AXIOM_CareerFair_2021 by TAMU Axiom

AXIOM /ˈnoizē/

AIAS STUDENT PUBLICATION Career Fair | 2020- 2021 Texas A&M | AIAS

AXIOM 20/21

NOISY /ˈnoizē/

Editor - in - Chief

Francisco Anaya

Editors Andrew Atwood

Rebecca Romero Jeremy Grail

Committee

Alan Carrizosa Colby Cox Stormy Hall Ekaansh Kalra Christian Martinez Rob Williams

AXIOM is a student publication produced by the Texas A&M Chapter of the American Institute of Architecture Students. It aims to show off the wonderfully unique perspectives and opinions of design students from the College of Architecture in a manner that provokes thought and stirs conversation. By accumulating visual and written work from all actors in the College of Architecture, local community, and beyond, AXIOM intends to advance architectural discourse happening in and around the College. The theme of this years publication is “Noisy.” Inspired by Noise Music, a

genre of music defined by its poignant use of an array of seemingly random techniques, this issue seeks to understand and investigate architecture through an altered lens. Noise Music commands its listeners attention, drawing them in and demanding they examine its sounds in a more critical nature. It questions the typical notions of interferene, distortion, subjectivity, and the act of making noise. By exploring architecture through these topics, this issue hopes to be catalyst to garner new perspectives and attitudes towards the discipline.

Table of Contents Interference Distortion Subjectivity Noise Making

INTERFERENCE /ˌin(t)ərˈfirəns/ influences

by: Sahil Shah

The Knot Alex Rosenbalm, Gabriel Herrera Jr. Professor: Miguel Roldan, Zana Bosnic Term Spring 2020 The Knot began with the exploration and study of the fences that surround the Ciutadella Park in Barcelona, Spain. As a team we noticed an opportunity to turn the fence into an inhabitable space rather than just a dividing wall. Instead of turning the building into a fence, we transformed a fence into a building, further blurring the border between the park and surrounding neighborhood. The Knot creates a gateway into the park that is emphasized by the movement and rhythm of the wood slats through the underpass on the ground floor. As the visitor passes into the park, they are enveloped in dynamic shadows produced by the canopy overhead as they begin to stroll through the park or relax in the sunken plaza and amphitheater. The canopy and resulting shadows provide a sense of enclosure and refuge that allow the experience of the building to extend past the glass facades, allowing unique experiences to the everyday user and the numerous passerbys. Depending on the time of day, the resulting shadows produced by this pavilion create an interstitial zone of refuge for all who inhabit the surrounding area. Overall, our project aims to tie and form a KNOT to make a seamless connection between all that surround it: The students and the residents, the Umbracle and the Hivernacle, and El Born neighborhood and the Ciutadella Park.

Inhabiting Abstraction Francisco Anaya, Courtney Ward Proffesor James Tate

This project proposes housing models inclusive of working wage families and individuals in Bryan/College Station, Texas. Six percent of annual population growth and cost of living increases is limiting, even eliminating, housing options that are attainable to a diverse cross section of the population. The situation is comparable to other university cities around the country and small cities in Texas in close proximity to major metropolitan areas. This project is critical of housing models that segregates people based on economic or identity profile. Instead, the project advocates for designs that increase density and privilege collectivity, challenging dominant suburban models based on detached single family houses on subdivided lots which are socially and ecologically destructive. In order to challenge the norm of current communities. There is a need to redefine how we live, the formation of new subjectivities and communities. As an experiment in the design process, and unique vantage point to evaluate the work, the project is captured in a capriccio scenographic drawing. As the five-week design investigation ends, the studio environment simulates a scaled model of contemporary domestic life. With the drawing, each desk is an individual component that embodies a residential plot. Displaying the organization and relationship of the component to their respective adjacent areas. Establishing a part-to-whole relationship in order to highlight the modern reality of the interaction of neighborhood communities in an urban context. This begins to challenge the recognized community setting and reconsider ways in which shared space and community outreach can be expressed. It models new modes in which communities and neighborhoods could possibly interact with one another in order achieve a more socially sustainable neighborhood.

