ABSTRACT 
 
 
 
 
Title of Document:  ADAPTIVE REUSE IN MARTINSBURG:  
THE INTERWOVEN SCHOOL OF CRAFTS 
 
Degree Candidate:  Kristina Marie McIntyre 
    Master of Architecture, 2008 
 
Directed by:   Associate Professor Brian Kelly, AIA 
    School of Architecture, Planning, and Preservation 
 
 
 
 
This thesis explores critical regionalism and sustainable design through the 
adaptive reuse of the former Interwoven Stocking Company mill in Martinsburg, West 
Virginia. New programming establishes the manufacturing complex as the Interwoven 
School of Crafts, a learning institution dedicated to the production of functional, 
handcrafted arts and thereby also to the continuance of local culture. 
Regionalistic ideas are further explored through the development of a visitor 
center and gallery building that showcases the work of the artists.  Nestled within the 
historic complex, this contemporary building is the interface between spaces, materials, 
and time periods. By building a contemporary structure the character of the existing 
buildings is enhanced by the contrast rather than trivialized by imitation or replication. By 
designing with sustainable principles and building craft in mind the newer components 
will contribute to both the character and the long lifespan of what is already on site. 
  
 
  
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
ADAPTIVE REUSE IN MARTINSBURG: THE INTERWOVEN SCHOOL OF CRAFTS 
 
 
 
By 
 
 
Kristina Marie McIntyre 
 
 
 
 
 
Thesis submitted to the Faculty of the Graduate School of the 
University of Maryland, College Park, in partial fulfillment 
of the requirements for the degree of 
Master of Architecture 
2008 
 
 
 
 
 
 
 
 
 
 
 
Advisory Committee: 
Associate Professor Brian Kelly, AIA, Chair 
Associate Professor Donald Linebaugh, PhD. 
Professor Karl Du Puy, AIA 
  
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
? Copyright by 
Kristina Marie McIntyre 
2008 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ii
 
 
Dedication 
 
For Clay and my grandparents, GG and Socks. 
 iii
 
Acknowledgements 
 
Special thanks go to Ridgecrest Investments for all of their generous assistance,  
and to the many people who have taken an interest in and offered assistance for this 
project. 
 iv
 
Table of Contents 
 
 
Dedication .............................................................................................................ii 
Acknowledgements ..............................................................................................iii 
Table of Contents .................................................................................................iv 
List of Figures......................................................................................................vii 
Chapter 1: Inhabiting History ................................................................................ 1 
Section 1: Architecture and the Senses..................................................... 3 
Section 2: Symbiotic Relationships............................................................ 5 
Section 3: Continuity of Culture ................................................................. 6 
Section 4: Adaptive Reuse......................................................................... 7 
Subsection 1: The Value of Thoughtful Contrast............................. 8 
Subsection 2: Critical Regionalism as a Filter ................................. 9 
Chapter 2: The Interwoven Site as an Example of Place ................................... 12 
Section 1: Site and General Context........................................................ 13 
Subsection 1: The Shenandoah Valley ......................................... 13 
Subsection 2: Transit Connections ............................................... 14 
Subsection 3: Shenandoah Valley Panoramas ............................. 15 
Subsection 4: Interwoven as a Part of Martinsburg....................... 17 
Subsection 5: Neighborhood Context............................................ 18 
Subsection 6: Site Key and Building List....................................... 19 
Section 2: An Interwoven History............................................................. 20 
Subsection 1: Industry and Site..................................................... 20 
Subsection 2: The Life and Death of Interwoven .......................... 23 
Section 3: Interwoven Today ................................................................... 37 
Subsection 1: Compression and Expansion.................................. 39 
Subsection 2: Light........................................................................ 40 
Subsection 3: Texture ................................................................... 41 
Subsection 4: Construction ........................................................... 42 
Subsection 5: Cleaning Up............................................................ 43 
Chapter 3: Place as a Generator of Program ..................................................... 44 
Section 1: Climate and Building Design................................................... 44 
Subsection 1: Daylighting.............................................................. 45 
Subsection 2: Seasons of the Valley............................................. 46 
Subsection 3: Building Climatic Responses .................................. 47 
Section 2: Section Typology .................................................................... 49 
Section 3: Current Development Plans.................................................... 50 
Section 4: Ritual and the Industrial Place ................................................ 55 
Section 5: The Interwoven School of Crafts............................................. 58 
Subsection 1: Public Functions ..................................................... 60 
Subsection 2: Interfaces................................................................ 61 
Subsection 3: The Crafts............................................................... 62 
Subsection 4: Support Needs ....................................................... 67 
 
 v
 
Chapter 4: Design Guidelines............................................................................. 68 
Section 1: No Replication or Imitation...................................................... 68 
Section 2: Learn to Play Counterpart....................................................... 69 
Section 3: Speak the Language............................................................... 70 
Section 4: Reduce, Reuse, Rethink ......................................................... 71 
Section 5: Take Advantage of Serendipity............................................... 72 
Section 6: Strive for Integrated Design .................................................... 73 
Chapter 5: The Interwoven Site.......................................................................... 74 
Section 1: Character Casting................................................................... 75 
Section 2: The Buildings .......................................................................... 76 
Subsection 1: Building 1................................................................ 77 
Subsection 2: Building 2................................................................ 79 
Subsection 3: Building 3................................................................ 81 
Subsection 4: Building 4................................................................ 83 
Subsection 5: Building 5................................................................ 85 
Subsection 6: Building 6................................................................ 87 
Subsection 7: Building 7................................................................ 89 
Subsection 8: Building 8................................................................ 91 
Subsection 9: Building 9................................................................ 93 
Subsection 10: Building 10............................................................ 95 
Subsection 11: Building 11............................................................ 97 
Subsection 12: Building 12............................................................ 99 
Subsection 13: Building 13.......................................................... 101 
Subsection 14: Building 14.......................................................... 102 
Section 3: Other Notable Features ........................................................ 103 
Subsection 1: The John Street Bridge......................................... 104 
Subsection 2: The Rail Car ......................................................... 105 
Section 4: The Site as a Whole.............................................................. 106 
Subsection 1: Design Process .................................................... 106 
Subsection 2: Final Images......................................................... 109 
Subsection 3: Haptic Model and Development ........................... 112 
Chapter 6:  Design Process.............................................................................. 117 
Section 1: Building 7 Documentation ..................................................... 117 
Section 2: Site Study Model................................................................... 123 
Section 3: Ideals .................................................................................... 129 
Section 4: Sectional Studies .................................................................. 137 
Section 5: Version 1............................................................................... 142 
Section 6: Version 2............................................................................... 145 
Section 7: Final Images ......................................................................... 148 
Chapter 7:  Conclusions ................................................................................... 153 
Section 1: Public Review ....................................................................... 154 
Section 2: Revisions .............................................................................. 155 
Section 3: Reflections ............................................................................ 158 
Subsection 1: On Integrated Design ........................................... 159 
Subsection 2: On Aggression...................................................... 160 
Subsection 3: On Adaptive Reuse Theses.................................. 162 
 vi
 
Section 4: Life After Thesis.................................................................... 163 
References ....................................................................................................... 164 
 
 vii
 
List of Figures 
 
 
Figure 1: View of the Interwoven Site from Porter Avenue ................................... 1 
Figure 2: View of the Interwoven Site from Porter Avenue ................................... 2 
Figure 3: Exterior Brick Wall at Interwoven Site.................................................... 3 
Figure 4: Steven Holl Quotation............................................................................ 4 
Figure 5: Picking up a Brick.................................................................................. 5 
Figure 6: The Big Apple Time Capsule................................................................. 6 
Figure 7: Tide Point in Baltimore, MD................................................................... 7 
Figure 8: Berkeley County Judicial Center ........................................................... 8 
Figure 9: Spring Mills Wal-mart ............................................................................ 9 
Figure 10: Downtown Martinsburg...................................................................... 10 
Figure 11: Interwoven Site Materials .................................................................. 11 
Figure 12: 1930?s Interwoven Stocking Company Aerial .................................... 12 
Figure 13: Geography of the Appalachian Mountains......................................... 13 
Figure 14: Transit Connections........................................................................... 14 
Figure 15: View from Parks Gap......................................................................... 15 
Figure 16: Shenandoah Valley Panoramas ........................................................ 16 
Figure 17: Interwoven in Martinsburg ................................................................. 17 
Figure 18: The Interwoven Neighborhood .......................................................... 18 
Figure 19: Buildings on the Interwoven Site ....................................................... 19 
Figure 20: 1898 Railroad Map and Shippers? Guide of West Virginia................. 20 
Figure 21: Eastern Panhandle Detail of an 1898 Railroad Map and  
Shippers? Guide of West Virginia........................................................ 21 
Figure 22: Berkeley County Detail of an 1898 Railroad Map and  
Shippers? Guide of West Virginia........................................................ 22 
Figure 23: Logo from an Original Interwoven Product Box ................................. 23 
Figure 24: Looking North Along the CVRR Tracks ............................................. 24 
Figure 25: Interwoven Neighborhood in 1897..................................................... 25 
Figure 26: Three Views from the South Corner of the Site ................................. 26 
Figure 27: View of the Norwalk Motor Car Company from the 1910?s................ 27 
Figure 28: Interwoven Neighborhood in 1922..................................................... 28 
Figure 29: Norman Rockwell Advertisement for Interwoven............................... 29 
Figure 30: Interwoven Neighborhood in 1931..................................................... 30 
Figure 31: Building 6 3
rd
 Floor ............................................................................ 31 
Figure 32: 1930?s Interwoven Stocking Company Aerial .................................... 32 
Figure 33: 1934 Interwoven Mill Strike ............................................................... 33 
Figure 34: Before and After Building 12 Construction......................................... 34 
Figure 35: Current and Historic Views ................................................................ 35 
Figure 36: Building 7 Damage ............................................................................ 36 
Figure 37: Interwoven Neighborhood in 2006..................................................... 37 
Figure 38: View of North Parking and Courtyard from the Sidewalk................... 38 
Figure 39: Compression and Expansion............................................................. 39 
Figure 40: The Character of Light....................................................................... 40 
 viii
 
Figure 41: Moss and Charred Wood at Interwoven Site ..................................... 41 
Figure 42: Building 4 Floor Construction ............................................................ 42 
Figure 43: Peeling Lead Paint on a Column ....................................................... 43 
Figure 44: Operable Clerestory in Building 8...................................................... 44 
Figure 45: Daylighting in Building 6 .................................................................... 45 
Figure 46: Temperature and Humidity ................................................................ 46 
Figure 47: Cloudy Days and Precipitation .......................................................... 47 
Figure 48: Wind Direction and Speed................................................................. 48 
Figure 49: Sectional Typologies ......................................................................... 49 
Figure 50: Ridgecrest Investments Site Plan...................................................... 50 
Figure 51: East Campus Ground Floor............................................................... 51 
Figure 52: East Campus Current Images ........................................................... 52 
Figure 53: Ridgecrest Investments Advertising Flyer ......................................... 53 
Figure 54: Ridgecrest Investments Ground Floor Plan for the North Campus.... 54 
Figure 55: CMoG Hot Glass Show ..................................................................... 55 
Figure 56: Close-up of an Egg Basket................................................................ 56 
Figure 57: Close-up of a Wooden Cradle ........................................................... 57 
Figure 58: New Program Groups for the Interwoven Site ................................... 58 
Figure 59: New Program Elements for the Interwoven Site................................ 59 
Figure 60: Public Functions ................................................................................ 60 
Figure 61: Interface Program.............................................................................. 61 
Figure 62: Haptic Model ..................................................................................... 62 
Figure 63: Light Industry..................................................................................... 63 
Figure 64: Medium Industry................................................................................ 64 
Figure 65: Heavy Industry .................................................................................. 65 
Figure 66: Heavy Industry .................................................................................. 66 
Figure 67: Support Needs .................................................................................. 67 
Figure 68: Building 13, Repeated ....................................................................... 68 
Figure 69: Piano Keys ........................................................................................ 69 
Figure 70: Page of an English-German Dictionary ............................................. 70 
Figure 71: Recycling Symbol.............................................................................. 71 
Figure 72: Building 7, West Connector ............................................................... 72 
Figure 73: Integrated Design .............................................................................. 73 
Figure 74: Operable Windows in Building 12...................................................... 74 
Figure 75: Makeshift Apartment in Building 4 ..................................................... 75 
Figure 76: Site Building Key ............................................................................... 76 
Figure 77: Building 1 Documentation.................................................................. 77 
Figure 78: Building 1 Section.............................................................................. 78 
Figure 89: Building 2 Documentation.................................................................. 79 
Figure 80: Building 2 Section.............................................................................. 80 
Figure 81: Building 3 Documentation.................................................................. 81 
Figure 82: Building 3 Section.............................................................................. 82 
Figure 83: Building 4 Documentation.................................................................. 83 
Figure 84: Building 4 Section.............................................................................. 84 
Figure 85: Building 5 Documentation.................................................................. 85 
Figure 86: Building 5 Section.............................................................................. 86 
 ix
 
