PORTFOL IO OF PROJECTS PAST & PRESENT, THEORET I CAL & REAL IZED , FROM ALABAMA TO EGYPT

O B A R L O U N G E

L I O N S P A R K

A L L E G R I A H O U S E

D U C K B O A T

S E L F P O R T R A I T

PROFESS IONAL

PLAYFUL

NEW(ER )OLD(ER )

L E F T B A N K

U R B A N G Y M

G A R D E N S H E D

1 4

3 4

8 0

0 6

6 2

2 6

7 2

6 8

OBAR LOUNGE is a bar and restaurant located in the ground floor of the Fairmont Hotel in Cairo. The cli-ent wished to transform a 3750 sq ft/350 sq m existing cigar lounge into a high-end venue serving sushi and designer cocktails. Existing conditions of the space were challenging; the ceiling was exceptionally low, there were no external windows, and the spaces allot-ted for the project were disjunctive. We set out to create illusions of lightness and fluidity while playing on a theme of voyeurism which resulted in an open restaurant and bar ringed by lounge areas. Projected on the terminal wall in each lounge area is a live image from elsewhere in the space. A draped in-dustrial chain ceiling screens mechanical systems and provides a dynamic design feature while mother of pearl and oak wall claddings provide a softer contrast. We collaborated with Focus Lighting of New York City to complete the lighting design of the space. Ma-jor features in the lighting design include extensive lighting of the ceiling to create a subtle shimmer in the chains, treatment of all wood claddings with an outer glow, and backlit resin panels in the bar façade. I was responsible for leading the project team at Ek-lego Design from concept design through construc-tion documents for the architectural modification and interior design of the space. My responsibilities ex-tended to external coordination and client presenta-tions as well.

o b a r l o u n g e | 6

01

02

13

0307

10

11

09

0406

08

14 05

12

A A

BB

CC

D

D

SPACES01 Ho t e l L o bby02 E n t r y / Re c ep t i o n03 R e s t a u r a n t S ea t i n g04 Ma i n Ba r / Su s h i B a r05 L ounge Sea t i n g06 L o unge Sea t i n g07 D J / L ounge Sea t i n g08 P r i v a t e L o unge S ea t i n g09 P r i v a t e Ba r10 Women ’s Wa sh r oom11 Men ’s Wa sh r oom12 S t o r a ge13 S t o r a ge14 L obby t o K i t c h en

IN TER IOR SECT ION / E L EVAT IONSAA En t r a n c e f r om Ho t e lBB E n t r y a nd Re c ep t i o nCC Ma i n Ba r DD Su s h i B a r

o b a r l o u n g e | 7

I n t e r i o r S e c t i on / E l e va t i on AA : En t r an ce f r om Ho t e l L obby

In t e r i o r S e c t i on / E l e va t i on AA : L i gh t i ng

o b a r l o u n g e | 8

I n t e r i o r S e c t i on / E l e va t i on BB : L i gh t i ng

In t e r i o r S e c t i on / E l e va t i on BB : En t r y and Re cep t i on

o b a r l o u n g e | 9

I n t e r i o r S e c t i on / E l e va t i on CC : Ma in Ba r

I n t e r i o r S e c t i on / E l e va t i on CC : L i gh t i ng

o b a r l o u n g e | 1 0

I n t e r i o r S e c t i on / E l e va t i on DD : L i gh t i ng

In t e r i o r S e c t i on / E l e va t i on DD : Su sh i Ba r

o b a r l o u n g e | 1 1

I n t e r i o r S e c t i on / E l e va t i on AA

In t e r i o r S e c t i on / E l e va t i on BB

In t e r i o r S e c t i on / E l e va t i on CC

In t e r i o r S e c t i on / E l e va t i on DD

Women ’s Ba th room De ta i l P l an

A

B

A

B

C D

C D

o b a r l o u n g e | 1 2

Cha in Ce i l i ng Mock -up

o b a r l o u n g e | 1 3

ALLEGRIA HOUSE is located just outside of Cairo, Egypt. The suburban site overlooking a golf course presented a challenge with a five meter level change across its length. With a desire to capitalize on the land levels, the design approach deliberately aims to incorporate the residence within the surrounding site and garden. This idea translates into an architecture that both ver-tically and horizontally integrates the program and the garden; where the land envelopes or pushes into the 16000 sq ft / 1500 sq m residence, blurring the bound-ary between interior and exterior. A double height space with floor to ceiling views of the garden and golf course vertically links the formal reception and the family living room. Beneath the up-per garden are the more reclusive spaces of the wine cellar, study, and spa, while the private family quarters extend out into the landscape, punctuated by garden courts. The upper garden houses the guest quarters and formal spaces, while the formal dining room sits apart surrounded by a delicate copper screen, serv-ing as a lantern in the landscape. I began working on the project at Eklego Design while it was in the early concept design stage and was responsible for elaborating the concept and develop-ing the design. I was responsible for overseeing en-gineering coordination and construction documents.