End of Line Alex Rosenbalm Professor Shawn Lutz Term Faall 2020 | ARCH 405

AI Urbanism Rebecca Romero, Shannon Summer, Julia Vasilyev Professor Gabriel Esquivel, Joris Putteneers Term Spring 2020 | ARCH 317 Our research is centered around creating AI generated cities that maintain a clear object to object relationship between perceived solid and void. With this we will be able to generate a wide variety of organizations of different scales of urban planning, allowing for new interpretations and reworking of the spaces in order to produce new urban typologies. By reducing various nolli maps to pure black and white versions, we are able to generate new versions of a city plan unbiased by preconceived notions of the human. With this data set of different scales and densities of cities we get a variation of nolli maps that begin to give us an overview at the city and what the city organizations could be. We feed these images into a style transfer software, Runway ML, and train these images on landscapes, extracting newly generated figure ground relationships. With the use of Runway we are able to create new AI versions of nolli maps and interpretations of what a city plan could be, essentially giving us a “new image of the city”. With our new generated images we begin to three-dimensionalize them with the use of Grasshopper through Rhino. We are able to use a grasshopper script that vectorizes the trained nolli maps and produces closed curves that we are then able to extrude. The extrusions are done by using the same script and are generated with randomized heights. Any remaining curves that are not extruded become part of the ground condition and can be seen as street paths. Using a parametrized process allows us to produce several different outcomes the most efficiently and with the least user error which begins to create highly curated results. This process produces a new object that can be interpreted as a “chunk” of the city. Combining several of these objects allows for the production of a new AI parametric version of a typical urban city

End of Line Michael Marroquin Professor Shawn Lutz Term Faall 2020 | ARCH 405

Ventilation

Light wells

Circulation

STRUCTURAL LEGS

Peculiar Gables Shannon Summer, Robert Williams Professor names Shawn Lutz Term Spring 2020 | ARCH 206 For the project we focused on creating affordable housing through the use of CLT. The site was located on an abandoned air field at the Rellis Campus of A&M university. My partner and I wanted to focus on monumental within a collective living area and the way in which buildings and monuments could be organized in said area. The building explores issues of interior volume through obscure formal logic and also the way in which program works within a shared living space.

End of Line: Remnant Evelyn Ringhofer Professor Shawn Lutz Term Faall 2020 | ARCH 405 Remnant is a proposed high-speed rail transit hub located off of Interstate 610 interloop in Houston, Texas. The project begins with an investigation of the intersection of primitive cones resulting in new formal language related to ideas of “line” and “void”. The created form is then utilized to create a new urban condition on a 1million sqft site that responds to the city’s need for spatial consideration and cultural impact.

Drive-Thru Bakery & Artist Residency Dalton Gibbons and Michael Mankin Louie Mcintosh Fall 2020

Laundromat & Capsule Hotel Tomas Hoyos and Zechariah Simpson Louie Mcintosh Fall 2020

Enviromental Literacy Facility Katharine Woehler Professor Andrew Tripp Term Fall 2020 | ARCH 405

DISTORTION /dəˈstôrSH(ə)n/ a disturbance of communication

by: Sahil Shah

Cracked Ideality: Complexity Artculating Ambiguity Charlotte Shawver, Samantha Garza Professor names: Gabe Esquivel Term Fall 2020 | ARCH 205 Description: The City of Pergamon and The Imperial War Museum seem to have nothing in common when initially looking at in plan. However, through the course of this project, both were researched and analyzed of individual persistencies in how they relate to one another beyond one’s first perception. Once the initial analytical process concluded, it was then explored how to create a massing that could articulate those arguments and explore others as well. The object shown produces an articulation where it is highlighted how the argument of plan is then transformed into an argument of section. As the mass was further examined, it became evident that the details being indexed toward the center became in and of itself a cracking condition, which was prominent to further accentuate the obscurity between external and internal conditions.

Colby Cox, Stephanie Shupac Professor names: Gabe Esquivel Term Fall 2020

Description: This project consists of an early exploration of the section, figure, and the shell, and the negotiations between them. Surfaces from common residential house forms have been extracted and revolved to create a shell that partially conceals interior sectional elements.

Herzog Transformation Series Ekaansh Kalra Professor Julie Rogers Term: Fall 2020

This composition incorporates different organizational and visual elements to provide unity between the five primary forms inscribed in Ginny Herzog’s RELIC 8-518. The upper left corner, where the vertical elements touch the small box, is the composition’s focal point. The horizontal and vertical lines establish the connection between the primary forms. In addition, these lines help structurally stabilize the forms into permanence. Through their patterned progression around the collage, the horizontal and vertical lines also counter the cubic forms’ static nature by giving the composition more movement within the space. By adding repetition, the lines help limit the chaos of the forms’ unequal masses, as there is more similarity and continuity created throughout the composition. The vertical lines give the forms more structure by defining the planes and adding loftiness towards the composition. The lines surrounding the central space create a sense of direction and movement for the viewer’s eyes. The lines direct the viewer’s eyes around the central area and lead them back to the focal point. By being in a different orientation, the diagonal line adds hierarchy and shifts the composition’s form from stable to dynamic. The spatial form grouping helps unite the irregular forms by creating a repetitive visual tension around each form. This tension is produced by changes in scale and orientation between the shapes in each form. The composition also contains subtractive transformations that add variety and remove clusters of chaotic elements. The subtractive transformation in the bottom right corner creates ambiguity between the interior and exterior space. Overall, these organizational and visual elements utilized in this composition create harmony and balance while maintaining an emphasis on each form’s distinctness.

