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TAMPA INNOVATION ALLIANCE These images were rendered as a project for the Tampa Innovation Alliance, a coalition of businesses seeking to develop Tampa’s cultural and economic environment. The renderings here were ultimately presented to Moffitt Cancer Center, Busch Gardens Tampa, and the University of Southern Florida (USF). All were generated from a mix of Sketchup, Photoshop, and my own on-site photography.

University of Southern Florida visualization (above). Left, conceptual rendering for Moffitt Cancer Center.

Busch Gardens Tampa visualization.

COLLEGE OF HOSPITALITY, TOURISM, & LEADERSHIP EXPANSION UNIVERSITY OF SOUTHERN FLORIDA SARASOTA-MANATEE This project was an expansion of culinary and education facilities for USFSM’s hospitality program. Here, I helped carry the building all the way from schematic design to 100% construction document completion, as well as developed most of the building’s architectural details.

SCHOOL OF INTERNATIONAL & PUBLIC AFFAIRS FLORIDA INTERNATIONAL UNIVERSITY In 2018, I collaborated directly with distinguished architect Yann Weymouth to develop a design proposal for FIU’s School of International & Public Affairs. Our design included an expansion of the school’s existing building by Arquitectonica, trying to both complement the original building while guiding the overall facility in a new visual direction. My roles included developing the primary Sketchup model, designing and testing different architectural configurations, and producing presentation materials.



As part of a major overhaul of one of Disney’s

main entry area to relocate to larger, more

Asian theme parks, we sought to renovate the

custom-designed spaces. My responsibilities

park’s entry complex to better handle higher

included producing floorplans and site plans

crowd capacity, and to support the park’s

within AutoCAD, developing visualization mod-

increasing demand on entry facilities. Here, we

els in Sketchup, and synthesizing the floorplans

developed new Victorian-style buildings which

and hand-drawn concept elevations into a

would allow certain facilities within the park’s

workable three-dimensional design.

SPINNER RIDE All of these images were produced during my time with Walt Disney Imagineering, as part of the total renovation of an area in a major Asian theme park. Above: a renovation of a popular spinner ride. Opposite, left: a retail complex designed to resemble a village. Opposite, right: a French-inspired cottage which housed maintenance and water facilities.



Sketchup Revit

CACHE CANYON HOTEL Yolo Valley, CA Prof. Michele Chiuini


The Cache Canyon Hotel was designed as a retreat among the mountains of northern California, overlooking Yolo Valley. The complex is broken up into a series of modular cabins, deliberately composed in a way which would create the community of a campground while allowing for the privacy of a resort. The cabins are arranged around many shared common areas with seating and landscaping, while the rooms themselves are each oriented outward from a central point so that no other cabins are visible. Each cabin features a series of moveable partition walls and windows, which can opened or adjusted to create connections with outdoor patios or with adjacent cabins, or closed

Upper floor cabin

to enhance feelings of privacy.

Outdoor common spaces

At the center of the complex is a community hall, which houses dining facilities and recreational spaces, and is the primary center for circulation between the levels of the hotel. The dining facilities allow access to both interior seating and an elevated exterior patio during appropriate weather.

Directly in front of the community hall is an adobe fire pit, which can provide opportunities for guests of the hotel to convene for activities. Many of the building’s construction practices take cues from the region’s historic Native American tribes, such as the use of local woods and adobe construction.

Central gathering area


The Christy Woods Canopy Trail was created to heighten awareness of a forest near Ball State’s campus through a kind of permanent outdoor installation. Early concepts of my project (top left, opposite page) sought to elevate visitors to allow them to explore the different levels of the forest environment.


However, as the project developed, a major emphasis was also placed on lightness, or a project that would leave minimal impact on the ground. By the time my process stage was completed, I had mapped out every tree in the area, and created a proposal for a walk-through which could be built while leaving every tree in place.

The final proposal involves three separate trails through the forest, which converge at a central elevated experience. Each of the trails allows for a different study of the forest environment: the northern trail passes at close range to only a few trees, allowing for a close examination of each. The eastern trail passes through a small grove and allows one to study the spacial relationship of the trees within. The southernmost trail, and the only without stairs (allowing for full accessibility) offers a more gradual study of the forest, and a slow immersion into the forest canopy. Once visitors have fully ascended the installation, they are presented with a series of viewports which allow for more defined “snapshots� of the forest environment.


ACRYLIC STUDY Prof. Janice Shimizu


Students of Prof. Shimizu’s studio were encouraged to choose a material, and explore its sculptural and tectonic possibilities through a series of small models. For my project, I chose to study acrylic, which allowed for interesting studies in transparency and malleability. The results included the 14 models pictured here, many of which required digital modeling, laser cutting, and various forms of melting and hand-molding to complete.


The study culminated in another use for our selected material, in which we proposed an occupiable installation utilizing a second chosen material. For my project, I decided to contrast the flexible and transparent qualities of acrylic against the opacity and sturdiness of wood.