a l l e g r i a h o u s e | 1 4

a l l e g r i a h o u s e | 1 5

GROUND FLOOR PLAN01 Pede s t r i a n E n t r y02 En t r y Ha l l03 K i t c h en04 L i v i n g05 D i n i n g06 Ou t doo r D i n i n g07 Ou t doo r L i v i n g08 Poo l09 Sunken Sea t i n g10 Spa11 Gym12 Mas t e r B ed r oom13 Mas t e r D r e s s i n g14 Mas t e r B a t h15 Bed r oom16 Doub l e Bed r oom17 W i ne S t o r a ge18 L i v i n g19 S t u d y20 Gue s t B a t h21 S t a f f K i t c h en22 S t a f f Qua r t e r s23 S t o r a ge24 S t o r a ge25 Veh i c u l a r E n t r y26 To Ga r a ge

01

02

04

21

20

19

18

16

03

06

05

17

15

12

1314

07

11

100809

22

23 24

2526

a l l e g r i a h o u s e | 1 6

F I RS T F LOOR PLAN01 Pede s t r i a n E n t r y02 En t r y Ha l l03 Re c ep t i o n Ha l l04 Te r r a c e05 D i n i n g Room06 Roo f Ga r d en07 Gue s t B a t h08 Gue s t B ed r oom09 Gue s t B ed r oom10 Gue s t L i v i n g11 Gue s t K i t c h en12 S t a f f K i t c h en

01

10

090806

07

04 05

03

11

02

12

a l l e g r i a h o u s e | 1 7

LONG I TUD INAL SECT ION01 G r ound F l o o r E n t r y02 F i r s t F l o o r E n t r y03 Gue s t B a t h04 E l e v a t o r S ha f t05 S t a f f K i t c h en06 Gue s t L i v i n g07 Gue s t D i n i n g08 Mas t e r D r e s s i n g09 Mas t e r B a t h10 Bed r oom D r e s s i n g11 Bed r oom Ba t h12 Gue s t B a t h13 S t a f f K i t c h en14 S t a f f B ed r oom15 S t a f f B ed r oom16 S t a i r t o Ba s emen t17 D r i v e t o Ga r a ge

08

01

111009

a l l e g r i a h o u s e | 1 8

PARAPET DETA I L01 B r onze C l a dd i n g 02 Wa l l Wa sh i n g L i g h t F i x t u r e03 Teak Wood So f f i t04 S t e e l F r am i ng05 Sem i - I n v e r t e d Con c r e t e Beam06 B l o c k Wa l l w i t h S t u c c o07 I n t e r i o r D r o p C e i l i n g08 L ow S l o pe Roo f

02

17161514

0403 05 06 07

12 13

01

02

03

06

05

07

0408

a l l e g r i a h o u s e | 1 9

a l l e g r i a h o u s e | 2 0

a l l e g r i a h o u s e | 2 1

a l l e g r i a h o u s e | 2 2

a l l e g r i a h o u s e | 2 3

a l l e g r i a h o u s e | 2 4

a l l e g r i a h o u s e | 2 5

LEFT BANK was conceived in the aftermath of the Egyptian revolution in April 2011. Immediately follow-ing the revolution, meetings and lectures began oc-curring between the members of the various groups involved in orchestrating the popular uprising. As there was no codified location for such things, much of the dialogue was happening in a public forum located under a bridge just south of the site. The client was interested in supporting the continuing dialogue while serving food and drinks on property just outside of a popular restaurant he owned. With a desire to recognize the palpable zeitgeist, we were interested in incorporating ideas from / about the revolution in the program and physical space of the cafe. Though the project is largely an interiors project, the physical space allotted for the cafe was analogized to the physical space of Tahrir Square, the locus of the revolution, and now an internationally recognized symbol for popular dissent. Tahrir Square can be characterized by its grotesque scale to the pedestrian. The cafe attempts to scale the same elements to a more comfortable level. I worked on the 4300 sq ft / 400 sq m project during the concept phase at Eklego Design. The construction documents were sub-contracted to an outside firm. The project was recently completed and the photo-graphs shown are from the opening. Eklego Design has not yet commissioned professional photographs of the project.