Muted Emily Acosta, Ximena Calderon, Isabela Ferrero Professor Gabriel Esquivel Term Spring 2020 | ARCH 205 This project is a flight school built in honor of Bessie

es in each of them. Additionally, through the use of con-

Coleman, consisting of an aviation school, library, mu-

crete, being organic, uniform, and imperfect we were

seum, and auditorium. Coleman was the world’s first

able to re enforce the “blocky” aspect of our structures,

African American and Native American pilot. She

having raw and unapologetic use of mass and materials.

left a legacy, modeling a path for women and people of color in aviation as well as fighting for civil rights.

This aviation school for women conveys the idea of

This school is built in Atlanta, Texas, where Bessie

simpler compositions through the strong implication of

was born for women that have similar dreams of be-

mass and abstraction, ground condition, and material.

coming a pilot. The title of the project being “Muted”

The idealization of what seems to be only “blocky” and

relates to how women were once muted from express-

concrete structures changes as the built environment

ing their opinions and ideas. This word also relates

begins interacting with the masses, creating a different

to the new definition of muted created through our

understanding of the whole site. This project incor-

structures which embody powerful concepts and ideas

porates the ontology of the site in which the project

through various factors. Not only that but confront-

is being built, rather than demolishing its history we

ing the issue of women being in a male-dominated

value it and incorporate it into a single language of Ar-

discipline, similar to how us being a group of three

chitecture. We were able to build a smooth connection

women challenged the general direction of kit-bash-

between the masses and the built-in ground condition.

ing in our class, by working in an opposite manner.

Through the composition of interpenetrating planes, created by the incorporation of natural elements such

The main ideas in designing our structures were clear-

as water, grass, and wheat elements that relate to the

ly defined objects without the use of ornamentation.

Texas landscape. The trails and planes follow a pat-

Through the use of basic shapes and concepts we want-

tern that leads them to each other, expressing the idea

ed to embody the ideas of Micheal Rojkind in The Foro

of continuity and linkage between the architecture and

Boca and Brutalist architecture that reacts to ornamen-

landscape. Not only do we accommodate our struc-

tal building on its geometry, mass, finish, and land-

tures into the built environment, but also emphasize it

scape. Through these influences we create muted mass-

through the field condition with the use of boulders that

es that were composed of concrete volumes arranged

are blocky and purposely mundane, varying spatially

randomly and varying in scale, creating an interesting

and in scale. Through this both fitting in and standing

spatial game.This project embodies respect for the pu-

apart from the vernacular structures that surround it.

rity of shapes, material, and landscape. In all of the pro-

grams we started to use ideas of interconnecting spaces

Our project is one that presents challenges along with

created by basic shapes into a single massing, this was

how Bessie Coleman challenged the status quo. We

accomplished through the use of angled shapes and

separated ourselves from what was being done by the

walls, spatial design, and minimal apertures. As we pro-

rest and decided to stay true to what we were driven

gressed through the careful planning of these systems

by, much like Coleman. Although we are in our early

we began introducing the idea of shadow and light, by

stages of careers it is important to understand the ability

incorporating floating geometric pieces that became

women have and acknowledge that they are capable of

cantilevers.Light was also introduced in the structures

achieving the same quality of work as their male peers.

by only incorporating windows that emit from the in-

Much like Coleman, we would like to advocate for the

side of each building to the outside. The placement of

empowerment of women with our project. We were able

the windows continuously follows the idea of main-

to create a learning space that encourages the education

taining the exterior facade pure and monolithic. Each

of women’s aviation. In the process, what this project

window, in all of the systems, is strategically placed for

has taught us is that we have the social responsibility to

them to be enveloped by the exterior. Although all of

use our platforms as women in the field of architecture

the structures maintain a homogeneous idea, through

to combat stereotypes and challenges by advocating for

these details we were able to create different experienc-

gender equality in the work and learning environment

HYPER - Section ARCH 317 - Studio Project Professor Gabriel Esquivel Term Fall 2020

