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China Pg. 15


volume 1 February 2015

Twenty people in one room, clicking: exchanging a glance through text, laughing out loud silently on their phones. Interconnected and totally apart, they click, click, click. A genuine smile for an age gone by hello to passersby falls softly into obsolescence.


A room full of people clicking: wonderfully disconnected.

Poem titled Decay, by Green-Lemons Photography by Joshua Perez


7 15 19 Awake - who we are and studio culture

P 3

An Exploration of Space

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va collective

P 7

Sugar Scrub DIY


Festival of the Trees




Interview with john stuart


AOV Photography



who we are awake [uh -weyk]

verb awoke or awaked, awoke or awaked or awoken, awaking. 1. to wake up; rouse from sleep. 2. to rouse to action; become active. 3. to come or bring to an awareness; become cognizant.


4. waking; not sleeping. 5. vigilant; alert.

“Why Awake? What’s wrong with ‘the Coffee Table’ ?” was a question that came up when we started this project. “Well, because we never sleep.” Liz replies. As architecture students we have one thing in common, and it’s sleep deprivation. We are always awake, always working, always thinking. Awake reflects the performance architecture students are constantly required to give throughout our career towards graduation. As a result, we sometimes find ourselves out of touch. We sit in studio staring at our computer screens, only to realize that it’s been raining for hours. Awake speaks about a level of awareness that architecture students experience at the intersection of learning – from the studio, to Miami, and the world. Our goal is to resist the competitive tension that is present in the studio environment. We awaken the audience by showcasing designs and visual projects that remind us that we are part of a larger community. As a student-based architecture magazine, Awake encompasses life as an architecture student, our experiences, tendencies, talents, and goals. Awake is a culture. A publication. A dialogue. And ultimately, a collective, collaborative portfolio. You could become a part of the Awake movement, too.

culture “STUDIO CULTURE is the experiences, behaviors, habits, found within the campus-based architecture design studio.” – Thais Mathias

“What Does Studio Culture Mean To You?” “Being in a comfortable environment where you can work, communicate with other students, share ideas.” – Cynthia Parada, D10 “People around you, and the atmosphere of students working together and talking to each other…to come up with better ideas.” – Alex Quinonez, D10 “All-nighting, extreme coffee drinking, all the stuff you normally go through by yourself, you now do with other people.” – Joshua Perez, Photographer, D6 “Collaboration. Everyone I know getting together to do projects and figure out problems” – Brian Rivera, D6 “An office environment. You’re working in your individual area but you still have to work as a team or group for class.” – Alisha Patel, D4 “Since I’m a transfer student, it’s been pretty overwhelming, but from what I’ve caught on, it’s working in a group. At first I thought you had to develop a design or system all by yourself in your house or whatever. And now I’ve gotten used to working with my friends, bouncing my ideas off to them…the studio environment/culture is work work work.” – Alberto Barbetti, D6 “A place you go to get critiqued rather than doing it by yourself at home.” – George O’Brien, D10

Thank You to Our Contributors! Lizbeth Diaz | Danyealah Green-Lemons | Vikki Tou | Maria Gonzales Brian Rivera | Jennifer Luis | Priscilla Cuadra | Camila Romero | Ana Maria Reyes | Michael Peisel | Agustin Martins | Luis Marenco | Kevin Arrieta Pedro Munarriz | Aurora Alcaide | Winifred E. Newman | Jason R. Chandler Michael Bisnett | Olga Kusche-Iglesias | Joshua Perez | Oscar A. Valdez Joaquin Pineda | Francisco J. Alonso | Jeanne Michelle Canto Maria Paglia | Rafael Rocha | Ebehi Ijewere | Kelly Meyer


An exploration of space As students of architecture, our understanding of the built environment focuses on the experience of a space or a series of spaces. To most outside of our specific design realm, sometimes space is just that: space. Brittni Winkler is currently a CARTA student working towards her Masters in Fine Arts with a focus in curatorial practice. Having earned her Bachelors in English with a Minor in Art History back in 2012, she is no stranger to the world of art, but this year has been particularly hands on.