Figure 87: Building 6 Documentation.................................................................. 87 
Figure 88: Building 6 Section.............................................................................. 88 
Figure 89: Building 7 Documentation.................................................................. 89 
Figure 90: Building 7 Section.............................................................................. 90 
Figure 91: Building 8 Documentation.................................................................. 91 
Figure 92: Building 8 Section.............................................................................. 92 
Figure 93: Building 9 Documentation.................................................................. 93 
Figure 94: Building 9 Section.............................................................................. 94 
Figure 95: Building 10 Documentation................................................................ 95 
Figure 96: Building 10 Section............................................................................ 96 
Figure 97: Building 11 Documentation................................................................ 97 
Figure 98: Building 11 Section............................................................................ 98 
Figure 99: Building 12 Documentation................................................................ 99 
Figure 100: Building 12 Section........................................................................ 100 
Figure 101: Building 13 Documentation............................................................ 101 
Figure 102: Building 14 Documentation............................................................ 102 
Figure 103: Detail of the John Street Bridge..................................................... 103 
Figure 104: John Street Bridge......................................................................... 104 
Figure 105: Rail Car ......................................................................................... 105 
Figure 106: Courtyard Design Process............................................................. 106 
Figure 107: Courtyard Design Process............................................................. 107 
Figure 108: Courtyard Design Process............................................................. 108 
Figure 109: Public Review Site Plan................................................................. 109 
Figure 110: Public Review Site Plan ? South Detail ......................................... 110 
 
Figure 111: Public Review Site Plan ? North Detail.......................................... 111 
Figure 112: Haptic Board Details...................................................................... 112 
Figure 113: Haptic Board and Details............................................................... 113 
Figure 114: Haptic Model ................................................................................. 114 
Figure 115: Detail of Haptic Model?s North Courtyard ...................................... 115 
Figure 116: Detail of Haptic Model?s South Section.......................................... 116 
Figure 117: The Courtyard ............................................................................... 117 
Figure 118: The Courtyard ............................................................................... 118 
Figure 119: The Dye House (Building 7) .......................................................... 119 
Figure 120: The Dye House (Building 7) .......................................................... 120 
Figure 121: The Dye House Connectors .......................................................... 121 
Figure 122: The Dye House Connectors .......................................................... 122 
Figure 123: Site Study Model, Assembled View............................................... 123 
Figure 124: Site Study Model, Exploded View.................................................. 124 
Figure 125: Levels of Removal......................................................................... 125 
Figure 126: Design Exploration Focus.............................................................. 126 
Figure 127: Site Study Model Photographs ? Group 1 ..................................... 127 
Figure 128: Site Study Model Photographs ? Group 1 ..................................... 128 
Figure 129: Idealized Plans .............................................................................. 129 
Figure 130: Idealized Entry............................................................................... 130 
Figure 131: South Bay Loggia .......................................................................... 131 
 x
 
Figure 132: Corridor Study on Parti Diagram ................................................... 132 
Figure 133: Site Study Model Photographs ? Group 2 ..................................... 133 
Figure 134: Site Study Model Photographs ? Group 2 ..................................... 134 
Figure 135: Site Study Model Photographs ? Group 2 ..................................... 135 
Figure 136: Site Study Model Photographs ? Group 2 ..................................... 136 
Figure 137: Sectional Light Studies 1............................................................... 137 
Figure 138: Sectional Light Studies 2............................................................... 138 
Figure 139: Sectional Light Studies 3............................................................... 139 
Figure 140: Site Study Model Photographs ? Group 3 ..................................... 140 
Figure 141: Site Study Model Photographs ? Group 3 ..................................... 141 
Figure 142: Plan and East-West Section of an Early Scheme.......................... 142 
Figure 143: North-South Section of an Early Scheme...................................... 143 
Figure 144: East Elevation of an Early Scheme ............................................... 144 
Figure 145: East-West Site Section.................................................................. 145 
Figure 146: Sectional Light Study..................................................................... 146 
Figure 147: Dimensional Studies...................................................................... 147 
Figure 148: East-West Site Section.................................................................. 148 
Figure 149: Detail of the Courtyard?s East Area ............................................... 149 
Figure 150: Path along the Rail Tracks ............................................................ 150 
Figure 151: East-West Section of the Gallery and Sales Building .................... 151 
Figure 152: East-West Courtyard Section ........................................................ 152 
Figure 153: Public Review................................................................................ 153 
Figure 154: Public Review................................................................................ 154 
Figure 155: Exterior Perspectives..................................................................... 155 
Figure 156: Haptic Model ................................................................................. 156 
Figure 157: East-West Section Facing South................................................... 157 
Figure 158: Sideview Mirror.............................................................................. 158 
Figure 159: Integrated Design .......................................................................... 159 
Figure 160: Sketch of Alternate Design ............................................................ 160 
Figure 161: Sketch of Alternate Design ............................................................ 161 
Figure 162: Building Reuse in Downtown Martinsburg ..................................... 162 
Figure 163: Interwoven Mills Signage............................................................... 163 
 
