass to symbolize the song. The metal shaft is a multifunctional component: not only is this indicative of the trees in the forest wherein the mouse-like bird hides, but the exterior coloring is also representative of the bird’s feather colors (rufous brown, dark brown, pale brown, and grey) while the interior affect is to contain and enhance the music emanating from within. Without the trees to bounce off of, the metal casing acts in a similar way to allow the song an outlet for being heard at such loudness and at such great distances.

Inside the metal shaft is the 5’ tall nominal 1×2 site made of red oak wood; not only is the wood strong enough to support the tension in the strings, but its red coloring is similar to the red tints found in the feathers of the winter wren. Attached to the site are four tightly tuned guitar strings that are representative of the high frequency, complex trills of the bird. The strings can be plucked from a jagged hole in the metal shaft; the hole has many cuts and angles that signify the complex and powerful song that slices through the trees to create a beautiful sound.

Michael Dowdy
Look but Don’t Touch
The grouse of the Plains is not a bird prone to complacency. Dwelling in the undergrowth, what is lacks in vertical ability it makes up for in assertiveness. This is a creature of the earth, but although its world is not lofty, the Plains grouse is by no means humble.
Possibly the most interesting feature of this bird is the bright air sacs that lie on the side of the male’s neck. These incredible conspicuous devices are exposed to attract mates and display the bird’s brazen panache. This however is not the most important organ of the grouse.

Its foot and claw best represent what the bird is in spirit and attitude. It is the primary organ of movement for this land-dweller, and its contract with the ground displays the intimate relationship that the grouse has with the earth. And the very nature of the claw conveys the intense possessiveness and territoriality that define this creature.

Thus became the focus or theme behind the birdhouse, or rather, the bird+house. The form created reveals the character and very nature of the grouse. It is not a simple structure decorated to show habitat, diet, or mere circumstantial characteristics. This form is the essence of the bird, the core spirit that distinguishes the grouse from all others.

It follows the basic shape of the claw, explicitly at the base. The claw points are designed to aggressively dig into the ground, clearly and frightfully defining the bird’s territory.

The foot structure is evident also in the form of the main shaft and branches, which have been constructed to reveal the earthy undergrowth which the grouse has such a close relationship with. However, within that undergrowth lies the air sac – the symbol of the attention and respect the grouse demands beneath its sharp, uninviting exterior. Look But Don’t Touch.

Nourah Said
Flying Beauty
Life in its essence is beautiful, and the way we interpret life illustrates and intensifies that beauty. Life’s beauty is in nature; it is in the morning’s sunshine, in the wind blowing the leaves, and in the birds flying in the sky. To me personally, the project Bird + house is a way to represent an aspect of nature’s beauty. It reflects this beauty through my eyes, my bird’s perspective and the bird’s attitude towards the world. My project is called flying beauty.

The day each one in studio got a name of a bird, I got a bird calling Bunting. It was my first time hearing about this bird; therefore I was very excited to learn more about. It is one of the best song birds and its male’s distinct color of blue reflects the sunlight. It keeps a low profile throughout the year, except when it’s summer; it shines, like a blossoming flower. When almost every other bird is molting and moping, he warbles with the same fervor and timbre. Perhaps it is because he has the concert stage almost to himself in August. The rhythm and harmony in its music is beautiful. Flying beauty is a representative of the main characteristics of a bunting, and how different birds can relate to that in one way or another. It’s also very connected to the human spirit and soul. Human beings can be very secretive and closed at time but every once in a while they just need to let go. This change is a never ending cycle but it always needs a push, a hand and effort from us in order for a change to happen. Nature and life are like the four seasons of the year, an infinite sequence; however, the beauty remains in this mystery, where we have to look up high to reach the answer and always be ready for surprises.

Patrick Barrineau
Crane House
When instructed to create a Bird + House for a crane, problems in the construction of such an object became paramount. For one, cranes nest in large beds made on the ground. So, in order to create such a structure, exploring the relationship between space and place became a necessity. In order to create a place for a crane, a large area of intertwined sticks came to mind. However, a space for a crane would be just that – a crane. In other words, a place is where a crane may live, whereas a space is the area a crane takes up in the place it lives. So, rather than creating a crane’s nest, I simply created a crane itself. In doing so, I created a space for the crane to live in because I am designing this Bird + House to resemble a crane. When thinking about a crane, words like ‘balance’ and ‘ordinary’ and ‘simple’ come to mind. So, I searched for a design that first sought to emphasize balance: as a result, there are no mechanical binders used in this project – only kinetic energy. I elected to not include any wood glue, nails, or screws in this work. The ‘torso’ sitting on top of the ‘leg’ of the crane does just that – sit. It is balanced completely using a rock as a counterweight, held in by notches carved into the wood to increase friction. The ‘foot’ of the bird is attached to the leg by a coil of rope tightened to hold the bird foot-shaped wiring against the leg itself. Unbleached cotton, a very ordinary material, is used to create wings. The wings are limp because the angle at which the torso sits is comparable to the angle at which a crane’s torso is when standing or taking flight. So, when the air is still, this Bird + House is a crane standing alone. When a gust comes, the crane is taking flight. The primary idea behind this is that a space for a crane is just as useful as a home as a place would be. Furthermore, it is intended to resemble a crane standing alone, in the outdoors.