The idea lived mainly in Winkler’s imagination until a few of her friends over at HGAB Mag, an online-based Miami lifestyle magazine, thought it would be in both parties’ best interest to film the performance piece and publish it online for the world to see. The preparation began in her backyard with the help of a close friend, her dad, and some tempera paint on a large blank piece of canvas. Blue Vinyasas – as Winkler calls this first piece – served as a dressed rehearsal for Creating Space, which was filmed mid-August by HGAB this past summer. The setting was It began rather simply. Winkler was just starting graduate an empty corner of a friend’s mattress warehouse with no airschool about a year ago and took up yoga at Bala Vinyasa’s conditioning. The performance was nearly two hours long and Coral Gables studio. “Bala Vinyasa is my home. It’s the place physically demanding, but it was informal. It was among friends, I go to when I need relief from school or work, and it’s also the acquaintances, and family, all of which there for help and support. place I go to when I need inspiration for school or work.” She took a quick liking to it – often going multiple times a day – This later turned into a live performance at the Unestablished paying particular attention to instructors Eben Oroz and Megan Art Gallery run by Ashley “Shley” Suarez-Burgos during Miami Eastman, who she mentions were both huge inspirations for her Art Week 2014. Unlike Creating Space, this was Winkler’s first work and progress. “Their teaching styles encourage a creation time performing for a group of strangers. Every pose, every layer of space and on the interior state of mind,” Winkler says. Oroz of paint, every placement of hand and foot was carefully planned. sparked the idea for Winkler’s introduction of paint to her practice “ […] this was the first time the performance was for a live, large in the way he connected the fluidity of vinyasa yoga to literature, audience. It was much more about establishing my own focus music, and nature. Vinyasa yoga is all about cohesion between and going within in order to overcome the adrenaline […] Much breath and body, as well as continuity of movement. of the routine was done with closed eyes.”

The exposure of Unestablished led Winkler to a performance with the popular fitness apparel brand Lululemon at their South Miami store in late December. This brand is marketed mainly as yogawear and Winkler knew this performance would have to be the most precise, the most well thought out and well executed thus far because she would be performing for an audience of yogis. The space she was provided would prove to make it even more of a challenge: a 6 foot by 3 foot window display.

an interesting photograph. The space at Lululemon was smaller, but brighter. Her interaction with the audience was limited by the glass in front of her. The performance was advertised on the store’s Facebook page and much of the audience was there to see an interpretation of yoga.

The experience also helped Winkler grow in her curating practice. “Not only is this helping me base my thesis, but this was an opportunity to see what an artist deals with. I’m experiencing When asked if this performance has changed her the artist’s view on how to create art, how to treat art, how to understanding of space, Winkler responds: “Completely. It really organize myself, and that helps me better understand what an showed me how important the actual space is. I’ve done my artist needs from a space.” Winkler also shows her appreciation performance at home, in a warehouse, at an art gallery, each for the program saying, “MBUS and CARTA have been extremely has been different.” She goes on to explain that the space itself supportive of my practice and development. They’ve given molded her performance. In the first three, she could move me an outlet for my creativity, helped me reach a wide range freely, often working on a roughly 10 foot by 7 foot canvas. of audiences, and also gave me another place that I can call The Lululemon performance changed that, constricting her home—my curatorial studio space.” By Camila Romero. movement greatly. The performance also changed according to atmosphere. Winkler noted that each space catered to a different kind of audience. Unestablished was more formal and dark, even the paint choices were restricted to varying shades of gray. The people inhabiting the space were young and they were there to see art, often times getting within close proximity of Winkler to get 6

va collective Danyealah Green-Lemons and Brian Rivera set out to interview VA Collective members Kevin Arietta, Nicolas Vasquez, and Julian Ramirez while they unveiled their Malala Mural. The mural is placed the side of an abandoned building facing the recently restored Magnolia Park. We uncovered the creative endeavors of VA Collective and the motives that drive them. We even had a chance to interview and profile some of the locals who were enjoying a sunny day at the park.

Meaning of the Mural: every mural is different, so it depends on who’s for and what we do. It’s nice to help the community grow when it needs it and make a difference. The mural represents leaving your mark. This isn’t really street art – but the nice thing about street art is that it is in between graffiti and fine art. It doesn’t matter if you’re rich or poor: it’s for everybody. In Wynwood, you see homeless people and rich people in the same place but everyone appreciates the art the same way. It’s nice to give something to everyone as equal, and expose them to the same things.