 
Figure 1: View of the Interwoven Site from Porter Avenue.  This image shows the relationship between the site and the homes of people living 
in the surrounding residential neighborhood.  [Photograph by author.]
?We shape our buildings, and afterwards our buildings shape us.?
 Winston Churchill
Chapter 1: Inhabiting History
 This thesis began with a fascination 
and a desire to explore the inner workings of 
that fascination.  There is something wonderful 
about places that are old and also about the 
possibilities that they present.  What makes 
these places so intriguing to so many people?  
And what will become of them?
 As the futures of historic places are 
challenged by issues of change it is the 
values of society that will determine the 
outcome.  There must be an understanding 
that history and place are inseparable.  When 
one fades the other goes with it.  History is 
then more than words and ideas and records; 
it is something that can be inhabited.  It is the 
legacy of historic places to provide an 
experiential link to the past.
Figure 2: View of the Interwoven Site from Porter Avenue.  This image represents one of the typical views from Porter Avenue and the 
impressions that many people receive from a distance.  [Photograph by author.]
Figure 3: Exterior Brick Wall at Interwoven Site.  This wall is an example of the site?s tactile qualities.  [Photograph by author.]
Section 1: Architecture and the Senses
 Beyond the practical argument for sustainability 
and the socially aware argument for preserving our 
history is an argument for saving a more ephemeral 
quality of older buildings- they are experientially different 
from buildings of today.
 Even in a state of neglect or decay historic 
buildings hold power.  Today these buildings are unusual 
environments for most people, and in the exploration of 
these places curiosity is piqued and awareness 
heightened.  The senses absorb the current conditions, 
but the imagination constructs a story and envisions what 
might have been.  This is how history manifests itself in 
a place.  No amount of photography or videotaping can 
fully capture the phenomenological qualities of any place, 
and this is certainly true of spaces for which modern 
Beyond history.
Beyond effi ciency.
Beyond sustainability.
Beyond a fear of change.
people may have little direct, personal experience from 
which to reference.
 As compared to those of fi fty or a hundred years 
ago, modern buildings are constructed differently and 
occupied differently.  If this were untrue the proportionally 
smaller spaces of older homes would not feel 
uncomfortably small to most modern homeowners.  The 
open, sunlit workrooms of an old factory would not feel so 
glorious to the inhabitants of endless, artifi cially lit offi ce 
fl oor plates.  By all sensory accounts historic buildings 
are experientially different, and their reuse and habitation 
is often preferred in the face of more generic architecture.
Figure 4: Steven Holl Quotation.  This collage illustrates the connection between materiality and experience.  [Image by author.]
?My recent stay at [a hotel] began in a lobby with no natural light 
(blank walls to a parking lot), which led to a confusing series of 
Sheetrock-lined, carpeted, double-loaded corridors that smelled 
of perfumed cleaning fl uid.  Finally, the wood-grained Formica 
door opened to a polyester-carpeted ?large? room with vinyl 
wallpaper and an acoustic-panel ceiling.  Though the smell was 
stifl ing, the anodized aluminum window was not operable.  
Synthetic (and sometimes toxic) interiors of typical lodgings 
scattered in polluted landscapes characterize today?s throw-
away environment.
As a catalyst for change, architecture?s ability to shape our daily 
experiences in material and detail is subtle yet powerful.?
 Steven Holl [Parallax]
Section 2: Symbiotic Relationships
 This thesis takes the attitude that historic 
buildings are living parts of their environments, and that 
they have the power to enrich the life of every person 
who comes in contact with them.  
 The most profound interaction with a historic 
building is achieved from the symbiotic relationship of
inhabitant and inhabited.  These buildings are the 
antithesis of generic; they have uniqueness and identity 
in which people take pride.  Rather than being places 
where people have to be, buildings like this are often 
places where people want to be.  People who occupy 
these places take care of them, and the buildings are 
enjoyed often instead of occasionally.  
?Design is not complete
until it is inhabited 
interactively.?
 Mason White
Figure 5: Picking up a brick.  A desire to engage with a place is only the beginning; interaction grows from there.  [Photograph by author.]
Section 3: Continuity of Culture
 A place is not important simply because it is old but 
rather because there is some cultural value implied by its 
continued existence.  Places that are irrelevant are treated as 
temporary; they are drastically changed or demolished with 
ease.  That a place has lasted for a long time implies that there 
is some reason that the people around it consider it worth 
saving or reusing.
 Over time people become emotionally invested in their 
surroundings, and in being ?historic? a place contains 
something of the culture that surrounds it.  The continued 
legacy of such a historic place is in how it captures the history 
of a culture and transmits it into the future, and so the 
preservation of the place becomes the preservation of the 
culture itself.  Ownership grows beyond legal dictation when 
people become invested in the future of their history.
Figure 6: The Big Apple Time Capsule.  This cultural icon occupies a corner of the ISC site along an important road.  [Photographs by author.]
Section 4: Adaptive Reuse
 Many places will eventually face the loss 
of their reasons for being, and this is especially 
true of industrial sites and structures.  For there 
to be any continuity of inhabitance it is critical 
that these buildings be able to change to suit 
new purposes.  An entire branch of the 
architecture profession revolves around the art 
of designing new lives for these places, and 
adaptive reuse is becoming a more and more 
frequent alternative to discarding buildings.
 As with any type of design, there is still 
much debate about how to go about reuse.  
Does the history of the place matter?  Should it 
be stripped away or protected against change?  
What will be the character and level of 
integration for any additions to the site?   How 
does one design the future to contain the past?
Figure 7: Tide Point in Baltimore, MD.  Tide Point is one of many examples of successfully reused factories along Baltimore?s harbor.    
Landscaping, repair, and modern upgrades have made this complex functional and integrated with the waterfront. [Photograph by author.]
The Value of Thoughtful Contrast
 In every way, older buildings feel different from 
newer ones; they cannot be replicated, nor should they 
be.  Replication and imitation extend the appearance 
but not the character or the sensory experience.  The 
power of the original is reduced when it is unthinkingly 
multiplied, and so this thesis adopts many of the ideas of 
critical regionalism.  
 By creating contrasting interventions that 
complement the originals without mimicking them, a 
design may emphasize the character of the original and 
through this awareness increase the appreciation of that 
building.  Neither architecture nor culture can live solely 
in the past; there is nothing to be gained in stagnancy.  
The question is one of how to embody the present 
without dismissing the past.
Figure 8: Berkeley County Judicial Center.  This mill sets a precedent for modern additions to historic downtown.  [Photographs by author.]
Figure 9: Spring Mills Wal-mart.  This store?s typology is completely ignorant of the local cuture and building style.  Both site and building  design 
show a complete disinterest in connecting with any of the surroundings, or with people on the sidewalk. [Photograph by author.]
Critical Regionalism as a Filter
 Critical regionalism is based upon the 
idea that contextual elements can be used 
to counteract the meaningless and placeless 
qualities of Modern Architecture, thus fusing the 
two for an architecture that addresses both local 
culture and universal trends.  As discussed in 
Kenneth Frampton?s essay ?Towards a Critical    
Regionalism: Six Points for an Architecture 
of Resistance,? an architecture that hopes to 
achieve a balanced character must maintain a 
design stance distant from both utilitarian and 
nostalgic overtures.  Only this attitude has the 
ability to ?cultivate a resistant, identity-giving 
culture while at the same time having discreet 
recourse to universal technique.?  
 In the essays collected in Discovering the 
Vernacular Landscape J.B. Jackson portrays an attitude 
that is less about confrontation or confl ict and more about 
integrating these two disparate elements.  Somewhere in 
the space between the work of these authors is a point of 
balance, and so for this thesis the resulting intention is a 
mixture of Frampton?s mediation and Jackson?s 
acceptance.
 But what does this mean in terms of design 
expression?  The short answer is that a building should 
respond to both where it is and larger ideas about design.  
While not quoting the forms of the context, a building or 
site should be sensitive to local climate, light, and 
topography; these are critical to the phenomenology of a 
particular location.  
Figure 10: Downtown Martinsburg.  Images of Queen Street refl ect the character of the town?s larger scale context.  [Photographs by author.]
 Materiality and construction are also imperative to 
a person?s understanding of place.  Often there is a use 
of local materials with an intention that something be 
discovered about them.  Unorthodox usage or 
juxtaposition is a way to present a material that is 
commonly overlooked in a manner which draws 
attention to the material.  Seeing, feeling, hearing, or 
smelling something in an unusual way creates a 
consideration of everyday usage and relates the sensory 
experiences.  On a related note, it is important to realize 
a place must activate all of senses for a person to fully 
appreciate the experience- vision alone is not enough.
Figure 11: Interwoven Site Materials.  These are some of the building materials which may be used in new design.  [Photographs by author.]
Chapter 2: The Interwoven Site as 
an Example of Place
 As a case study this thesis will 
examine a former production mill of the 
Interwoven Stocking Company.  This formerly 
industrial site of almost eleven acres is located 
in Martinsburg, West Virginia, and contains 
at least fourteen distinct buildings and over 
450,000 square feet of fl oor plate (Lewis).  
Embedded as it is within the city, this location 
is a good venue to explore the life of a mill after 
industry has left and redevelopment has 
become desirable.
Figure 12: 1930?s Interwoven Stocking Company Aerial.  This is a rare overall image of the site during its prosperous years.  [Image 
courtesy of Grove & Dall?olio Architects.]
Section 1: Site and General Context
The Shenandoah Valley
 The city of Martinsburg is located in the eastern 
panhandle of West Virginia, nestled in the Shenandoah 
Valley.  This location provides something of a geographic 
divide across which both climate and culture show some 
separation.  In this sheltered area industry and culture 
have developed somewhat independently from the 
surrounding area, but railroads and the interstate system 
keep the city connected to the rest of the region.
Figure 13: Geography of the Appalachian Mountains.  This image shows the mountains forming the Shenandoah Valley.  [Image by author.]
Transit Connections
 Despite the relative seclusion of the Shenandoah 
Valley the city of Martinsburg is well connected.  Hagerstown, 
Maryland, and Winchester, Virginia, are both within 30 
minutes.  Frederick, Maryland, is 45 minutes away.  And with 
a 90 minute drive there are several larger urban destinations 
available including Harrisburg, Pennsylvania; Baltimore, 
Maryland; Manassas, Virginia; and the District of Columbia.  
Martinsburg?s location adjacent to I-81 and 15 minutes from 
I-70 has given Martinsburg the same north-south and east-
west connection by interstate that it originally had by rail.
 There are also other transit options for those so 
inclined.  Rail commute is available to DC via MARC line in 
about 90 minutes, and other rail lines connect to parts of 
Virginia in under 30 minutes.  For those who prefer a more 
scenic route, the Appalachian Trail is 20 minutes away.
Figure 14: Transit Connections.  This diagram illustrates the relative transit times between Martinsburg and other cities.  [Image by author.]
Figure 15: View from Parks Gap.  The buildings of the Interwoven complex are barely visible from North Mountain.  [Photograph by author.]
Shenandoah Valley Panoramas
 From the switchback near the top of North Mountain 
the view of the Shenandoah Valley is spectacular.  The bottom 
of the valley is a patchwork of fi elds, orchards, and 
communities; the sky is a mix of bright blue and clouds.  The 
horizon between is a line of blue mountains, the other side of 
the valley nearly twenty miles in the distance. 
 The overlook at Parks Gap provides a sweeping 
panorama that includes Martinsburg and a few other small 
towns.  Landmarks become sensible with a little work: the 
interstate, the geodesic dome of a concrete plant, water and 
radio towers, and a few large buildings.  With good binoculars 
it is also possible to make out the complex of buildings that 
make up the Interwoven site, and it is impressive to see that 
buildings which are very imposing to a person in town are 
rather insignifi cant in the context of the valley.
Figure 16: Shenandoah Valley Panoramas.  These Images show the City of Martinsburg and the Interwoven site within the larger context of the 
Appalachian Mountains and the Shenandoah Valley.  [Photographs by author.]
Interwoven as a Part of Martinsburg
 The Interwoven complex is located adjacent to King 
Street, which is the main connector between downtown 
Martinsburg and Interstate 81.  Queen Street is Martinsburg?s 
Main Street, and the civic center of Martinsburg is located at 
the intersection of King and Queen, less than half a mile from 
Interwoven.  Winchester Avenue is another of the most 
important streets in town because of the path of Route 11.  
 Route 11 is the local route that parallels the interstate, 
and where it winds through each town plays a large role in 
defi ning commercial areas.  When Route 11 enters 
Martinsburg from the north it follows Queen, but then it shifts to 
King and follows Winchester out.  This results in a bar of 
commercial that moves to run a block away from the 
Interwoven Site and an area that has surprisingly high traffi c 
given its distance from the offi cial downtown.
Figure 17: Interwoven in Martinsburg.  This diagram shows the most important features of the city as related to the site.  [Image by author.]
Neighborhood Context
 Because of its size and location, the Interwoven site 
has the benefi t of many urban connections.  As mentioned 
previously, the site fronts King Street and is near Route 11?s 
path down Winchester Avenue.  John Street and Porter 
Avenue are important for moving traffi c around the residential 
areas to the west, and because of the traffi c there is a bridge 
over John Street.  The site also has its own rail spur into the 
complex in addition to being adjacent to the main tracks.
 The surrounding fabrics of the city also create an 
interesting dynamic.  All of the nearby blocks to the west are 
residential, and a block away to the east is more of the same.  
There is some industrial usage remaining around the south 
portion of the site, but much of what was once industrial is now 
commercial.  It follows that the future of the site lies in weaving 
together some of these uses and respecting the others.
Figure 18: The Interwoven Neighborhood.  This diagram shows the roads and uses in the vacinity of the Interwoven site.  [Image by author.]
Figure 19: Buildings on the Interwoven Site.  This diagram is from later in the design process but shows the buildings and their 
numbering for future reference; individual buildings are discussed later in Chapter 5.  [Image by author.]
Site Key and Building List
Building 1: Factory Building
Building 2: Factory Building
Building 3: Factory Building
Building 4: Factory Building and Warehouse 
Building 5: Factory Building and Warehouse
Building 6: Factory Building
Building 7: Dye House
Building 8: Pipe Shop
Building 9: Tin Shop
Building 10: Salt Storage
Building 11: Filter House
Building 12: Factory Building and Warehouse
Building 13: Boiler House
Building 14: Garage
Section 2: An Interwoven History
Industry and Site
 In the second volume of An Architectural 
and Pictorial History of Berkeley County the fi rst 
chapter is a General History of Martinsburg.  
Here Don Wood describes how the siting of the 
city in 1775 contributed to the growing industry 
of the planned town, starting with mill 
construction along the creek which bounded the 
city to the east and north.  In 1842 the 
introduction of the B&O Railroad line, also along 
the Tuscarora Creek, brought a surge of growth 