l e f t b a n k | 2 6

01

02

04

05

10

06

07

03

08

09

SPACES01 En t r y f r om Road02 R i v e r s i d e T ho r o ugh f a r e t o R e s t a u r a n t 03 N i l e R i v e r04 Bake r y / Takeaway05 L ounge Sea t i n g06 D i n i n g Sea t i n g07 Ba r08 Ve r t i c a l D a t um She l v i n g09 S t ag i n g A r e a10 Ba c k o f Hou s e

l e f t b a n k | 2 7

Ana l og i z e a spe c t s o f t he u rban f o rum o f M idan Tah r i r a s de f i n i ng s pa t i a l e l emen t s o f t he c a f e . C en t r a l l o cu s be comes s t age f o r pe r f o rmance and l e c t u r e s .

Pa r t i a l v e r t i c a l bounda r y c r ea t ed by ed i f i c e i s m im i cked by s he l v i ng hou s i ng a va r i e t y o f i t ems a s va r i ed a s t he bu i l d i ng s s u r r ound i ng Tah r i r.

Open ax i s t o N i l e i s p r e s e r ved w i t h w i de open r i v e r f r on tage .

P r e s e r ve f ee l i ng o f ex t e r i o r i t y w i t h l i gh t s t r u c t u r e t r an spa ren t r oo f .

Egyp t Ca i r o , ba se o f t he N i l e De l t a

Egyp t M idan Tah r i r, ep i c en t e r o f popu l a r demons t r a t i on s

Sequo i a Ca f e S i t e , no r t he rn t i p o f

Zama l ek i s l and , app rox ima te l y 30

m inu t e s wa lk i ng f r om M idan Tah r i r

l e f t b a n k | 2 8

BOOKSHELF / BU I LD ING ANALOGY

l e f t b a n k | 2 9

l e f t b a n k | 3 0

l e f t b a n k | 3 1

l e f t b a n k | 3 2

l e f t b a n k | 3 3

LIONS PARK in rural Greensboro, Alabama had fallen into disrepair. A group of concerned citizens and civic leaders approached the Rural Studio about renovating the ailing 40-acre community park. As an organization that allows architecture students to design and then build real projects in under-served communities, the Rural Studio was uniquely positioned to take on the design and renovation of Lions Park. I and three others completed the design and reno-vation of the forty acre park for our joint thesis proj-ect. We were charged with envisioning a multi-phase master plan, designing the landscape and amenities, and dealing with immediate issues such as drainage and controlled access. A preceding group of students had recently renovated the baseball fields in the park, but had provided little else in terms of organization of amenities. Big gestures include spaces defined by vegetation, a large bio-swale to demarcate edge, defined entry, main axis, congregating spaces, and a walking path to physically link all parts of the park. A motif of concrete strips inlaid in the surface guides movement through the park, mimicking logs floating down a river. These linear strips also serve as typical public furniture, de-parting the surface vertically to become entry gates, trash receptacles, benches, tables, and light fixtures. Additionally, we secured funding for a skatepark to be implemented in the following phase of construction.

l i o n s p a r k | 3 4

“ I f a r c h i t e c t u r e i s g o i n g t o n udge , c a j o l e , a nd i n s p i r e a c ommun i t y t o c h a l l e nge t h e s t a t u s q uo i n t o mak i n g r e s pon s i b l e c h ange s , i t w i l l t a k e t h e s u b v e r s i v e l e a de r s h i p o f a c a dem i c s a nd p r a c t i t i o n e r s who k eep r em i nd i n g s t u d en t s o f t h e p r o f e s s i o n ’s r e s pon s i b i l i t i e s . ” - S amue l Mo ckbee , f o unde r o f t h e Ru r a l S t u d i o

l i o n s p a r k | 3 5

Ha l e Coun ty, A l abama

Green sbo ro , Coun ty Sea t

L i on s Pa rk

l i o n s p a r k | 3 6

01

05

08

03

04

06

07

02

03

11

12

13

09

10

14 15

16

17

18

19

EX I S T ING AMEN I T I E S01 A g r i c u l t u r a l S e r v i c e02 C oun t y F i s h e r i e s03 A u t omo t i v e Shop s04 Ba s eba l l F i e l d s05 Rodeo 06 Ba r b e c ue P i t07 P ub l i c B a t h r o oms08 Topog r a ph i c a l l y C ha l l e nged Wood s