Kevin: What helped us a lot was the press release for the Roberto Clemente mural. We had no idea how big it was going to be. There were over 30 people there. They interviewed each and every one of us. We even got on their online page. We gained a lot of exposure – through Facebook and Social Media/Instagram. It especially helped when friends and family outreached and shared the story. Also, we assisted with phase 1 of the Magnolia Park landscape renovation, thanks to Chris Davis (Opa-Locka Community Development Center Chair). We talked to Roberto Rovira and he got into contact with Willie Logan who’s in charge of the non-profit so that we could be allowed to do the mural here. We made a power-point and had a concept; they liked the idea and set us up.

Danyealah: What style do you try to achieve for each project? Kevin: When it comes to community projects we’re not getting commissioned for, it usually follows the same style as our Wynwood murals; we do a series. Any job we’ll do will have this style accompanied by a quote so that people can look Brian: How do you think Miami as a playground compares to up at it. The Roberto Clemente mural (Located on NW 2nd art-friendly cities like LA, NYC, Houston, etc.? Avenue and 34th Terrace), for example, reads: “If you’re not making a difference in the world then you’re wasting your time Kevin: Miami is growing – it’s still growing and far away from on Earth”. People pass by and see it, and they start smiling, other cities. But it’s nice to be at right now. You want to be where fixing their posture, and really get inspired. Also, Wynwood has the movement is happening – so it’s hard to grow when there’s a lot of sketchy areas so it desperately needs the uplift. so many names around you. It’s great to have recognition in an area like Wynwood that’s growing so steadfastly. Danyealah: What is the VA Collective “vision” or philosophy, or any message that is not exactly public but something you Brian: Do you think Miami as a playground for art can be guys keep to yourselves? improved? Kevin: We don’t want to work for anyone. Right now we’re Kevin: For starters, schools need to place a priority in art and using our talents that a lot of us at school have; but I don’t art education. Transportation needs to improve – people that think we truly see the values that we collectively have so I live on campus, for example, have a hard time getting to these decided why not go out there and do it. I don’t want to be an places. That’s part of my goal for CATARSIS – to combine our intern; I want to actually do something and start something to work in the gallery, courtyard space, and lawn. get a head-start on the real world. Being self-driven means putting your talents to use and not waiting around. It means to Materials: seek all available opportunities. I want to be traveling and do The paint we use is Montana: MTN is one brand and Montana something different every day; not like my co-workers who are is another (it used to be the same company but they split). CAD-monkeys and wait for lunch as being the most exciting Same paint, different pressure. Different types of caps are thing about their day. We like to branch out; we’re a collective $0.75 cents each. A lot of money is spent on caps instead of group, and we all have a different set of skills. We’re not being paint, since each have their different use and lifespan. Each selfish about this. We want everyone to have their own thing. spray can ranges from $6-8.00 each. Most professionals use Developing a company of strengths. MTN. Danyealah: Thanks! That was well said. And what are your Question for the locals: What do you think about the mural other hobbies? and the park? Kevin: We enjoy playing soccer a lot – it’s a huge stress reliever. “We like it - it’s something different for the neighborhood; It helps when we’re busy with this stuff and busy with school. it brings a new vibe to the community. The building was a It brings us together. We like to go to the beach whenever we wash house before - a messianic wash house.” can. Normal Miami things. Travel. This is a hobby – doing a – Joel, “Mr. Superfly” and Ernest Scott. mural on the weekends instead of going to the beach gives us that adrenaline. Diana Smith: she’s been living here for over 30 years. Magnolia north was the infamous triangle. Like the beach. Danyealah: Where do you see VA Collective going in the Late 80s early 90s shootings brought it down. Now it’s next 5 years? quiet and peaceful. The building behind the mural was Kevin: Maybe a year after graduation – since we have so many a nightclub, with a kitchen in the back. An efficiency, or opportunities and connections lined up – we’ll have a studio rooming house, where people paid rent. where we’ll be able to work. Or a firm. VA Collective and park developers are grateful for Mrs. Brian: You guys got exposure from Univision, CARTA, and Smith, who maintains the park in neat condition and other organizations – how big was this in terms of popularity? volunteers her own time to pick up trash and debris. What type of exposure are you guys looking for?