and prosperity that elevated Martinsburg from 
a local center to a city of national importance.  
Due to the convergence of north-south and 
east-west lines this became a transportation 
hub for both goods and passengers.
Figure 20: 1898 Railroad Map and Shippers? Guide of West Virginia. The eastern panhandle connects the main body of the state to the popula-
tions beyond the Appalachian Mountains.  [Rand McNally and Company.]
Figure 21: Eastern Panhandle Detail of an 1898 Railroad Map and Shippers? Guide of West Virginia.  Many of the north-south and east-west 
rail lines converge near the city of Martinsburg.  [Rand McNally and Company.]
 The 1873 addition of a Martinsburg and 
Potomac Railroad rail line to the west of the city 
created a second area of commerce that would 
soon become a large-scale industrial zone.  
1890 brought electricity to Martinsburg and with 
it the industrial revolution.  Martinsburg became 
attractive to industries from car production and 
brass founding to textile and garment 
manufacturing.  The Interwoven site is a 
memory of the days when Martinsburg was a 
booming textile town?a relic of history 
embedded in the modern fabric of the town.
Figure 22: Berkeley County Detail of an 1898 Railroad Map and Shippers? Guide of West Virginia.  This detail shows the relationship be-
tween geography and rail lines.  [Rand McNally and Company.]
Figure 23: Logo from an Original Interwoven Product Box.  This box was found in an antique store which currently occupies part of the 
Interwoven site; there are a large number of relics of Interwoven both in the site and in Martinsburg.  [Photograph by author.]
The Life and Death of Interwoven
 One of the textile companies that became important in 
Martinsburg was the Interwoven Stocking Company, though it 
did not begin or end under that name.  In 1891 a small, failing 
textile factory called the Middlesex Knitting Mills was bought by 
E. E. Kilbourne, the inventor of an automatic knitting machine 
that could produce seamless hosiery.  He used his technology 
and business savvy to turn the mill around, and the new 
Kilbourne Knitting Machine Company moved to the industrial 
area on the western periphery of Martinsburg where a new 
complex of buildings started to develop.
 Growth was slow at fi rst, but increased dramatically 
over the following decades.  Though the 1885 and 1891 
Sanborn insurance maps do not even show the city as 
reaching beyond the railroad tracks, by 1897 there are a half 
dozen buildings on the northern portion of the modern site, 
Figure 24: Looking North Along the CVRR Tracks.  1901 and current views.  [Martinsburg & Berkeley Co. in the 20th Century and author.]
Figure 25: Interwoven Neighborhood in 1897.  This is the fi rst in a series of images that document growth in the area.  [Image by author.]
a few of which are still standing today.  1913 shows very few 
changes to this area save that another lasting building had 
been added and that the Interwoven name had become 
prominent; John Wyckoff Mettler bought Kilbourne?s company 
and united it with others under the Interwoven name.
 The southern portion of the modern site developed 
differently.  The 1897 diagram shows the buildings of the 
Brooklyn Brass Manufacturing Company, which by 1907 had 
been bought by the American Horticultural Distributing 
Company.  By 1913 they had again changed hands to the 
Norwalk Motor Car Company.  The Brooklyn Brass and 
Norwalk buildings would be demolished in the 1920?s to make 
way for new construction as the Interwoven complex grew.  
The American Horticultural Building would last through all of 
the new construction on the site as a warehouse until being 
demolished to make way for truck access to the basement 
fl oor of the new building.
Figure 26: Three Views from the South Corner of the Site.  This collection shows an area over time, including the Norwalk Motor Car and 
American Horticultural buildings.  [An Architectural and Pictorial History of Berkeley County with current photograph by author.]
Figure 27: View of the Norwalk Motor Car Company from the 1910?s.  The demolished Norwalk Motor Car factory occupied the current 
site of Building 12, and Building 4 is visible in the background.  [An Architectural and Pictorial History of Berkeley County.]
Figure 28: Interwoven Neighborhood in 1922.  This is the second in a series of images that document growth in the area.  [Image by author.]
 The 1922 diagram refl ects that Martinsburg became 
the main production and distribution center for the Interwoven 
empire.  The northern section of the site has been built out 
to most of its historic extent, and all but one of the buildings 
there have been constructed.  Materials used in construction 
are changing though; while the older buildings are typically 
constructed of timber and brick, some of the newer buildings 
introduce concrete and even steel.  This may refl ect that while 
Continental Brick is less than three miles away from the site, a 
concrete plant had been introduced within half mile.
 The character of the context has also changed since 
construction began at this site adjacent to the Cumberland 
Valley Rail Road.  The residential fabric of the city is wrapping 
around the Interwoven site, partially due to the introduction of 
mill worker housing, and a strip of residential is still separating 
the mill from having a presence on King Street.
Figure 29: Norman Rockwell Advertisement for Interwoven.  One of the early Interwoven ads produced in 1922.  [Norman Rockwell.]
 1922 also marks the year that Interwoven started 
collaborating with Norman Rockwell for advertisements.  ?A 
Long Way to the First Hole? is a good example of the freedom 
Rockwell had with this particular commission in using his 
sense of humor?and love of puns?to design ads for the 
product.  Durability was a major selling point of Interwoven 
socks and was emphasized in each of the ads.  It was one of 
the key features that helped the company grow to become the 
largest men?s hosiery company in the world, and Rockwell?s 
work was an important part of Interwoven?s advertising 
campaign.  Between 1922 and 1948 Rockwell designed 
between seven and nine ads for Interwoven, some of which 
could be considered among the cleverest of his advertising 
works.  Because of the nature of advertising work most of the 
originals appear to be lost, but reproduction prints of many are 
still readily available. (Moffatt)
Figure 30: Interwoven Neighborhood in 1931.  This is the third in a series of images that document growth in the area.  [Image by author.]
 The 1931 diagram shows that Interwoven had 
expanded signifi cantly again.  Almost all of the modern 
site had been acquired, and several buildings had been 
added.  On the northern portion of the site Interwoven 
demolished housing to make way for a mill that fronts 
Kings Street with a generous lawn, and this building is 
shown in images of the Interwoven strike.  The two 
houses remaining within the current site?s bounds are 
later demolished to create more space for parking.  The 
southern portion of the site has been greatly altered, the 
two largest changes being a power plant to supply the 
entire complex and the addition of a warehouse and 
production building large enough to dwarf all of its 
predecessors.
 The context also changed signifi cantly in the nine 
years between Sanborn maps, and both city and 
company refl ect the growth of the area.  The city had 
expanded to a population of 18,000, and for many years 
the Interwoven Stocking Company was the largest 
employer in the area with around 1,800 hands at this 
production site alone.  What is now designated as the 
Boomtown historic district had fi lled out with additional 
homes, and the housing to the west of the Interwoven 
had also fi lled in and wrapped completely around the site, 
partially due to the need for worker housing.  Though the 
Great Depression did create some setbacks for the town, 
this trend of the city?s growth continued in the post WWII 
era of baby boomers and single-family-housing suburbs.
Figure 31: Building 6 3rd Floor.  1936 workroom and modern view of the same.  [Martinsburg & Berkeley Co. in the 20th Century and author.]
Figure 32: 1930?s Interwoven Stocking Company Aerial.  This aerial shows the site at the height of build-up.  Today four of the buildings,  the 
water towers, and the smoke stack are no longer part of the site.  [Image courtesy of Grove & Dall?olio Architects.]
Figure 33: 1934 Interwoven Mill Strike.  This photograph shows the character of downtown Martinsburg during an era when pedestrians, 
bicyclists, and automobiles were more integrated and this area more active.  [An Architectural and Pictorial History of Berkeley County.]
Figure 34: Before and After Building 12 Construction.  These images compair a 1925 photograph with current images of how the 
Interwoven complex bridges John Street.  [Martinsburg & Berkeley County in the 20th Century with current photographs by author.]
Figure 35: Current and Historic Views.  These images show a view from the south of Building 4 and from the west of the southern 
parking area.  Historic photos circa 1950?s.  [An Architectural and Pictorial History of Berkeley County with current photographs by author.]
Figure 36: Building 7 Damage.  This photograph shows the building with one of the most severe levels of damage including collapsed building 
sections; most of the wooden clerestory windows in this building are also glassless and rotting away.  [Photograph by author.]
 The Interwoven site did not undergo many 
signifi cant physical changes for decades; the big 
changes were managerial.  Even after the advent of 
truck transportation damaged Martinsburg?s role as a 
textile town, Interwoven remained an integral part of 
life in Martinsburg.  When Mettler Jr. sold the site to 
the Martinsburg Mills in 1962 the company was still the 
largest employer in the county with over 900 hands.  
That number declined steadily?despite assurances 
that the factory would remain open?until 
manufacturing discontinued in 1970.  The remaining 
hundred employees operating the complex as a 
warehouse facility were laid off in 1971, and the old 
buildings fell into disrepair.
 The Interwoven name remains barely alive.  
Mettler Jr. sold it to a separate company in 1962, and 
socks made in South Carolina are still sold under the 
Interwoven name.
Figure 37: Interwoven Neighborhood in 2006.  This is the fourth in a series of images that document growth in the area.  [Image by author.]
Section 3: Interwoven Today
 The 2006 diagram refl ects the current buildings still 
standing on the site; what is does not show is their condition.  
Several of the small buildings in the courtyard have been 
demolished, and part of the dye house (Building 7) has been 
cleared away following collapse.  Many of the other buildings 
need some kind of signifi cant repair from leaks, broken 
windows, or other vandalism.
 For the most part the buildings are in remarkably good 
condition, and that is a testament to the quality and durability 
of their original construction.  Several parts of the buildings 
have been in use intermittently, and a few continue to be used 
today.  There are stores in buildings along King Street, and 
the lower fl oors of the largest building on the site are currently 
used as a warehouse.  Until a few years ago parts of the 
buildings along John and Porter had also been used for retail.  
 It is clear, then, that reuse has already begun, and with planning and work it will become 
more pervasive.  The question is more a matter of how the complex should be reused; the best way 
to fi gure out that is to understand the site through experience.  As discussed in the fi rst chapter, it is the 
experiential qualities that make a place like this truly noteworthy, and they will tell a story about for what 
the buildings are well suited.
Figure 38: View of North Parking and Courtyard from the Sidewalk.  This photograph shows both sides of the complex; the building in the 
foreground is in use while the buildings in the background are fenced off and awaiting repair.  [Photograph by author.]
Compression and Expansion
 The most dramatic spatial contrast within the buildings 
is between small and large spaces.  Most of the entrances 
deposit visitors into tight spaces with low ceilings and little 
natural light.  The lower photograph shows an example of this 
zexperience; a stairwell of Building 4 spirals upward in its small 
tower with stuffy air and moderate light.  Leaving this state of 
compression at the top fl oor one walks out into an expansive 
skylit space.  Most fl oors already have ceiling heights around 
twelve feet, and top fl oors are often higher even without their 
skylights.  The upper photograph shows the third fl oor of 
Building 12 where ten foot skylights are stacked onto an 
already eighteen foot fl oor.  These buildings demonstrate the 
ideas of Frank Lloyd Wright at a dramatic scale; appreciation 
of an expansive space is greatest when contrasted with 
compressive spaces.
Figure 39: Compression and Expansion.  These images show the contrasting spatial conditions in the buildings.  [Photographs by author.]
Figure 40: The Character of Light.  Both the skylight in Building 11 and the third fl oor in Building 5 illustrate the dramatic qualities of light in the 
buildings.  Once again it is the variety of conditions that makes each building interesting.  [Photographs by author.]
Light
?The hands want to see, the eyes want to caress.?
  Johann Wolfgang von Goethe
Figure 41: Moss and Charred Wood at Interwoven Site.  These are a tiny sampling of the textural details of the site.  [Photographs by author.]
Texture
 Despite the deep impressions of echoing footfalls and 
the smell of musty wood and brick, touch is probably the most 
activated sense on this site.  Materials here are not smooth or 
cool, and plants are not manicured.  There are serendipitous 
instances of tactile activation everywhere.  Doorknobs must 
be turned or fi re doors thrust aside, railings touched, bricks 
grabbed for handholds.  The different feelings of walking on 
solid wood fl oors, concrete, gravel, or grass all emphasize one 
another.  They are articulated and wonderful, never hidden or 
muffl ed beneath something else.  Materials are also not always 
in the forms or locations intended, and so there are instances 
of charred wood, shattered glass, and plants that are slowly 
retaking the site.  It is fortunate that humans retain such a 
remembered repertoire of textures and that an image can 
transmit some idea of tactile sensation.
Construction
Figure 42: Building 4 Floor Construction.  Due to the nature of industrial work, few aesthetic fi nishes were applied to these buildings; damage, 
alterations, and design make it possible to observe a great deal about their method of construction.   [Photographs by author.]
Cleaning Up
 Unfortunately the site has more than 
interesting experiences to offer.  Because of the 
time period of construction and occupancy there 
are unsafe materials including asbestos 
insulation and profuse amounts of peeling lead 
paint.  The biggest hurtle in reuse may be 
making the buildings inhabitable without losing 
the favorable qualities.
Figure 43: Peeling Lead Paint on a Column.  Lead paint is everywhere in these old buildings, and the crunch of paint fl akes underfoot is ines-
capable.  Paint clean up may pose a greater challange than the asbestos simply because it is everywhere.  [Photograph by author.]
Chapter 3: Place as a Generator
   of Program
Section 1: Climate and Building Design
 In this age of energy concerns and the sudden 
(re)discovery that buildings can and should be built to 
respond to climate, it is fortuitous that these buildings 
already do.  When construction began on the fi rst of the 
Interwoven buildings electricity was a novelty in 
Martinsburg.  Although the factory equipment was run 
with electricity the buildings were designed with the 
conventional wisdom of every other building in the region; 
climate control relied on intelligent design.
Figure 44: Operable Clerestory in Building 8.  Most of the Interwoven buildings were designed for natural ventilation.  [Photograph by author.]
Daylighting
 As many of the photographs in this document show,  
the light in these buildings ranges from fl ooding to fl eeting.  
Because fl oor heights, large windows, and proportionally thin 
buildings allow light to penetrate deeply into each fl oorplate, 
there are fewer interior light fi xtures than one would expect to 
see in a modern building.  Much of the work requiring higher 
levels of light appears to have taken place on the top fl oors of 
buildings, and each of these fl oors has skylights or clerestory 
windows that create a relatively even level of light for the 
workers.  Even on lower fl oors the light is rather good, and this 
standard is even maintained for most of the basement fl oors 
where chamfered light wells are carved away from lower 
windows to allow light and service access.  Stairwells and 
other tight places typically have enough natural light to make 
them passable without electricity, and in fact places without 
any natural light are rare.
Figure 45: Daylighting in Building 6.  This diagram shows how light fi lters into a typical building on this site.  [Image by author.]
Seasons of the Valley
 