CURRENT ADD I T IONS 09 Ma i n E n t r y10 S e c onda r y E n t r y11 Wa i t i n g Ga r d en12 C en t r a l Hub13 Tr e e C anopy14 One M i l e Tr a i l15 Ba s ke t b a l l C ou r t s

FUTURE AMEN I T I E S16 Ska t e pa r k17 F oo t b a l l F i e l d18 C on c e s s i o n s S t a nd19 P l a y s c a pe

l i o n s p a r k | 3 7

l i o n s p a r k | 3 8

l i o n s p a r k | 3 9

l i o n s p a r k | 4 0

l i o n s p a r k | 4 1

l i o n s p a r k | 4 2

l i o n s p a r k | 4 3

l i o n s p a r k | 4 4

l i o n s p a r k | 4 5

l i o n s p a r k | 4 6

l i o n s p a r k | 4 7

l i o n s p a r k | 4 8

l i o n s p a r k | 4 9

l i o n s p a r k | 5 0

l i o n s p a r k | 5 1

Demo l i s h a spha l t , p r epa re f ounda t i on s

E r e c t r e i n f o r c i ng s t e e l

E r e c t c on c r e t e f o rmwork

Demo l i s h f o rmwork , p r epa re s u r f a c e f o r c on c r e t e s l ab

MA IN ENTRY CONSTRUCT ION T IMEL INE

l i o n s p a r k | 5 2

Pou r and f i n i s h expo sed agg rega t e c on c r e t e s l ab

In s t a l l and f i n i s h s t e e l en t r y ga t e s

l i o n s p a r k | 5 3

Demo l i s h wa t e r oak s and c l ea r s i t e

G rade f o r s u r f a c e d ra i nage

P repa re d ra i nage swa l e t o s l ow runo f f

FRONT EDGE CONSTRUCT ION T IMEL INE

l i o n s p a r k | 5 4

P l an t t r ee c anopy w i t h r edbud s and ove r cup oak s , p l an t swa l e

P repa re wa lk i ng t r a i l w i t h edg i ng , c on c r e t e s t r i p s

Pou r c on c r e t e and f i l l wa l k i ng t r a i l w i t h a l abama r ed c r u she r s t one

l i o n s p a r k | 5 5

A+T: S t r a t egy and Ta c t i c s i n Pub l i c Spa ceRu ra l S t ud i o : L i on s Pa rkp .104 -113 . Au tumn 2011 , i s s ue 38 .

l i o n s p a r k | 5 6

l i o n s p a r k | 5 7

l i o n s p a r k | 5 8

l i o n s p a r k | 5 9

l i o n s p a r k | 6 0

l i o n s p a r k | 6 1

SELF PORTRAIT is the final assignment from a three credit hour class I taught at Auburn University’s Rural Studio in watercolor rendering. Watercolor rendering is a tradition at the Rural Stu-dio. Typically, students elect an Antebellum house or building to study, draw, and render in watercolor. I felt that students could gain more valuable skills using the fluid medium to render non-orthographic form and light, and overcome pre-conceived ideas about what is seen to be able to graphically reproduce their own features objectively. The self-portrait was a theme throughout the semes-ter. The prior four assignments were self-portraits as well, in varied mediums and reproduced from mirror or photo. All of the previous assignments were done in prepa-ration for this final self-portrait. The exacting repetition ensured that students gained technical skill as well as overcoming their own preconceptions of their image. This self-portrait measures approximately 30” x 22” or 76cm x 56cm, and is executed by building up many pale washes of red, blue, or yellow tint to render light and shadow.