After experimenting with digital models and concepts that would push the forms of the materials to their limits (far left), I went with the idea of a pattern of alternating wood and acrylic layers, combining to make a single and continuous form, based specifically on the curves of a violin. The final product (next page) features a kind of gradient in solidity, from most transparent (on left) to most opaque (on right).

Final product 36

CHEROKEE DIASPORA CENTER Qualla Reservation, NC Prof. Elizabeth Riorden


For my graduate thesis, I sought to develop how best to design a center or “homecoming” site for the Cherokee tribe’s considerable nationwide diaspora. Built in downtown Cherokee, NC, and only a few miles from one of the tribe’s most sacred and historic mounds, the complex forms an axis with the traditionally-held origin site for the Cherokee people. The site takes a number of geometric and programmatic cues from traditional Cherokee architecture and craft.

The program is broken into four major components. One would overlook the sacred Kituwah mound (which was only re-recently acquired by the Cherokee tribe), and would act as a kind of interpretation center for the site. The other three would be located in the downtown complex, at the intersection of Cherokee’s two largest roads. Each of the four components is centered around a building inspired by Cherokee basketry, which in geographic sequence communicate the history of the tribe through tectonic and material symbolism.

LODGING An important requirement for the downtown complex was to act as a “homecoming” site for the ever-increasing number of Cherokee diaspora who visit the reservation each year, many of whom seek to learn more about the tribe’s ancestry and traditions in person. As such, a lodging component formed a crucial portion of the site’s programming.

A major theme of this component was “movement,” and represented the dramatic increase in the tribe’s historical span, as well as its (mostly involuntary) westward migration. Programmatically, this component includes check-in and lodging facilities for nearby cabins, as well as retail spaces where traditional craft and goods can be sold.

THE WEAVING WALL One of the most significant motifs of the project was the Cherokee craft of weaving. This was most clearly communicated in the central “weaving wall,” which would use traditional wattle-and-daub tectonics and digital fabrication to create a kind of outdoor wooden installation. The path inside would guide the viewer through the history of the tribe, as well as separate the more hardscaped community complex from the landscape of the inner sanctum – a space which would present an idealized North Carolina landscape, and embody the Cherokee idea of “within.”

CULTURAL CENTER Another major priority for the downtown complex was to provide multipurpose space for both for out-of-town guests and for the surrounding community. These spaces would ideally be used for educational purposes, such as teaching the Cherokee language, learning to prepare traditional foods, or for demonstrations in craftmaking. Constructed with traditional materials such as soapstone and honeysuckle, the facility would also host art galleries and exhibition space.

LODGING The largest building in the complex, and a major marker on the site’s central axis, would be an indoor theater with a distinctive heptagonal (or seven-sided) form. This theater would take the most direct inspiration from traditional Cherokee construction, and represents the community’s revitalizing interest in Cherokee heritage. The venue would provide space for musical performances, dance demonstrations, or community gatherings.

URBARN Indianapolis, IN Prof. Timothy Gray


For the final semester of our under-

the Ball State University College of Ar-

graduate studies, my studio sec-

chitecture and Planning. Development

tion sought a project that could be

began with a series of proposals from

physically built and fully useful to the

small teams of Ball State students

community. The result was UrbaRn, an

(my team’s proposals featured here),

“urban farm” project seeking to edu-

although input from the younger

cate children about urban agriculture

students of the Indianapolis Project

and adaptive reuse, in part through

School was also taken into account

the repurposing of two former ship-

(upper left). As the proposals finalized,

ping containers into classrooms. The

construction drawings and physical

project was a collaboration between

models were underway (far right).

the Indianapolis Project School and


The UrbaRn project was heavily collaborative, with each student assisting in a variety of roles. I assisted in managing material orders, sanding and cleaning for reuse (as pictured in large image on right), painting, and furnishing the container, among other tasks.


Buy the book!

Chief among my contributions to the project was through its documentation and publication in a 106-page book, available online. I was also in charge of promotional efforts attempting to secure additional fundraising.

The final outcome features both completely repurposed shipping containers, one as a classroom with desks and one as a more open play area, each with large sliding doors. A spacious wooden deck connects the two spaces.

COLORED PENCIL The images above were created in 2010 as part of a study in different visual media, all examining Oscar Niemeyer’s Niterói Contemporary Art Museum outside Rio de Janeiro, Brazil.






Pictured, from top left: Antelope Canyon, UT London, United Kingdom Sorrento, Italy Jeddah, Saudi Arabia Inside Passage, AK Berlin, Germany

Adam McGuire 10901 Brighton Bay Blvd., #2106 St. Petersburg, FL 33716 812-228-9359

Profile for Adam McGuire

Adam McGuire - Portfolio 2019  

A selection of architectural works.

Adam McGuire - Portfolio 2019  

A selection of architectural works.