  On average, Martinsburg has a relatively mild climate 
with components that could be easily accommodated on their 
own; their combination is what makes for uncomfortable 
weather.    Winters, for example, are not particularly cold 
compared to many other cities in the United States or even 
in the mountains, but cold is not the only issue.  Wind speed 
is greater in winter than summer, and peaks in March when 
precipitation is on the rise and the temperature is cold.  Spring 
is warmer, but the skies are usually somewhat overcast as 
humidity rises.  Summer is generally considered the most 
miserable time of year; the cloud cover, dense valley 
vegetation, and drop off in wind speed combine to make an 
environment that is almost unbearably hot and humid.  
Fortunately this is followed by autumn, which is often 
considered to be the most enjoyable season thanks to clear 
skies, crisp air, and fall foliage. 
Figure 46: Temperature and Humidity.  Climate diagrams for Martinsburg, West Virginia.  [Image by author.]
Building Climatic Responses
 So how do the buildings on the Interwoven site respond 
to the climate of the valley?  Cloudy days create even, diffuse 
light that is good for illumination, and the profuse windows of 
the buildings take advantage of this.  Those same windows are 
also operable to allow natural ventilation in warm weather, and 
it appears that the buildings were used in a manner that further 
takes advantage of wind.  Buildings that are not well positioned 
for wind were used mostly as warehouses, and the courtyard 
buildings all have gabled roofs with operable windows that 
catch the rising hot air and pull it away.  The thermal mass of 
the brick and concrete walls also keeps the interior cooler by 
absorbing heat during the day and radiating it away at night.
 Winter is a different story and in many ways a greater 
challenge.  Here wind is the enemy and it is quite apparent that 
the single pane windows in metal frames provide minimal 
Figure 47: Cloudy Days and Precipitation.  Climate diagrams for Martinsburg, West Virginia.  [Image by author.]
Figure 48: Wind Direction and Speed.  Climate diagrams for Martinsburg, West Virginia.  [Image by author.]
protection.  Large overhead ducts were undoubtedly used to 
move heated air into the spaces, but they will have to be 
replaced for use today.  The lack of glare is still nice, but in 
winter the direct sunlight would bring heat as well.  The 
thermal mass changes roles when the radiated heat becomes 
welcome, and the walls also become useful for absorbing and 
reradiating the heat of the interior.  Working when it is too cold 
is much harder than when it is too hot, and heating these 
buildings is undoubtedly quite diffi cult.
 The trick will be balancing the maintenance of useful 
qualities with modern needs.  If the large spaces are carved up 
too much they will lose their ability to be ventilated naturally 
and impair natural light.  The windows really should be 
replaced with something more effi cient, but are there updated 
replicas that can capture the proportions of the originals?  Can 
any of the originals be kept in place?  Clearly this is a matter of 
complication. 
Section 2: Sectional Typologies
 
TOP FLOORS
 - Excellent daylight from skylighting and
   windows.
 - Preservation of the open character is ideal.
 - Light and scale make the best locations for
   groups of people making highly detailed
   crafts.
 - Floors are not easily accessible.
 