SUGAR SCRUB DIY by Aurora Alcaide

Do it yourself projects have always been a passion of mine. If you are like me, you probably think you can do most things you see hanging on store shelves and avoid spending on over-priced items. This passion for making crafts started when I was a young kid. My aim was to create something that would serve either for decorating spaces or as gifts. If you like what you see and you cannot find the time to do it, you can always buy through awake magazine’s web store, where we will have a selection of cool things. Meanwhile, I am thrilled to share with you an amazing and simple DIY project that is sure to please, especially during the winter when we are more prone to get drier skin. A wonderful Lemon Sugar Scrub in a beautifully decorated jar would make a great gift to someone you love or a pampering gift to yourself after long hours in studio. Sugar scrubs are perfect to exfoliate and repair these seasonal skin issues.

Materials: Jar(s) Scrapbook paper Mod podge A brush Scissors (You probably have most of it from studio materials!) Start off by cleaning and drying the jar and cut a piece of paper into your favorite shape. Then, apply mod lodge to the area you want to place the label and press your paper smoothing out any bubbles or wrinkles. After this, print out a label on any paper that would compliment the other one, (if you are a graphic designer you can make it as fancy as you would like!) and apply some mod podge and glue it over the scrapbook paper. After that make sure to apply a coat of glue over the whole label to seal it in

place. Don’t be afraid to apply glue past the edges of the label to secure it in place, just clean any unruly streaks with a q-tip. After this step, let them dry and start with the lid. Next, place the jar lid upside down on the back of the scrapbook paper and measure the lid. Cut 1/4” away from the end of the lid so that you have enough to wrap and glue it inside the lid. Apply mod podge on the lid and wrap and press it, smoothing out any bubbles. Apply additional glue on the side and keep pressing the paper until you wrap it inside.Tuck the end of the paper inside the lid and then apply additional glue to hold it in place. Once you are done gluing the inside in place, make sure to also apply glue over the top paper and sides to seal and protect it. Does it bring back any memories as a kid doing it? While you anxiously wait for everything to dry, you can start making the scrub! In this case I used lemon oil for the scent, but you can choose whatever tickles your fancy and even combine it to make your very own scent!

Ingredients for the scrub: Mixing bowl 1 cup of sugar (any kind) 1/3 cup of any non smelly oil (I used coconut oil) Essential oil(s) (I went with lemon) Combine all ingredients in a mixing bowl, add as much essential oil you want (each person has their own preference) making sure you add 1 drop at a time until you reach the desired scent strength. And you are all done! Easy!! Once the jars are dry you can add the scrub and a nice string to decorate it and Voilá! Ready to be used and relax.


Outfits are to be constructed from recycled materials. The use of fabric is not permitted. These outfits will be modeled and judged at the FIU School of Architecture Recycled Fashion Show on April 2nd, 2015.


FIU Students (Individual effort or groups of 3 students or less)

How To Enter:

Visit to download an application For information and contest rules, please visit

FESTIVAL OF THE TREES Brian Rivera interviewed FIU’s participants of this year’s Festival of the Trees, an event where interior designers and architects collaborate with sponsors and firms to produce some of the most impressive table-top ornaments. The trees shine elegantly atop wooden pedestals made solely for the one-night event at the Coral Gables Museum. Designers auction off their collections, and receive awards and scholarships with categories ranging from Most Creative to People’s Choice.

“We wanted to do something out of the ordinary,” said Priscilla Cuadra, D6 student, who crafted a tree made of clay along with her partners Maria Gonzales (Interior Grad 1), Aurora Alcaide (Interior Grad 1), Yenisley Hernandez (D6), and Lina Mora (D6). “I truly believe in this event,” said Aurora when asked why she was participating. What with studio and their busy schedules, it was a challenge they were willing to accept. Even the relentless air of competition did not intimidate them. Some of the contestants included large firms like Perkins + Will, and others included determined professors filled with years of experience and a constant winning streak.

It seems that was the vibe, but in reality, Maria says that “people think it’s exclusive but anyone can join and go to the event! It’s a little harder to participate if you’re a student group, though.” They all aspired to get something out of it, and Aurora put it this way: “Out of this event I hope to get a feel for the kind of people involved in this field, get acquainted with the culture, and gain a better understanding of design and what inspires all these other designers.”

The people that go are both the younger generation and the older, well-to-do. Large firms have people represent them while they come and collect their awards, basically. It was a bit intimidating for me since it was my first time attending FOT, but I hope to get better at networking and share my ideas with some cool people.