s e l f p o r t r a i t | 6 2

s e l f p o r t r a i t | 6 3

s e l f p o r t r a i t | 6 4

s e l f p o r t r a i t | 6 5

s e l f p o r t r a i t | 6 6

s e l f p o r t r a i t | 6 7

g a r d e n s h e d | 6 8

GARDEN SHED is a simple design for a 100 sq ft back-yard shed to house a riding lawn mower and various yard tools. The owner envisioned the project as a test build for a house to be designed in the future. The requirements of the project dictated that it must be constructed of insulated concrete forms and site-cast concrete, have a green roof, radiant flooring, and brick cladding. The restraints of the project led to an investigation of local bricks and the history and process of brick manufacture in the area. Indigenous clays were his-torically used to manufacture bricks, yielding three different colors of brick based on the exact strata of clay and shale used. Because a green roof was specified by the owner, a typical geological soil sample was an apt fit for selecting the brick colors for cladding. The USDA Soil Survey for the site notes the soil as the “Dothan Series” with the top layer of soil as a “Dark Grayish Brown Loamy Sand with subsets of Fuquay Soils”, the second layer is a “Yellowish Brown Sandy Clay Loam with subsets of Grady Soils”, the third layer is a “Yel-lowish Brown Sandy Clay Loam with Strong Brown and Yellowish Red Mottles”, and the fourth layer is a “Mottled Yellowish Brown Sandy Clay Loam.” The third and fourth layer were most commonly used for brick making historically. To further the visual stratification, curved watertable brick is used rather than typical rectangular brick, providing strong horizontal lines in the simple form.

g a r d e n s h e d | 6 9

Su r f a c e : Vege ta t i on

Da rk G ray i s h B rown Loamy Sand w i t h s ub se t s o f Fuquay So i l s

Ye l l ow i sh B rown Sandy C l ay Loam w i t h s ub se t s o f G rady So i l s

Ye l l ow i sh B rown Sandy C l ay Loam w i t h S t r ong B rown and Ye l l ow i sh Red Mo t t l e s

Mo t t l ed Ye l l ow i sh B rown Sandy C l ay Loam

g a r d e n s h e d | 7 0

A

B

1 2

A-30101

A-30101

A-30102

A-30102

COLUMBUS BRICK WATERTABLE VENEER1" AIR GAP6" BUILDBLOCK ICF FORMSREINFORCED CONCRETE1/4" GYPSUM BOARD

16'-7"

10'-7

"

12'-4

"

18'-4"

10'-2" 6' 2'-2"

10'-2" 6' 2'-2"

6'-7

"

10"6'8'-10"

9'-8

"

A-40201

A-40101

A-201A

A-201C

A-202B

A-202D

A-30103

A-30103

1'-6

"

HOSE BIBB WITHSHUT OFF VALVE

N

GARDEN SHED

1212 SCENIC VIEW DRIVE

DescriptionRev. Date Appr.

Scale:

Revisions:

Job Number:

Sheet:

Drawn:Designed:

Checked:Approved:Title:

• •• • • • ••• • ••• •• •• • •• • • • • • • • • • • • • • • • • • • • • • •

FOR TENDERDATE

CHYDE BUTLER

DOTHAN, ALABAMA

PLAN

A-103

--

1/4" = 1'-0"

LB

LB

LB

LB

-- -- -- --

-- -- -- --

-- -- -- --

-- -- -- --

-- -- -- --

-- -- -- --

g a r d e n s h e d | 7 1

01 A l um inum F l a sh i ng/Pa rape t Cap02 Low Ma in t enan ce Na t i v e G ra s s e s03 L i gh twe i gh t Top so i l04 Sea l og reen D ra i nage Ma t05 Sea l o f l ex Roo f Membrane06 P re s su r e Tr ea t ed Can t S t r i p07 Con c r e t e Pa rape t Wa l l08 Con c r e t e S l ab ove r Me ta l De ck09 P l a t e S t ee l Bea r i ng P l a t e10 Co r ruga t ed S t ee l Ro l l Up Doo r11 Bu i l db l o ck I C F Fo rms12 Wa te r t ab l e B r i c k Venee r13 P l a t e S t ee l Doo r F r ame14 S l ab on G rade15 Founda t i on

02

01

0304

05

0607

08

09

10

11

121314 15

URBAN GYM investigates a large-span steel structure in the urban context of Birmingham, Alabama. The gymnasium primarily serves as a recreational facility with a large lap pool and fitness center. Because the pool is on the first level of the building, the ground level ceiling plane is defined by the pool well, and supported by a forest of small steel columns, to accentuate the form of the pool. The ground floor is also home to unprogrammed retail space. Steel trusses of significant depth are used to achieve the clear span over the pool. These trusses become walls on the second level, defining the height of the interior floor as building occupants move through the trusses as they traverse floor. Fitness class are held within the trusses. The upper level is the main fitness room, a large open floor with typical gym equipment. A curtain wall of glass ensures ample light through-out the day and sun exposure for the indoor pool. Wrapping the exterior is a walking track giving the building an identity and signage.