MIDDLE FLOORS
 - Good daylight for moderate detail crafts.
 - Interior structure could be used for divisions 
   if necessary.
 - Slightly more assessible than top fl oors.
GROUND FLOORS
 - Windows are often partially or fully below 
   grade with light wells.
 - Well suited for a variety of support program
   elements.
 - Most are easily accessed at grade from 
   some point.
Figure 49: Sectional Typologies.  This diagram illustrates the characteristics of the three main sectional types which exist within the Interwoven 
buildings.  [Image by author.]
Section 3: Current Development Plans
 Today the Interwoven complex is owned by 
Ridgecrest Investments and is in planning for commercial 
redevelopment.  Ridgecrest is a company based in 
Frederick, Maryland, that invests in small towns by 
revitalizing underutilized buildings near downtowns.  
Their projects are typically large, older buildings in towns 
of central Maryland and eastern West Virginia.
Figure 50: Ridgecrest Investments Site Plan.  The site will be developed in phases, and of the Interwoven sections the portion fronting King 
Street will be fi rst.  Its visibility will involve the community in the project and generate interest.  [Grove & Dall?olio Architects.]
 In this venture the Interwoven site has been combined 
with that of the Perfection Garment Company to form three 
campuses, and parts of the East (Perfection) campus have 
already been updated and are occupied by tenants.  The 
images at right are of the campus when it was under 
construction in October of 2007, and there is an interesting mix 
of methods.  Many materials are simply cleaned and refi nished 
or painted.  Others would be expensive or problematic to 
restore and are instead covered to await the possibility of 
future restoration; the space between creates a hidden area 
for things like modern lighting and ventilation.  The end result 
is a mix of old and new adjacencies, for example the clean, the 
white new interior paint on one side of the glass and the old 
painted ads on the other.
 The methods and outcome of this portion of the site 
give many indications for how the Interwoven complex will be 
handled.  The success of the East Campus will affect how the 
Figure 51: East Campus Ground Floor.  Construction is for updates, repair, and cosmetic work; the structure is fi ne.  [Photographs by author.]
community and city feel about the remainder of the project.  
The following pages show more of the design for the other 
campuses, which are labeled on the following page.
 In order to create the designs shown, Ridgecrest is 
collaborating with Grove & Dall?olio Architects, a local fi rm with 
a specialty in historic preservation and adaptive reuse projects.  
In developing the current design Grove & Dall?olio has drawn 
from the experience of having worked on this project with 
several of the previous owners.  Current plans involve a mix of 
uses that may include retail, offi ce, residential, and dining; the 
variety and fl exibility of the complex will allow development to 
meet the needs of the clients.  It is very promising to see that 
the design extends beyond the buildings themselves to the full 
site and its relationship to the streets, something oft 
overlooked by developers and designers alike. 
Figure 52: East Campus Current Images.  By the spring of 2008 the fi rst section of ground fl oor was occupied.  [Photographs by author.]
Figure 53: Ridgecrest Investments Advertising Flyer.  This side of the fl yer gives more graphic information about the future character of the site 
while the other gives more of a verbal description for those interested in details.  [Grove & Dall?olio Architects.]
Figure 54: Ridgecrest Investments Ground Floor Plan for the North Campus.  This plan shows a more detailed view of the plans for the North 
Campus, including the signifi cant attention paid to the grounds.  [Grove & Dall?olio Architects.]
Section 4: Ritual and the Industrial Place
 Industrial production is by its nature a ritualistic 
process, and the buildings used for this purpose 
therefore become intimately associated with and 
permeated by a ritual quality.  Both the professional lives 
of the workers and the movement of materials are 
scripted by the factory, and often this rhythm extends in 
to the surrounding area.  Businesses such as restaurants 
will adjust hours, traffi c patterns will change with the 
workers? shifts, and family lives will accommodate the 
imposed schedules.  A neighborhood or small town may 
be defi ned by its factory, and when the rhythm is broken 
the effects are felt by everyone the factory touches, no 
matter how indirectly.  The association, however, is 
lasting; people remember and understand the nature of 
the buildings and keep that connection through time.
Figure 55: CMoG Hot Glass Show.  Gaffer Eric Meek demonstrates the process of blowing and shaping a piece of glass.  [Image by author.]
 It therefore makes sense that the 
repurposing of industrial buildings should draw 
upon this character, introducing new rituals 
which complement the old.  In the case of the 
Interwoven Stocking Company, their goal was 
a beautiful, high quality product that would be 
durable enough to endure a long life of use; by 
their reputation it is clear that the socks they 
produced achieved this goal.  Bringing 
attractive, functional, and well-crafted products 
into the lives of people is a goal that should be 
maintained and expanded upon.
Figure 56: Close-up of an Egg Basket.  Weaving a basket, such as this one by Tracey McIntyre, takes many hours and requires a set process to 
dye materials or to prepare them to fl ex during weaving instead of cracking and splintering.  [Photograph by author.]
ritual (n) ? an action or set of actions 
which are repeated with regularity in an 
established and precise manner
 Reintroducing the hosiery manufacturing process 
would not be helpful here, but there are other more 
meaningful industries that would bring a culturally 
sensitive note to the redevelopment of the site.  Skilled 
handcrafts are a deeply embedded part of the regional 
culture, and they remain as a reminder of the Germanic 
and Celtic immigrants who brought them.  By selecting 
industries from inside the region rather than bringing an 
industry in from outside a mutually supportive 
connection is established between the current 
population and the program of the site.  This connection 
is intensifi ed given that the culture of the region is being 
threatened with the homogenization made possible by its 
interstate-accessible location.  In the face of the 
overwhelming infl ux of national chain businesses and 
suburb-seeking outsiders it stands to reason that one 
way to preserve a local identity is to cultivate those rituals 
which are being forgotten and lost.
Figure 57: Close-up of a Wooden Cradle.  This cradle was handcrafted  by Scott McIntyre over 25 years ago.  [Photograph by author.]
Section 5: The Interwoven School of Crafts
 In response to the nature of the buildings and the 
culture of the region, the program that was selected for 
exploration in this thesis is centered around a craft 
school.  Production areas and support functions for the 
crafts would take up most of the site, and others would 
be best suited with commercial functions as the current 
development plans dictate.  Areas for administrative 
functions would interface between public and private?
both in terms of community-complex and commercial-
educational divisions?to create a more integrated com-
munity whole.  While the diagram at right shows program 
group relationships, the following diagram is a larger 
detail of the individual program elements.
Figure 58: New Program Groups for the Interwoven Site.  This diagram illustrates how the groups relate.  [Image by author.]
Figure 59: New Program Elements for the Interwoven Site.  This diagram illustrates the program elements and their relationships to 
the other components.  [Image by author.]
Public Functions
 Public program would be both commercial and civic.  
The Martinsburg-Berkeley County Visitors Bureau has 
expressed an interest in moving into Building 1 in order to 
occupy a historic building along the main road between 
interstate and downtown.  This would be benefi cial to the 
site because it would bring more visitors to the area.  Classic 
Chocolates already maintains a shop in a gift store currently 
on site, and with space they could expand their enterprise.  
Locating a dining establishment in Buildings 8 through 11 is 
part of the current development plans and makes good use 
of the more intimate scale of those buildings.  Both functions 
would help to draw both locals and visitors deeper into the 
complex where they can engage more activities.  Parking is a 
necessary design component for a downtown site, but the goal 
should be to balance maximized parking with more attractive 
and sustainable design.
Figure 60: Public Functions.  Details of the icons for the city visitor center, chocolate shop, restaurant, and parking area.  [Image by author.]
Interfaces
 Two levels of interface between the public program and 
the craft school allows each to be somewhat more specialized 
for a group.   The primary interface is a gallery and visitor 
center geared slightly more toward the public; this program 
needs a highly visible and accessible location.  The building 
would provide information about the school while displaying 
and selling the work of students, instructors, and local artists.
 The secondary level of interface is geared more toward 
serving the members of the school.  Administrative services 
would help those who are interested in activities like taking 
classes, teaching, exhibiting work or facility use.  The Library 
and Archives would serve both affi liates of the school and 
scholars, and it could be connected to the local library system.  
Both should be easily accessible and operate independently 
from the school; the library should also be above the ground 
fl oor.
Figure 61: Interface Program.  Details of the icons for the gallery and visitor center, administration, and library and archives.  [Image by author.]
Figure 62: Haptic Model.  In this model uses tactile interaction with representative materials to convey program.  [Photograph by author.]
The Crafts
 Drawing from cultural knowledge and Wigginton?s 
Foxfi re books, a collection of crafts were selected for 
their relevance and hands-on techniques.  The idea 
behind a craft school is that a person learns to interact 
with a material as directly as possible to create a unique 
work of art, and to that end more mechanized crafts have 
been removed from consideration.  Large teaching and 
productions areas for these crafts will take advantage of 
the open spaces and bright light, and their support needs 
will utilize the remaining spaces of the complex.  Some of 
the crafts are more closely related than others, and all of 
the crafts require varying levels of infrastructure.  Chapter 
5 explains their arrangement into the buildings.
Figure 63: Light Industry.  Examples of the quilting and basket weaving crafts.  [Image by author.]
 Quilting and basket weaving are the crafts that 
require the lightest infrastructure.  Quilting is often highly 
detailed and requires bright light.  The assembly of a quilt 
usually takes place on a large table, and both large bolts 
and smaller pieces of fabric are best stored on shelves.  
Individual sewing machine stations are not very large, but 
some quilting looms and machines are very large.  The 
space for quilting must be fl exible to work well.
 Basket weaving?s most challenging requirement 
is for both wet and dry areas.  In order to weave reeds 
or canes they must be soaked in water to avoid splitting, 
cracking, or unwanted bends.  The sinks or tubs must be 
large enough to hold large amounts of material or entire 
baskets, either for soaking or dying.  The materials are 
moved between there and a work table that can 
withstand moisture but be dried if needed.  Finished 
baskets require areas for drying and storage.
Figure 64: Medium Industry.  Examples of the woodworking and textile weaving crafts.  [Image by author.]
 Crafts with a moderate level of infrastructure are 
woodworking and textile weaving.  Depending on the scale, 
woodworking can require very little equipment or a massive 
amount, and so a space should be fl exible enough to handle 
changing scales of work.  Working area may include benches, 
tables, or open fl oor spaces; tools range from hand chisels and 
sanders to saws with large catch tables.  Ducting for dust 
collection will take up extra space in the building, and more 
isolated and ventilated areas are necessary for fi nishing 
products away from dust and evacuating fumes.
 For the purpose of this project ?weaving? refers to an 
individual weaving on a personal loom of some kind, though 
small-scale semi-mechanized weaving may also be 
reasonable.  Weaving looms should be moveable because 
they require access from all sides, at minimum for 
maintenance needs.  The artist should have easy access to 
fi ber storage, for example shelving or bins for yarn, and tables 
and frames are required for blocking pieces.
Figure 65: Heavy Industry.  Examples of the metalworking and ceramics crafts.  [Image by author.]
 The heavy industries at Interwoven are all ones 
that require furnaces or kilns for much of their work: 
metalworking, ceramics, and glassworking.  Metalwork 
could be cast, hammered, welded, woven, or any 
combination thereof.  The different needs refl ected within 
that spectrum once again require a large, adaptable 
space that could be outfi tted with workbenches, anvils, 
tables and stools, or low platforms.  Most of the work, 
especially that involving pouring liquid metal or forming 
hot metal, will require designated areas for protection.  
Finishing areas for weather treating or anodizing may 
need to be separate.
 Ceramics will have various stages of completion 
that require special management.  Wet clay must be 
stored away from heat; an artist retrieves the necessary 
amount and moves it to a work table or ceramic wheel.  
The items made from this ?green? clay are then partially 
Figure 66: Heavy Industy.  Examples of the ceramic and glassworking crafts.  [Image by author.]
fi red to remove moisture before a glaze is applied to seal 
the porous material of the bisqued piece.  Many artists 
mix and store their own glazes, and this is done in an 
area with a sink designated for chemicals.  For fi nishing 
a piece returns to the kiln where it is fi red to bake on the 
glaze and rest until cool.
 Glassworking can use either molten glass or cool 
pieces that are fused together later.  Figure 55 shows 
one of the processes of working with molten glass as 
emonstrated at the Corning Museum of Glass.  
Glassblowing uses the largest work area usually 
necessary for an artist.  Torchwork requires a station, 
usually seated, with a fi xed torch and many different 
materials within reach.  Fusing requires a table near the 
material stores; pieces will be arranged, temporarily 
affi xed, then moved to a kiln and heated until they fuse.  
All glass requires controlled cooling in a kiln to strengthen 
the glass and prevent shattering.
Figure 67: Support Needs.  Details of the icons for community space, mechanical needs, storage, and parking.  [Image by author.]
Support Needs
 This program provides for the background functions 
that make teaching the crafts possible.  In contrast to the 
public exhibition space of the gallery and visitors center, a 
community space internal to the craft school would provide an 
informal place for work in progress to be displayed and 
discussed by people from all of the craft programs.  This would 
also be a place to socialize or put in rotating exhibitions of 
guest work.
 More purely functional areas are also necessary.  
Concentrated mechanical space will allow more open interior 
spaces to work in, and storage of materials and fi nished work 
will need to be distributed throughout the complex.  Parking 
specifi cally for students and teachers may be minimized by 
encouraging people to live in the surrounding residential areas 
and walk or bike.  Providing things like secure, covered bike 
parking and shuttles in bad weather will encourage this.
Chapter 4: Design Guidelines
Section 1: No Imitation or Replication
Enhance the existing character of the site with 
contrasting but complementary interventions.
Figure 68: Building 13, Repeated.  One example of this building is a part of a complex of individually different buildings; repeating any notable 
building overmuch lessens the qualities that make it interesting and unique.  [Photograph by author.]
Section 2: Learn to Play Counterpart
         (or even harmony if needed)
 The existing buildings already constitute 
a prominent feature, and any new construction 
should not steal the show.  A reasonable goal is 
to design a building that is an adaptable 
backdrop for showcasing and selling the 
products of the School while being an 
integrated addition to the complex.
Figure 69: Piano Keys.  Comparison to music- especially piano music- is a good way to think about integrating new and old.  Multiple parts are 
being played, but no matter how different in sound they still integrate for a wholistic song.  [Photograph by author.]
Section 3: Speak the Language
         (but maybe a different dialect)
 Develop a vocabulary of details that will live 
up to the level of craft in the other buildings.  Utilize 
related materials but do so in ways that draw attention 
to how materiality is currently expressed in the site.
Figure 70: Page of an English-German Dictionary.  Designing a building that is related but unique is like learning to speak a language instead of 
merely parroting words.  It is the difference between repetition and comprehension.  [Photograph by author.]
Section 4: Reduce, Reuse, Rethink
 Many existing elements on the site have 
the potential for reuse.  There must be creative 
ways to make them into potential assets instead 
of liabilities.
Figure 71: Recycling Symbol.  Life would probably be easier if every item included instructions for being environmentally responsible, but it is up 
to each person to see the possibilities and act on them.  Individual awareness makes all the difference.  [Photograph by author.]
Section 5: Take Advantage of Serendipity
 There are many unintended but wonderful 
moments from which to build.  Though repair will 
erase many of them, these events still present 
ideas or qualities which may be desirable in the 
future.
serendipity (n) ? the phenomenon of fi nding 
something of value which was not sought for, 
or an instance of this occurance
Figure 72: Building 7, West Connector.  The damaged condition of the roof creates dramatic lighting and unintended views; this damage also 
creates an opportunity to cultivate some of these features when the roof is removed and redesigned.  [Photograph by author.]
 Section 6: Strive for Integrated Design
 John Knoll?s book about the design process behind the worlds of 
Star Wars has been an amazing reference for the integration of design 
media.  Using several different methods to explore and present ideas 
allows for a much richer product than any single method could alone.
Figure 73: Integrated Design.  This diagram illustrates the four main groups of media that are used in architectural design; in fi lm the equivalents 
would be physical models, paintings and digimats, digital models and animations, and live fi lming.  [Image by author.]
PHYSICAL 
MODELS
HAND DRAWINGS
SITE IMAGES
DIGITAL MEDIA
Chapter 5: The Interwoven Site
Figure 74: Operable Windows in Building 12.  One of the unique qualities of this building is that there are very large expanses of windows, large 
portions of which are operable.  [Photograph by author.]
Section 1: Character Casting
 Deciding where and how to place 
program into existing buildings can be a 
complicated issue, but the process is easier if 
the individual buildings are thought of as actors 
to be cast.  Each building or space has a unique 
set of characteristics that will allow it to do some 
things well and others very poorly.  Some 
situations are more fl exible than others, but it is 
important to recognize if a situation will 
inevitably fail.  Success is more likely with 
intelligent type-casting of the buildings? 
personalities.
Figure 75: Makeshift Apartment in Building 4.  A previous owner of the complex constructed an apartment in part of the top fl oor of this building; 
this is an example of a poor way to utilize this space.  [Photograph by author.]
Section 2: The Buildings
 