Rebecca Whitlow
Triadic
One of the first signs of the approaching warm weather in spring time is the re-appearance of the bird referred to as “robin red breast.” The robin is a migratory bird and to many individuals visualizing one specimen announces the end of winter.

The bird itself is quite colorful with its feathers on its breast being bright crimson in color. The robin’s eggs are such a distinctive color that a specific blue is named “robin’s egg blue.” The robin is considered a happy morning bird. Its beautiful song can be heard in the early morning hours. The robin is also thought to be family-oriented. Building a nest, warming the eggs, feeding the young, and raising its babies into juveniles are of major importance to a robin. Robins, male and female alike, tend to their young.

With these three qualities in mind, my construction is from three sources: metal, wood, and glass. The metal element serves as the support and is to be posted in the ground. A robin is well-grounded. The wooden element consists of three triangles positioned around the site and a red wooden site. A maple stain was used on the wooden triangles because of the robin’s nesting location preference. A robin’s nest is never well hidden, so the triangles are left open still allowing contact with nature. The triangles are positioned around the site indicating the different directions in which the robins may travel. Robins are found in several areas across North America. The triangles are detached from the metal, and the site is elevated above the ground showing that even though a robin is well-grounded it still possesses freedom.

Only three triangles were used because the robin is presently grounded in the fourth direction. The red site reveals that although robins are migratory, they are very much a vibrant, grounded bird. Also, the red color was chosen in reference to the robin’s red breast. The third and final element used is glass. The glass portrays the robin’s transparent, happy attitude toward the world. The color blue for the glass refers back to the color of the robin’s eggs. The glass itself is again in the shape of a triangle, emphasizing the three qualities of the robin: migratory, colorful/happy, and family-oriented.

The base of this bird + house allows for the option of displaying it indoors or outdoors. It is built for outdoors and the three elements used in the construction should withstand the weather. If used outdoors, the metal element may be posted into the ground.

Sarah Hunter
The Spiral
There are very few truths in life: life, experience, death. That is what defines each living thing. The Hawaiian Goose, or Nene, is extremely endangered, and it is now up to humans to delicately balance every aspect of the Nene’s life in order for the species to survive.

The simple, clean-lined geometric design of the wood and glass works interdependently with the spiral action of the copper and communicates the spontaneity as well as the structure of life. The beautiful copper is carried throughout the piece to emphasize how cohesive all of life is as well as to show where the process of life begins and ends. The carefully cut stained glass tells a story of gained experience. Although, it is securely framed by the hardwood its delicate quality is maintained by the way it is lightly suspended. The strong triangular base is definite and the deep stain of the spruce emphasizes its weight in the overall design – just as death does in our everyday lives.

Simone Alger
Contradiction
The human being is a social creature. From work to play, people need people. The interaction between peers is what makes humans feel alive, feel needed, feel important. However, humans also realize that there are times to be alone. This explains the popularity of single-family homes and the rarity of communes. People need time to themselves; to reflect on their lives, to rest, and to keep their mental sanity.

The same is true of the Arctic Ptarmigan. This bird, which resided in Alaska, Northern Canada, and Northern Japan, is perhaps the most “human” of the birds. While it enjoys a social lifestyle, the birds live alone, or in small families.

In designing a bird+house for the Ptarmigan, this contradictory lifestyle was the main inspiration. the use of vinyl as a woven material, as well as the use of concrete, give this bird+house a industrial and yet beautiful feel. Black and white mixed with grey and colorless vinyl strips being the piece together and the juxtaposition of soft fabric and hard vinyl accentuate the theme all the more.

The amorphous shape of the bird+house is also reflective of the bird’s lifestyle. The shape is both open and closed, often at the same time. It is suspended off the ground to show the birds propensity to live in the space close to the ground. The use of blank space below the bird+house is designed to display the bird’s preferred area of residence.