u r b a n g y m | 7 2

u r b a n g y m | 7 3

GROUND FLOOR PLAN01 En t r y f r om Road02 En t r a n c e L o bby03 Re t a i l S pa c e04 Re t a i l S pa c e05 D i v i n g We l l06 Me chan i c a l S pa c eAA L ong i t u d i n a l S e c t i o n D r aw i ngBB Se c t i o n Mode l

F I RS T F LOOR PLAN01 O l ymp i c P oo l02 Ho t / Co l d Soak03 Men ’s C hang i n g Rooms04 Women ’s C hang i n g RoomsAA L ong i t u d i n a l S e c t i o n D r aw i ngBB Se c t i o n Mode l

04

01

02

04

03

06

05

01

02

03

A

A

A

A

B B B B

u r b a n g y m | 7 4

LONG I TUD INAL SECT ION01 En t r a n c e L o bby02 Poo l We l l03 S t a nd s a bo ve Chang i n g Rooms04 Ae r o b i c C l a s s Rooms w i t h i n L ong Span Tr u s s e s05 Open Gym

01

02

04

03

05

u r b a n g y m | 7 5

u r b a n g y m | 7 6

u r b a n g y m | 7 7

u r b a n g y m | 7 8

u r b a n g y m | 7 9

DUCKBOAT reflects a technical exploration of wood, and a formal exploration of the vessel through a craft-ed piece fabricated by machine and hand. The skeleton of the Duckboat was constructed from two flanks of soft yellow pine connected by a series of ribs. Honed by hand, the ribs curve through one axis and their faces are beveled to follow the curve of the flank. Thin strips of Spanish cedar were steamed with an iron and glued and stapled to the ribs, providing lateral bracing and rigidity. The Duckboat’s scale is comfortably human. A sin-gle occupant kneeling inside is hugged by the ves-sel. The form is a subtly evocative organic volume that invites exploration. My intention when designing the piece was to create an object that was neither too large or too small, and to transform the wood material into something that invites touch and exploration. Duckboat measures approximately 36” x 19” x 16” or 91cm x 48cm x 41cm.

d u c k b o a t | 8 0

d u c k b o a t | 8 1

d u c k b o a t | 8 2

d u c k b o a t | 8 3

S t eam i r on c eda r s t r i p s t o bend and g l ue t o r i b s

S c r ew and p l ug hand -hewn r i b s t o s i d eboa rd s

Beve l r i b s t o ma t ch c u r ve o f j i g c u t s i d eboa rd s

d u c k b o a t | 8 4

F i n i s h s and i ngDr y and r emove t a ck s

G lue and t a ck s e cond l aye r o f c eda r s t r i p s f o r s t ab i l i t y

d u c k b o a t | 8 5

© 2012 Lindsay ButlerAll rights reserved. No part of this portfolio may be reproduced in any manner without express permis-sion. Photographs by Lindsay Butler, Danny Wicke, Mo Hany, and Timothy Hursley. Text by Lindsay Butler and Dina El Khachab. 3D modeling and rendering by Lindsay Butler, Reha Habib, and Hussam Aboul-fotouh. 2D rendering by Lindsay Butler and Reha Habib. Computer-aided drawings by Lindsay Butler, Engy Fathy, Nayira Abo El Makarem, Hana’a Badr, Anthony Vu, Joey Aplin, and Adam Woodward. Obar Lounge, Allegria House, and Left Bank projects design copyright Eklego Design; Cairo, Egypt. Obar Light-ing Design in conjunction with Focus Lighting; New York, New York. Lions Park and Self Portrait projects design copyright Rural Studio; Newbern, Alabama. Student self-portraits by Alex Henderson, Allison Klin-ner, Andrew Taylor, Daniel Toner, and Stephen Kesel. Typefaces used throughout are Rockwell and Futura. Rockwell was designed in 1934 by Frank Hinman Pier-pont for Monotoype Foundry. Futura was designed in 1927 by Paul Renner for Bauer Type Foundry. This first edition was printed and bound in America.