 The diagram at right numbers the buildings from 
the reference point of a person visiting the site for the 
fi rst time.  For the sake of clarity at this scale the street 
names have been eliminated, but they are visible in the 
diagram of the Interwoven neighborhood on page 18.  
The buildings are numbered working back from the fi rst 
one encountered near King Street, then wrapping around 
clockwise and following along the rail tracks through the 
underpass and on to the south corner of the site.  In the 
following pages each building has a description and block 
of documentation images followed by a sectional drawing 
depicting future program usage.  The entries labeled in 
the diagram refer to the fi nal programming of the site and 
the way in which people will enter the complex.
Figure 76: Site Building Key.  All buildings are numbered for reference, and the entrances for the complex are also marked.  [Image by author.]
Building 1
 This building?s relationship to King Street makes it an 
excellent location for retail or civic program; the city visitor 
center fi ts well into that category.  The open area of the upper 
fl oor will work well for exhibits of many different sizes, all easily 
visible from a front desk.  The lower fl oor could work for the 
same purpose or for offi ces, storage, or meetings rooms.  The 
lawn area could be used for events or as a park with its own 
displays, so there is potential here for many kinds of activation 
from a single user group.
 Having the visitor center here will also be benefi cial for 
the school; there is a potential to teach people about the 
complex through the center.  Building 1 is a good example 
of the character of the other buildings, and there are enough 
relics in the complex and around the region to form a museum 
in itself.  People could learn about the buildings and then visit 
them on a tour of the School of Crafts.
Figure 77: Building 1 Documentation.  The most striking features are the lawn and the skylights.  [Images and photographs by author.]
Figure 78: Building 1 Section.  Above is the character of the City of Martinsburg Visitor Center as depicted by the gestural drawing of  
Lin Mao.  The icons at left indicate the fl oor-by-fl oor programming.  [Image by author.]
Building 2
 Though in a slightly less prominent location, 
this is another highly visible building that is well suited to 
retail-type functions.  Classic Chocolates has ample room 
to expand in this building to include much larger areas for 
sales, production, storage, and even bakery or creamery 
functions if desired.  Chocolate work is a handcraft much 
like any of the others on site, and here is an opportunity 
for visitors to watch the artists at work.  Additional 
production on site would bring more jobs into town and 
potentially utilize the nearby residential fabric to eliminate 
extended commutes.
Figure 79: Building 2 Documentation.  Awnings and painted windows hide an expansive interior.  [Images and photographs by author.]
Figure 80: Building 2 Section.  Above is the character of Classic Chocolates as depicted by the gestural drawing of  Lin Mao.  The icons 
at left indicate the fl oor-by-fl oor programming.  [Image by author.]
Building 3
 This linear building would work well for 
woodworking because it would allow all the tools and 
work areas to be on the same level.  Work areas for 
larger, specialized tools could be centralized with work 
areas for more common tools to either side; a single level 
allows pieces to be rolled around the fl oor as needed 
with relative ease.  Both fl oors are close to ground level, 
and with the elevator to move between fl oors, getting 
even large pieces in and out of the building would not be 
diffi cult.  This is probably the oldest building on site, and 
the lower fl oor is a forest of columns that could be 
easily subdivided for storage, ventilated fi nishing rooms, 
or workshops for smaller and more intricate projects.  
The only major sacrifi ce in working in the lower fl oor is 
that there is noticeably less light natural light available.
Figure 81: Building 3 Documentation.  This building is very linear and has a continuous skylight.  [Images and photographs by author.]
Figure 82: Building 3 Section.  Above is the character of the woodworking shops as depicted by the gestural drawing of  Lin Mao.  The 
icons at right indicate the fl oor-by-fl oor programming.  [Image by author.]
Building 4
 This building is the only one with fl oor-by-fl oor interior 
views that do no have signifi cant obstructions, and so it is a 
good measure of the other buildings with four stories.  In this 
case the building is important because of its connections.  The 
basement has one of the complex?s main entrances, the lower 
two fl oors connect to the woodworking building, and the upper 
two fl oors connect to the buildings to the west and south.
 Both of the upper stories have good natural light, and 
the holes that a previous owner cut into the fl oor between are 
actually useful for letting more light down.  Basketweaving 
studios are located on these fl oors because in addition to 
being related to the original weaving of the site, they do not 
use hot materials or many dangerous tools.   The community 
space is also in this building on the lower two fl oors so that is it 
near the entrance and the connections to the other crafts.
Figure 83: Building 4 Documentation.  The righthand series of images shows the variety of interiors.  [Images and photographs by author.]
Figure 84: Building 4 Section.  Above is the character of the basketweaving and community spaces as depicted by the gestural drawing 
of  Lin Mao.  The icons at right indicate the fl oor-by-fl oor programming.  [Image by author.]
Building 5
 The historic need to roll carts through these buildings 
is expressed in a complex that connected horizontally more 
than vertically, and given this horizontality, it can be diffi cult to 
discuss buildings separately.  Buildings 5 and 6, for example, 
are connected at every fl oor via fi re doors and therefore some 
of their program in continuous.
 Building 5 is the older of the two, and within its brick 
masonry exterior is a timber interior with rather divided spaces.  
The upper two fl oors are connected to the other large buildings 
of the complex via Building 4, and so the textile weaving 
studios are a natural choice to utilize the natural light and 
exhibit another weaving craft related to the original purpose of 
the site.  The basement is connected to the public main 
entrance to the complex, and the lower two fl oors contain 
continuous public program that is discussed under Building 6.
Figure 85: Building 5 Documentation.  This building is among the most visible due to its corner location.  [Images and photographs by author.]
Figure 86: Building 5 Section.  Above is the character of the textile weaving studios and parts of the library and administration spaces as 
depicted by the gestural drawing of  Lin Mao.  The icons at left indicate the fl oor-by-fl oor programming.  [Image by author.]
Building 6
 Despite its connections to Building 5, the concrete 
frame and brick infi ll of this building give it a very different 
character.  The interior spaces are much more open and are 
therefore suitable for larger work areas that could be defi ned 
by low shelving units or equipment.  Those traits happen to be 
just right for quilting, and in addition the bright light provided by 
the clerestory of this building is very important for such a highly 
detailed craft.
 The lower fl oors of this building contain administration 
and library functions that are continuous with Building 5.  
Because they do not connect horizontally to the rest of the 
complex this is a good area to concentrate the public areas of 
the complex.  The basement level contains the administration 
areas that most visitors would need to access, and that leaves 
the fi rst fl oor free for the library and archives.
Figure 87: Building 6 Documentation.  This is the fi rst building on the site to have a concrete structure.  [Images and photographs by author.]
Figure 88: Building 6 Section.  Above is the character of the quilting studios in addition to the remaining library and administration 
spaces as depicted by the gestural drawing of  Lin Mao.  The icons at right indicate the fl oor-by-fl oor programming.  [Image by author.]
Building 7
 This building is a very unusual component of the site, 
and was selected as the focus of this thesis at the building 
scale.  The structure is an undulating mixture of brick and steel 
below and timber with clerestory windows.  Unfortunately this 
building is one of the most damaged, and parts have already 
come down.  Some of the steel has been corroded by acid 
fumes from the dyes, and much of the wood has begun to rot 
without weather protection.  Rather than try to reuse this 
structure directly, the design focuses on removing the 
damaged sections and repairing one to remain as an open 
loggia.  The result is a courtyard that accesses the entrance 
to the main complex via Building 5 and the new Gallery and 
Sales Building that will wrap around the steel structure defi ning 
the courtyard.  The new building will link old and new by using 
a mixture of contrasting materials and reclaimed materials from 
the current building.
Figure 89: Building 7 Documentation.  This building is one of the most damaged and partially collapsed.  [Images and photographs by author.]
Figure 90: Building 7 Section.  Above is the character of the courtyard of the gallery and visitor center for the Interwoven School of 
Crafts as depicted by the gestural drawing of  Lin Mao.  The icon at right indicates programming.  [Image by author.]
Building 8
 Buildings 8 through 11 constitute a series of buildings 
which have been programmed together because of their 
similar scale.  Within the context of the entire complex these 
appear to be rather small structures, especially when 
considered individually.  In fact they have generous spaces 
with no interior structure and are therefore useful for fl exible 
program at a more intimate scale.  While several small retail 
functions could fi t into these buildings, in this case a restaurant 
is ideal for serving both visitors and affi liates of the school.
 Building 8 is designated as the main dining room for 
this restaurant because of its prominent location.  Being on 
one end of the set gives this building views in several 
directions, but allows it to be connected to the central 
circulation.  The basement below is an additional space that 
could be used as a cellar room for special functions.
Figure 91: Building 8 Documentation.  The scale of the site makes this building seem deceptively small.  [Images and photographs by author.]
Figure 92: Building 8 Section.  Above is the character of the restaurant?s dining area as depicted by the gestural drawing of  Lin Mao.  
The icon at right indicates programming.  [Image by author.]
Building 9
 This is the other badly damaged building on the site, 
and its location makes it a good candidate for repair or limited 
redesign.  A fi re destroyed the roof and damaged the wood 
block fl oor, but despite the location sandwiched between two 
other buildings the fi re did not spread.  In essence the vertical 
structure is all there, so it would not be diffi cult to replace what 
has been lost.  Given its central location and small size, it is 
logical that this will be the entry of the restaurant.  In this area 
people would hang coats and wait to be seated on very busy 
days.  All dining areas are accessible from here, and people 
could spend their waits in the adjacent exhibition kitchen.  
Perhaps the most interesting opportunity presented by the fi re 
is that in the redesign of this building it will change from being 
an underarticulated portion of the group to being emphasized 
as the main entry of the restaurant.
Figure 93: Building 9 Documentation.  This building is very small and fi re damaged.  [Images and photographs by author.]
Figure 94: Building 9 Section.  Above is the character of the restaurant?s entry and coat room as depicted by the gestural drawing of  Lin 
Mao.  The icon at right indicates programming.  [Image by author.]
Building 10
 As a large, centrally located space, this is a 
natural place for the exhibition kitchen.  With its linear 
connections and adjacency to the entry, there is an 
opportunity for people to engage the cooking process 
while waiting or moving to tables.  This central location 
also means that when the bar is not open yet or the 
main dining area has already closed, the kitchen is still 
fully accessible.  The only potential problem is that with 
this older building it may be diffi cult to update the space 
enough to maintain the standards of cleanliness that are 
necessary in a modern kitchen.  Undoubtedly there are 
places where this has already been done, and they can 
be studied to develop a working plan for this building.
Figure 95: Building 10 Documentation.  This building is a connector between similarly small buildings.  [Images and photographs by author.]
Figure 96: Building 10 Section.  Above is the character of the restaurant?s exhibition kitchen as depicted by the gestural drawing of  Lin 
Mao.  The icon at right indicates programming.  [Image by author.]
Building 11
 This building is spatially separated from the 
others of the set, and its location in the back of the 
complex makes this a good place for a more private 
function.  A change in fl oor level separates this building 
from the others, and its high walls merge into the only 
hip roof on the site.  Given the character of this building 
it would work well for a bar area that can be reserved for 
larger, private functions.  The walls have amble room for 
the fl at screen televisions for movies or sports, and there 
is fl oor space enough for a serving area and tables.  Its 
exterior connections allow this building to utilize the east 
area of the courtyard as a private outdoor space, and the 
building can even be accessed independently from the 
other buildings after hours.
Figure 97: Building 11 Documentation.  This building connects to the two areas of the courtyard.  [Images and photographs by author.]
Figure 98: Building 11 Section.  Above is the character of the restaurant?s bar area as depicted by the gestural drawing of  Lin Mao.  The 
icon at right indicates programming.  [Image by author.]
Building 12
 Being by far the largest building on the site and 
a concrete structure, this building is a natural place for 
crafts involving heavy equipment and fi re hazards.  With 
a freight elevator it will also be easy to move supplies to 
the fl oors and fi nished products out.  Glassworking, 
ceramics, and metalworking all involve furnaces and 
kilns, and the high ceilings provide space for the excess 
heat to rise.  Large, operable windows provide both 
ample natural light and ventilation in the warmer months.  
The lowest level of this building is designed to be able 
to drive into, and this will serve the need to have secure 
parking for the teachers and students of the institute.  
Secured indoor bicycle parking should also be 
accommodated within this space as well as some 
storage for larger items.
Figure 99: Building 12 Documentation.  The scale of this building is 
very imposing and largest on site.  [Images and photographs by author.]
Figure 100: Building 12 Section.  Above is the character of the heavy industry building as depicted by the gestural drawing of  Lin Mao.  
The icons at right indicate the fl oor-by-fl oor programming.  [Image by author.]
Building 13
 The generator building is the only one that would be 
best suited to be refi tted for its original purpose.  Though it is 
currently fi lled with old equipment and asbestos insulation, the 
space is a soaring three stories without interior fl oors; it could 
essentially be returned to a clean slate that can be outfi tted 
with modern equipment for cleaner energy generation and 
distribution.
 Two of the underutilized features of the larger buildings 
of the complex are the fl at roofs and towering heights.  
Outfi tting solar panels is possible, but with the low effi ciency of 
modern models there are likely better options for this situation.  
The fact that these building are much taller than the 
surroundings makes them good candidates for vertical wind 
turbines, and the generator building would be able to collect 
and distribute the energy collected. 
Figure 101: Building 13 Documentation.  Without any fl oors the interior scale of this buildig is impressive.  [Image and photographs by author.]
Building 14
 This small garage building defi nes what will 
become a park space in the site development.  It faces 
into an alley and is currently rented by residents living on 
the other side.  Having the building continue with this 
purpose would be reasonable, or if needed it could 
be converted to private studios or storage for the craft 
school.
Figure 102: Building 14 Documentation.  For cars this garage is only accessible from a residential alley.  [Image and photographs by author.]
Section 3: Other Notable Features
 While not buildings themselves, there 
are a few other features of the site worthy of 
mention.  The John Street bridge and the rail 
car are both well-known in the city and should 
be considered as part of the plans for the 
redevelopment for the site.
Figure 103: Detail of the John Street Bridge.  The metal cladding of this bridge is striking from a distance, but the details can only be fully 
appreciated from up close.  [Photograph by author.]
The John Street Bridge
 This is bridge is an icon not only of the site but of 
the city; there is no other bridge with of this nature or with 
a similar character.  When Building 12 was added to the 
site in the late 1920?s this bridge was retrofi tted to 
connect to Building 4, allowing workers and carts to 
safely move above the traffi c of John Street.  As with the 
buildings themselves, the bridge has operable windows 
for natural ventilation, but the metal cladding is unique to 
this structure.
Figure 104: John Street Bridge.  These images show the bridge from the west and its connection to Building 12.  [Photographs by author.]
The Rail Car
 In the gap between the ground and fi rst fl oors of 
Buildings 4 and 5 runs a set of railroad tracks which are 
currently occupied by a rail car.  The future design of the 
site repurposes these tracks as a pathway, and so the 
car will move to be repurposed as well.  As it appears to 
have been some sort of specialized shipping car, it could 
be restored to become a large scale exhibit piece in its 
new location.
Figure 105: Rail Car.  The rail car is most visible from the north where it can been seen in the context of the courtyard.  [Photographs by author.]
Figure 106: Courtyard Design Process.  The site plan was designed concurrently with the gallery and sales building, and this is one of the earlier 