As for their tree, it was initially a hollow chunk of clay carefully sculpted into a majestic cone, resembling a frosted tree from Tinkerbell’s forest. For them, a holiday tree is a “gathering place. It’s nostalgia. It’s a temporary installation that one puts together I have personally been awarded the Festival of in their home and ultimately shapes the way they interact with the Trees scholarship, so I took this opportunity each other.” Priscilla goes on to say “it’s fascinating to explore the to give back to the organization that helped me symbolism of a tree, and it’s all there in our minds, we just have move forward with my career. to think about it.” The group came across sculptures that were “truly immaterial”. They had no idea what they were made of, but And if that doesn’t convince you, then consider the event they looked flawless, melted, and glossy. By Brian Rivera. itself, known for its delicious servings of Spanish food and beverages. “It’s absolutely about the delicious food,” said Lizbeth Diaz and Joane Biename’s tree (both in Priscilla. When asked about her experience, she continued to Design 6) earned honorable mention. Winners also included Professor Adrian Heid. To say: participate in next years Festival of the Trees, contact Professor Janine King.



China is a country that has been close to my heart for as long as I can recall. I was born and raised in a Latin American country, but my family is of Chinese descent. Fortunately, my parents have always stressed the importance of a connection with my heritage and provided me with the opportunity to visit China multiple times. Every time I visit China, however, I seem to either learn something new or rather understand things beyond the superficial perspective. This winter break, my trip to Hong Kong and Guangzhou was no different.

The distinction between American and Chinese culture was palpable. The differences were even evident within my own family as we had to adhere back to Chinese traditions. This sudden change in mindset only made me feel more invested in the experience of my heritage. During my trip I was immersed in China’s rich culture in addition to its excellent gastronomy. I was also impressed by its apparent economic success, especially in the eyes of other countries. China is considered the number one economic power of the world, surpassing the US as the world’s largest economy. Yet, despite all this I had to wonder what the cost of all this beauty truly was. The more I experienced China, the more I sensed a lack of the government’s concern towards its people. The Chinese government’s ascendancy over the people is quite obvious. After having several conversations with locals in Guangzhou, I came to the conclusion that the only laws enforced seemed to be the ones that oppress and regulate the population. Laws such as the drastic family planning policy are well in effect while laws that create safety and order on a daily basis, such as traffic and construction regulations are not. In fact, most families inherit their land from previous generations and seem to be allowed to demolish and build as tall their fortune may provide, yet there is a land-use term of 70 years that provides the government the right to claim the land after this time period.

Upon looking past the most developed areas of Hong Kong and Guangzhou, one notices that the majority of the country lives in critical conditions due to their environment and lack of building code reinforcement. The disparities between these poorer towns and the economic hubs are vast. Unfortunately, the people of these towns do not even realize the severity of their own living situations because of un-willful conformance and submission to authority. The quality of life is also less than stellar as the levels of pollution are ridiculously high, especially in Beijing where pollution levels have hit 20 times beyond the safe limit. The industries in China evidently lack the necessary planning for a clean and sustainable environment. Health and corruption are of concern thanks to the lack of care by industries and the government. This trip helped me realize the potential and true greatness of China. I was delighted to notice the amount of growth and progress this country has experienced over the past years, but also disappointed to see its underlying weaknesses and troubles. China should be more than just an iconic image of a successful country. Its aim should look towards a better China for the good of its people and not a perfect outward economic appearance. By Vikki Tou.

The economic hubs are the most developed areas of the country and one can see some of the most beautifully designed buildings and recreational areas there. These picture perfect sites, however, make up a minimal portion of China.


Interview With John stuarT

Fellow students in the School of Architecture Vikki Tou, Rodrigo Silva Urbaneja, and myself - Danyealah Green-Lemons - put our curious brains together and decided that we wanted to get to know a few members of the FIU SoA faculty on a more professional level. “Who are these distinguished people who teach us and what can we learn from them?” This was the driving question that fueled our curiosity. Our hope at AWAKE is that many of the students in the FIU design studio community would find these interviews enriching and inspiring as well. Danyealah: Professor Stuart, how and when did you find your interest in architecture and where did you pursue your architectural education? John: My path to architecture started with my interest in urbanism and Latin Studies. I started out at Brown University studying applied mathematics, and from there I went to Princeton to study classical archeology, as a way of finding what I loved. The questions I was interested in asking couldn’t really be found in archeology - questions that had to do with ethnicity and politics were never addressed in archeology. So, from Princeton I went to Columbia University where I studied architecture. Now, I still believe that archeology can add to architecture because archeology is all about the layers of history and movement, and the layers that make up the environment. The training of architects in the science of understanding layers, as archeologists do, is an understanding that architects need. Danyealah: When you were a student in architecture school at Columbia, which architects did you most admire and which architect would you say influenced your view of design?
 John: Well, I was working for I. M. Pei and he had just come back from designing the Louvre. His firm was one that was really about very steady process - it was a business-like firm. As soon as I graduated, I went to work for Zaha Hadid and it was because I was really influenced by the drawings she had done. The drawings I had done in school were about creating work that would help people imagine the built world. From Zaha I went to work with KPF (Kone Patterson Fox) Architects - Rem Koolhaas also wanted me to work for him because of the drawings I had done.