Susie Fagg
Splashitat
The day-old ducklings hear the call of their mother at the lake’s edge, and one by one they jump from the nest to join her. They will not visit a nest again until they have their own ducklings. Instead, they will be surrounded by water night and day. They will bathe, eat, socialize, and even sleep in water.

Made from plastic, epoxy, wire, and Christmas tree ornaments, this representation of a splash illustrates the single-most important thing about Wood Ducks: their splash. The sculpture relates both the presence of the duck itself and the duck’s habitat, creating a comprehensive Bird + House.

Taylor French
Sparrow House
The sparrow is the inspiration for this bird+house. Sparrows spend most of their time on the ground feeding, and they make their nests usually in small shrubs or bushes. The sparrow is a small bird, and if one could describe its attitude towards life, it would be naïve, never thinking about anything above the lowest branches of the trees. Although the term “lowly sparrow” usually comes to mind when describing this bird, surprisingly enough, sparrows are considered one of the highest orders of the aviary family. That should certainly make you think twice the next time you see a sparrow!

This bird+house is exactly what its name implies: it is both a house for the sparrow, as well as a representation of the bird itself. Any sparrow would feel right at home, as the interwoven wires in the center create a bush-like environment familiar to the bird. If left outside, one could easily see how a sparrow might nest in this bird+house. The outer spiral is rooted in the ground, yet as it spirals upward, it diminishes in size, just as one could say the bird’s knowledge of life diminishes as it climbs above the ground. The center post acts just like the center trunk of a shrub or bush, and from the bottom, roots “grow” out to support the whole bird+house.

The bird+house is made of simple materials, representing both nature and man made elements. The center post is red oak, finished with natural mineral oil, while all the branches and outer mesh are made of steel or aluminum wire. In an interesting juxtaposition, the natural oak is clean cut, while the man made wire twists and turns in a branch-like fashion. If left outside in the elements, this bird+house will age beautifully as the oak weathers and the metal rusts. In a few years, a completely new bird+house will emerge.

I hope you bid on this bird+house and enjoy it, as it has taken countless hours of both thought and construction, and the proceeds go to an even greater cause.

Thom Pennington
Curiosity
Aggressive, intelligent, graceful, curious, and resourceful, ravens run the gambit. They are the kings of the corvid family, and certainly evoke a sense of regality. Whether soaring gracefully high above the treetops or sitting like gargoyles on a building’s ledge, Ravens appear to be in control. They will always challenge those who they come in contact with, and rarely cooperate. They are scavengers, using what is around them for their benefit, including things held in the hands of those passing by. They are capable creatures, able to create and use rudimentary tools. As multi-faceted as the things that attract their attention, ravens are more than birds.

The form, materials, and construction of the project all reveal “ravenesque” characteristics. The base of the project is rigidly bent at exact angles to suggest the posture of the bird and its intelligence. The concrete base to the project serves to visually divide its two distinct areas and evoke a sense of strength. The abrupt exit of the rebar from the concrete suggests aggressiveness and the flowing curves thereafter, gracefulness. The center piece of the project is constructed with warped vinyl LP’s, bringing a raven’s song to mind. The black sheen of the records is also reminiscent of a raven. The aggressive, flowing lines of the records reinforce the attitude of a raven, while its kinetic attachment to the site creates the image of a perch. Finally, the motion of the project mimics the resourceful, adaptive nature of the bird.

Xylina Johnson
Sanctuary
A Sanctuary is a place of protection and peaceful comfort

Copper coil ring on the top of the bird+house
Two copper arches on the sides connected with copper wire
In the front: an arched piece of copper coil connected with copper wire. small arched door is connected to the piece of copper coil. Over the copper door is 2 pieces of draped copper wire
Materials used is copper coil, ply-wood, and copper wire
Copper wire use to connect pieces of the bird+house
On the inside: flat piece of ply-wood used as a area for nesting
copper mesh on sides: serves as a screen to other birds and predators
two flat pieces of ply-wood intersected to create a bottom for bird+house
Bird+house is connected to 5’tall nominal 1×2 site
color of site is dark brown to blend in with natural surroundings
top of site is a flat piece of wood connected to the site: serves as a perching and singing point for the bird
bottom of the site is decorated with leaves so site can blend in with bird’s natural habitat
also at bottom of the site is a triangular base ,that can be used to put water in for the bird; bird+house is held by 4 wood dowels in the back and a 3/8in x 2 ½ ft wooden pole

The Sanctuary can be placed on the inside or outside of the house. It has a small entry which mans less disturbance from outside predators. Can watch birds nest from any angle of the bird+house. Includes a small opening if used as a birdhouse. The Sanctuary can also be used as decoration. In case of bad weather place bird+house on the inside.