versions of the courtyard area in which different courtyards are themed to express different craft materials.  [Image by author.]
Section 4: The Site as a Whole
Design Process
Figure 107: Courtyard Design Process.  In this version there are courtyards that provide transitions or focal areas at key points.  The nature and 
character of the pathes is matter of discussion when this is pinned up at a design meeting.  [Image by author.]
Figure 108: Courtyard Design Process.  The process drawing with its diagramming overlay shows how the fi nal design of the courtyard devel-
oped.  Pathes are now selectively straight or curvelinear to distinguish between more formal and natural spaces.  [Image by author.]
Figure 109: Public Review Site Plan.  The landscaping is an integral part of the site design, and it is most visible here on the graphics for 
the site plan.  This image was rendered by Dan Lamp.  [Image by author.]
Final Images
Figure 110: Public Review Site Plan - South Detail.  The park space near the garage building is clearly visible here as well as the feature that is 
made of the rail car in the parking garden.  The basement parking level is accessed from the alley.  [Image by author.]
Figure 111: Public Review Site Plan - North Detail.  The main entry to the courtyard will be from the parking garden adjacent to King Street; the 
entry pavilion?s courtyard directs visitors through the west connector and into the complex?s entry courtyard.  [Image by author.]
Haptic Model and Development
 The physical model for this design is a visual and tactile 
means of communication wherein the textures convey both 
importance and programming.  The idea for a haptic site model 
developed over the semester as a result of the author?s 
participation in an architecture elective course titled 
?Architecture and the Senses? taught by Professor Peter 
Noonan.  The ?haptic board? project shown at right required 
both tactile and visual composition and was required to convey 
an idea about materiality?in this case how a single base 
material (apple wood) could produce a wide variety of expres-
sions and sensations.  This idea was reworked to create a 
model which would convey the most important programmatic 
elements of the site design.  The intent is that the model 
function as both diagram and interactive graphic 
communication.
Figure 112: Haptic Board Details.  These detail images show areas where different materials meet.  [Photographs by author.]
Figure 113: Haptic Board and Details.  The author?s haptic board project is shown on the left; details of three of the different textures are shown 
along the right side.  [Photographs by author.]
Figure 114: Haptic Model.  Each of the fl oors occupied by a craft studio is rendered in a material representative of the craft, and as the main 
scholarly resource for the school the library is also given a representative texture.  [Photograph by author.]
Figure 115: Detail of Haptic Model?s North Courtyard.  Starting from the lower left: Building 3 contains woodworking, Building 4 basket weaving, 
Building 5 textile weaving, Building 6 quilting, and the gallery and sales building is rendered in MDF.  [Photograph by author.]
Figure 116: Detail of Haptic Model?s South Section. The top two fl oors contain ceramics and glassworking studios while the fi rst fl oor is 
reserved for metalworking.  The basement and the John Street bridge are not visible.  [Photograph by author.]
Figure 117: The Courtyard.  This is a modifi ed version of the site documentation which was used throughout the design process and 
presented at the public review.  [Photographs by author.]
Chapter 6: The Design Process
Section 1: Building 7 Documentation
Figure 118: The Courtyard.  This is a modifi ed version of the site documentation which was used throughout the design process and 
presented at the public review.  [Photographs by author.]
Figure 119: The Dye House (Building 7).  This is a modifi ed version of the site documentation which was used throughout the design process 
and presented at the public review.  [Photographs by author.]
Figure 120: The Dye House (Building 7).  This is a modifi ed version of the site documentation which was used throughout the design process 
and presented at the public review.  [Photographs by author.]
Figure 121: The Dye House Connectors.  This is a modifi ed version of the site documentation which was used throughout the design 
process and presented at the public review.  [Photographs by author.]
Figure 122: The Dye House Connectors.  This is a modifi ed version of the site documentation which was used throughout the design 
process and presented at the public review.  [Photographs by author.]
Figure 123: Site Study Model, Assembled View.  This model was constucted to be disassembled and components exchanged in order 
to explore different versions of designs.  The portion containing Building 7 and its context has the most iterations.  [Photograph by author.]
Section 2: Site Study Model
Figure 124: Site Study Model, Exploded View.  The various components of this model are seperated here to illustrate the fl exibility of the 
model.  [Photograph by author.]
Figure 125: Levels of Removal.  This diagram shows the range of levels of removal from repair and preservation to complete removal.  
Each of these stages is evaluated for its impact and appropriateness within the context of the site.  [Image by author.]
Section 3: Levels of Intervention
Figure 126: Design Exploration Focus.  This diagram shows two levels of focus, both of which involve more preservation.  [Image by author.]
Figure 127: Site Study Model Photographs - Group 1.  This is a modifi ed version of the documentation which was used throughout the 
design process and presented at the public review.  [Image by author.]
Figure 128: Site Study Model Photographs - Group 1.  This is a modifi ed version of the documentation which was used throughout the 
design process and presented at the public review.  [Image by author.]
Figure 129: Idealized Plans.  These are two of the plans from a series of idealized, compact plans for the gallery.  [Image by author.]
Section 3: Ideals
Figure 130: Idealized Entry.  This entry type creates a lobby that is a control point.  Everyone enters and exists by the information and sales desk, 
and there is space for tour groups to gather or party members to wait.  [Image by author.]
Figure 131: South Bay Loggia.  This diagram explores how to reuse the south bay as a loggia for the main entry to the complex and the gallery 
and visitor center courtyard.  [Image by author.]
Figure 132: Corridor Study on a Parti Diagram.  This is from a series of parti studies exploring how different partis would fi t onto the plinth.  
Questions about the size and character of the corridor grew into a study in the margins.  [Image by author.]
Figure 133: Site Study Model Photographs - Group 2.  This is a modifi ed version of the documentation which was used throughout the 
design process and presented at the public review.  [Image by author.]
Figure 134: Site Study Model Photographs - Group 2.  This is a modifi ed version of the documentation which was used throughout the 
design process and presented at the public review.  [Image by author.]
Figure 135: Site Study Model Photographs - Group 2.  This is a modifi ed version of the documentation which was used throughout the 
design process and presented at the public review.  [Image by author.]
Figure 136: Site Study Model Photographs - Group 2.  This is a modifi ed version of the documentation which was used throughout the 
design process and presented at the public review.  [Image by author.]
Figure 137: Sectional Light Studies 1.  This series explores the implications of a few different schemes in terms of promenade and natural 
lighting; this set of drawings keeps one section of structure in skeletal form and another as enclosed building.  [Image by author.]
Section 4: Sectional Studies
Figure 138: Sectional Light Studies 2.  This set of drawings replaces the skeletal piece with enclosed building to create a courtyard and reduces 
the building?s size in the other direction.  The west connector is vertical circulation to access the library directly.  [Image by author.]
Figure 139: Sectional Light Studies 3.  This series maintains one of the same sections while altering parts of the other.  Layering of 
progressive spaces are explored here, and all Building 7 above the steel is removed to look at the lighting impact.  [Image by author.]
Figure 140: Site Study Model Photographs - Group 3.  This is a modifi ed version of the documentation which was used throughout the 
design process and presented at the public review.  [Image by author.]
Figure 141: Site Study Model Photographs - Group 3.  This is a modifi ed version of the documentation which was used throughout the 
design process and presented at the public review.  [Image by author.]
Section 5: Version 1
Figure 142: Plan and East-West Section of an Early Scheme.  This early take on an L-shaped building used a corner entry and lobby with 
wings for gallery space.  The corner entry was problematic and later abandoned for a more straightforward entry.  [Image by author.]
Figure 143: North-South Section of an Early Scheme.  In this section the use of glass to allow natural light to fi lter into the building is evident; 
even the stairs have class treads for this purpose.  [Image by author.]
Figure 144: East Elevation of an Early Scheme.  The entry and lobby area was always intended to have a more transparent character than the 
gallery spaces; many different versions of the elevation were explored.  [Image by author.]
Section 6: Version 2
Figure 145: East-West Site Section.  This was a section that remained on the wall for most of the last few months of design; integration of 
landscape elements is a matter of particular importance as the defi ne much of the character of outdoor spaces.  [Image by author.]
Figure 146: Sectional Light Study.  This sketch shows some of the interior character of the building and the way in which natural light impacts 
the spaces.  [Image by author.]
Figure 147: Dimensional Studies. These studies look at proportions of 
gallery and outdoor spaces.  [Image by author.]
Section 7: Final Images
Figure 148: East-West Site Section.  This section shows the character of the fi nal section.  [Image by author.]
Figure 149: Detail of the Courtyard?s East Area.  This area is a more 
park-like area for quiet activities.  [Image by author.]
Figure 150: Path along the Rail Tracks.  This is the main circulation 
path through the courtyard.  [Image by author.]
Figure 151: East-West Section of the Gallery and Sales Building.  In 
this section one can see gallery display methods.  [Image by author.]
Figure 152: East-West Courtyard Section.  This image shows the character of the courtyard on a day when there are artists selling work in the 
courtyard.  [Image by author.]
Chapter 7: Conclusions
Figure 153: Public Review.  This image shows part of the presentation for the public review.  Less visible portions of the presentation include the 
study models on the front bench and the craft examples on the right bench.  [Photograph by author.]
Section 1: Public Review
 The main point that came out of the 
public review was a lack of balance between 
analysis and design.  Verbal and graphic 
presentations for the analysis were strong, but 
the tone of the design itself indicated that it was 
much less developed than the analysis had 
been.  Clearly disparate amounts of time had 
been spent on the two bodies of work, and 
there was less comfort with the design portion.
 Reviewers asserted that more time was 
needed to bring the design up to an equal level 
of detail and consideration.  Additional diagrams 
were necessary to give the design the same 
clarity as the analysis; those diagrams should 
also be equivalent in graphic style for ease of 
comparison.  Existing images needed to reach 
the same level of graphic communication.
Figure 154: Public Review.  This image shows the tactile elements of the presentation.  Given the importance of the physical interaction of hand-
crafts, tactile interaction was considered a integral part of the presentation.  [Photograph by author.]
Section 2: Revisions
 Additional work focuses on the development of 
media that will better convey the character of the design.  
A 3-dimensional computer model has been progressed in 
order to be able to better convey the experiential qualities 
of the building as well as materiality and construction.  
Some key images have been further detailed in order to 
illustrate spaces within the building and courtyard.
Figure 155: Exterior Perspectives.  Views from the entry pavilion and from the west courtyard entrance.  [Images by author.]
 Following comments about the site plan reading 
poorly, two alternative means of representation have 
been developed.  The physical model is a visual and 
tactile means of communication wherein the textures 
convey both importance and programming.  The 
derivation of this idea is further described in the design 
chapter, however the intent is that the model function as 
both diagram and interactive graphic ommunication. 
Figure 156: Haptic Model.  Unique materials on some of the buildings refl ect the program on the related fl oors.  [Photograph by author.]
 One of the sections has also been 
updated and more fully rendered to convey the tecton-
ics of the building as well as the interior character of the 
space. 
Figure 157: East-West Section Facing South.  This section has been updated and rendered to illustrate the use of the site and building as well 
as materiality and the display of the crafts.  [Image by author.]
Section 3: Refl ections
 There are a few issues that have 
required considerable refl ection throughout the 
life of this thesis, and they should be mentioned 
here again.  Integrated design approaches, the 
ideal approach to an adaptive reuse 
intervention, and the idea of what it means to do 
an adaptive reuse thesis have all been evolving 
in the background.  Exploration of these ideas 
has resulted in as many questions as answers. 
Figure 158: Sideview Mirror.  The hour and a half drives between College Park, Maryland, and Martinsburg, West Virginia, have provided times 
for contemplation and decisions about the future of this thesis.  [Photograph by author.]
On Integrated Design
 Striving for an integrated design approach as 
discussed in earlier portions of this document has 
achieved various levels of success.  It is the belief of 
this author that several modes of working are essential 
for good design, however a helpful level of integration 
is sometimes challenging to achieve.  Cultivation of the 
transitional fl uidity that is demonstrated in the best of 
design practices is diffi cult in the face of very 
methodical work habits.  The question of how to better 
integrate methods?how to easily put one down and pick 
up another?is not one which can be answered.  It must 
be learned with practice, and this has been just one 
project of many that will be spent working toward that 
goal.
Figure 159: Integrated Design.  This is a smaller version of the diagram featured in Chapter 4: Design Guidelines.  [Image by author.]
DIGITAL MEDIA
SITE IMAGES
HAND DRAWINGS
PHYSICAL MODELS
On Aggression
 There will always be questions about the ideal 
level of intervention for an adaptive reuse project, and 
the development of this thesis has been a good way to 
learn that there is no easy or defi nite answer.  Extensive 
documentation of the site led to an apprehension of 
altering the character despite a conscious knowledge 
that this site can and should be reused.  Surely there is a 
way to occupy the site without losing all of the things that 
make it wonderful, but where is the balance point?
 Despite continued concerns that the current 
design could be too aggressive, the public review 
showed that it may not be aggressive enough.  During 
the following several days a body of sketches developed 
that investigated an approach that was simultaneously 
more aggressive while potentially appearing more subtle.  
Figure 160: Sketch of Alternate Design.  This design would reuse the existing structure of Building 7 more aggressively.  [Image by author.]
This scheme pushes down into the area below Building 7 
and the plinth to make a building that can act as a gallery 
and sales building as well as an entry to the complex.  Is 
this alternative too aggressive?  Perhaps, but one needs 
to explore options which are both ?not enough? and ?too 
much? to fi nd one that can be ?just right.?
Figure 161: Sketch of Alternate Design.  This design would reuse the existing structure of Building 7 more aggressively.  [Image by author.]
On Adaptive Reuse Theses
 Does undertaking an adaptive reuse thesis 
automatically mean taking on too much?  Does it 
necessarily matter?  When the prospect of thesis was 
fi rst discussed the point was made that a thesis must 
be interesting enough to survive almost a year of 
interaction and still hold interest.  After more than two 
decades of fascination the Interwoven site seemed 
like a sound choice.  Perhaps the most important 
thing about this site and this thesis is that it has never 
ceased to be interesting, and with a greater knowledge 
and understanding this place has only become more 
so.  End goals aside, all of the work may well be worth 
it to discover that despite the pitfalls adaptive reuse 
may very well become an enjoyable career.
Figure 162: Building Reuse in Downtown Martinsburg.  These are a handful of the buildings in downtown Martinsburg that have been repur-
posed; old banks and showrooms are now occupied by businesses like restaurants and bookstores.  [Photograph by author.]
Section 4: Life After Thesis
 Perhaps the most valuable thing about this thesis is 
that a body of publicly-accessible information has been created 
in an area that is sorely lacking.  Despite being less than half a 
mile away, the Martinsburg-Berkeley County Public Library has 
very little information about the site or Interwoven Stocking 
Company.  Internet and newspaper research turns up little 
more, and the generation of people who worked in this place 
is waning.  Most people know the buildings but very little about 
them, and so it is important that this document be shared and 
utilized through the Public Library and the Berkeley County 
Historical Society.  The current owners and developers, the city 
of Martinsburg, and any locals with an interest will have access 
to the work that has been done.  Hopefully some of the ideas 
explored will affect the future of the site and the appreciation of 
its history.
Figure 163: Interwoven Mills Signage.  Developers are sharing their vision for the complex?s future with the public.  [Photograph by author.]
?You must be the change
you wish to see in the world.?
 
Mahatma Gandhi
164 
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