In the School of Architecture at FIU, there is one environment where students and professors engage each other in the process of learning and discovery: the design studio. Uniquely, the design studio is both a physical place for studying and designing, and it is also representative of student culture and acts as a “thinktank” for young designers. The design studio is where students attempt to not only refine their skills, but also capitalize on the Danyealah: What is the most valuable piece of knowledge student-professor relationship, as one-on-one interaction gives you learned while studying at Columbia? greater depth to the learning experience. As a result, the nature John: The most important thing I learned was time management. of the student-professor relationship in the design studio often I. M. Pei didn’t allow you to stay all night at the office and he leads students to wonder, “Well, who is really teaching me?” In never wanted you to, either. I learned incredible focus and that other words, as an architecture student myself, I have always the social environment of the studio is a wonderful thing, but I wondered, “What did it take for my professor to get to the place also learned not to mistake it for work. Architecture firms don’t that I eventually want to be in my career?” want you to pull all-nighters because of lack of efficiency. But,

when architects learn how to use tools well and understand their own style of efficiency, this helps them understand where their skill-sets lie. From the student’s perspective in the design studio, if you were trying to be a machine, designing would be a different process. But since you’re trying to understand your unique perception of space and you’re finding your own sensibility, you allow yourself to enhance what you do well. When you enhance your knowledge of your own sensibilities, you begin to learn your own efficiencesefficiencies. Know thyself.

Danyealah: Which building in Miami do you most admire (and why) and which building in the world do you most admire (and why)?
 John: I really like the 1111 Garage designed by architects Herzog and de Meuron, and I most admire the Thermal Baths at Vals, Switzerland designed by Peter Zumthor. The architectural integration of the baths into the countryside and into the mountain are remarkable. When you’re in the baths, you’re the most exposed to the architecture as you could possibly be. You are connected to the most personal part of

The best thing for students to do is to teach others because it is a way to stay very active in your approach to design.

Danyealah: What do you thtink is the role of education in the world, reflecting that you are at your frailest when you are architecture?
 most connected to the universe. Spending time at the Thermal Baths makes for a very simple life: you are either in the baths John: The role is to provide a nurturing environment for or you’re walking through the mountains seeing the incredible students to ask questions because the real world is neither vistas. There are designated silent hours at the baths during nurturing, nor a place that is particularly questioning. The the day. During these times, visitors in the baths are supposed design studio is a moment to develop a skill-set and habits of to be completely silent, giving them the opportunity to sit and thinking, making, and designing that students will then have to contemplate the universe. know (almost as shorthand) when they get into the work-world. You don’t get the time or the space - intellectually or creatively, Danyealah: In your opinion, what role do you think and are not given it by your boss - to find things on your own. architecture plays in the world?
 School prepares you for your boss - and your boss is your client. John: I think architecture provides a “thought-framework” Your job as an architect is to put yourself into a conversation for systems - it is a way for people to think about the world with your boss and understand them. You practice in school for structurally. Architecture also provides a physical framework that moment in which you are addressing a client. for the foundation of societies and civilizatonscivilizations. We talk about architecture as a system and architecture Danyealah: What inspired you to teach architecture?
 is a way of structuring, ordering, and bettering the human exprienceexperience through the built environment. The built John: I think what inspired me to teach architecture was the environmnetenvironment is then a record of who we are and amount that one learns by teaching others. The best thing for where we’ve been - architecture is a palimpsest of community students to do is to teach others because it is a way to stay values and cultural values. very active in your approach to design. Danyealah: As a professional, what was the first design Danyealah: As a resident of Miami, how do you think the project you worked on when you graduated from the architecture of Miami can improve in the next 20-30 years? architecture program at Columbia University?
 John: I think architecture can play an important role in how we move water around and how we move architecture around to John: I worked on a project with Zaha Hadid and it was our advantage. We can turn the sea-level rise disadvantage the Canary Warf in London. I worked with Zaha on another into an advantage. It can help us think about how we can live “port” project known as the Cologne Port, which is now being more lightly on the land, how we can engage public forms of designed as a sustainable pedestrian city. transportation, and how we can use transportation independent Danyealah: As the Associate Dean of Cultural and of its energy use. The ways we design and shape environments is going to be part of what I like to call the “Climate-change Community Engagement at FIU, what role do you think FIU Revolution” - it will change everything. Much like the Industrial SoA has in the world of design?
 Revolution changed John: Well, I think the most interesting apsectaspect of the society’s approach school of architecture at FIU is the people who end up teaching to building materials, here. The majority of the faculty come from Columbia and the “Climate-change Harvard. The role that SoA has is to connect the environment, Revolution” will change culture, and technology to the world of design. Specifically, for our priorities. the Miami Beach Urban Studios (often referred to as MBUS) the role of education is based on the teachings of the Bauhaus. After the interview with Professor Stuart, he For example, when studying under the Bauhaus philosophy, was more than happy to you studied a range of fields: theatre, music, photography, take a selfie with me! etc. Essentially, design wasn’t separated from life, but was seen as an integral part of life. The college experience is Stay tuned for often segregated into separate worlds. But, the goal of MBUS more in-depth professor is to make the world a place that you as a student feel you interviews on the next belong to and can function in. It is important for the students to volume of Awake experience this type of all-encompassing education. Magazine.

aov photography INTERVIEW WITH OSCAR VALDEZ From the onset, photography seems simple. Yet there’s an unspeakable quality to the subject of the image and the surrounding scenery that make the photo successful. There’s science behind it, like grids, optical illusions, and visual-to-brain perception, and they marry into a coalesced still that freezes the subject – all under the photographer’s control. Every millisecond is critical for the photographer, but does practice make perfect in such a dynamic medium? Can one, geared with the highest quality camera and aid, properly expose the world around us in a way we’ve never seen before? Do we rely only on today’s cameras to perfect the skill, or can we adjust our physical senses like our eyes to snap the same photograph and retain the same sensation that a DSLR does? Oscar’s web portfolio:

Is there a concept or a “look” to some of your photographs Which in-between do you feel is more important in your that you try to achieve? photography: photographer-subject, knowledge-practice, or architectural space? Oscar: I always have an idea/concept/message in mind before I go into a shoot; the results depend on the model and how Definitely the in-between of knowledge and practice. It is easy well I can work with that person to produce what I wanted. to “learn” photography; however, finding a style of editing and Sometimes, although substantially more challenging, a self shooting, finding a focus for your photography, applying yourself portrait is the easiest way to get to that product I was looking to practice and explore different things constantly, that’s the for. Of course, I also have fun with it. I explore different poses, challenge. In order to grow, I’m constantly challenging myself ideas, and concepts once I’ve either succeeded or failed to get and thinking of new projects and ideas. I am very critical of my the shot I was looking for in the first place. own work. The in between includes the space between the photographer and his subject, the in-between of knowledge and practice, or the architectural interstitial space.

More pictures and interview questions can be found on our blog at


Awake Magazine Volume 1 Jan-Feb 2015 Phone: 830-542-9253 Email: EDITORIAL DEPARTMENT Editor-in-Chief: Brian Rivera Managing Editors: Lizbeth Diaz, Vikki Tou Executive Editor: Danyealah Green-Lemons CONTRIBUTORS Anyone can become a contributor by submitting material to


on Volume 2

Studio Fashion & Eco-Couture Interview with Dirty5ive Jackse La Tourette by Jeanne Cantos

VISUAL DEPARTMENT Creative Director: Ana Maria Reyes Art Director: Camila Romero Photo Editor: Jennifer Luis BUSINESS AND AD DEPARTMENT Director of Finance: Maria Gonzales Marketing Dir.: Olga Kusche-Iglesias Publisher: Kevin Arrieta All Content Copyright Š 2015 Respective Artists

Profile for Awake Magazine

Volume 1: The Collective  

Awake Architecture & Art Magazine made by students at the Florida International University School of Architecture.

Volume 1: The Collective  

Awake Architecture & Art Magazine made by students at the Florida International University School of Architecture.