Raumplan Analyzation Strasser House: Colby Cox, Christian Martinez, Garrett Redditt

Tristan Tzara House: Olga Kedya, Phoebe Latham, Stephanie Shupak Andrew Tripp Spring 2020

It is stated that the “Raumplan” has never been defined however the concept has grown accordingly with each commission under Loos’ name. These conceptual models define both the Strasser House and Tristan Tzara as a plan of volumes rather than the arrangement of two-dimensional spaces The Strasser House by Adolf Loos was set in the countryside of Vienna Austria, in 1918. It was one of the earliest attempts of the “Raumplan” in which each space would have varying ceiling heights based on the needs of each room. Just eight years later, Loos designed the Tristan Tzara house in the Montmartre section of Paris. While still implementing the Raumplan, the existing facade used the “Golden Section” to derive the heights and subdivide it into two unequal surfaces. In order to dissect the qualities of the “Raumplan”, a conceptual model of the house was created, in which each void space and interior wall is represented. The interior masses were abstracted and even combined based on their function and are represented using task-

STRASSER HOUSE (1918)

board coated in white paint. The representation of walls and floors were created using a combination of varying acrylic thicknesses in order to represent primary, secondary, tertiary walls. Each etching on the acrylic represents an opening on the building’s interior, to better display circulation between rooms. Visualization in three-dimensional space is necessary in order to comprehend the complexity of elements displayed within the “Raumplan.” Aspects of the “Raumplan” are better represented through a system of masses, that way critical elements are highlighted. By leaving just the voids that involve movement, the circulation of the house can be revealed as it spirals through the acrylic floors for each model. The use of split levels show the breaking of the grid and how Loos was able to incorporate his mezzanine in between pre-existing floors. Even with the inclusion of all masses, the alignment of voids along multiple axis is still apparent from the exterior.

TRISTAN TZARA HOUSE (1926) 43

New Friends

Acrylic on Canvas by: Julia Vasilyev

Peaches 44

Slow Saturdays 45

Block Parti Drawings Student names: Rebekah Bryan, Sarah Hluza, Logan Froebel, Elizabeth Scamardo, Carmen Jimenez, Melanie Guerrero, Renee Hand, Travis Gerhardt, Sahil Shah, Alberto Ibarra, Robert Williams, Shannon Sumner, Nallely Chavarria, Jami Respondek, Shane Bugni, Stormi Hall, Jeremy Grail, Graesen Johnson Professor names: James Tate, Nicole McIntosh, Shawn Lutz, Kateri Stewart Term Spring 2020

Description: A parti is described as being an organizing thought or decision behind an architect’s design, presented in the form of a basic diagram or a simple statement. The Block Parti Drawing exercise is focused on exploring the ways urbanism can be organized through different scales. These organizational strategies exist at the master plan, building, and individual room scale. These drawings show how a community can incorporate plublic and private spaces in order to produce a more dynamic living space, challenging the current condition of urbanism in the United States. The drawings are meant to be seen side by side and beyond their own boundaries in order to create a collection of drawings that come together to create a larger parti.

Post-Indexical- Post-Crtical Student names: Christian Martinez, Joel Oelze Professor names: Gabe Esquivel Term Fall 2020

Description: This object is a study of correcting the misalignment found within James Stirling’s Dusseldorf Museum.We extruded a series of column/arch wall relations derived from the interior edges of the Villa Giulia, striating them against the precessional voids of the museum. From this, a series of correcting porosities was created within the precessional masses, hence creating a direct precessional path through the misaligned masses.

A Gate to the City Aren Moore, Shelbye Doyen Proffesor Miguel Roldan, Zana Bosnic Term Fall 2020 | CARC 301 Our most fundamental idea was to identify the “Gates of entry” into Barcelona. This ranged from the ancient city center established in Roman times, to the industrial port, and later to the Airport. Our project aimed to be the latest iteration of this gate of entry, albeit symbolically rather than literally. Hanging over the edge of a breakwater on Barcelona’s coast, our project keeps the views open from city-side to sea-side unobstructed and aims to connect the dynamic aspects of the coast with the tectonic aspects of the city. The construct can be understood in three different layers, being split where the balance of Tectonic influence and Dynamic Influence shifts. We’ve chosen to name these layers sea-side, step-down, and city-side. The sea-side portion gives us the greatest exaggeration of suspension and transparency, where twothirds of the covered space is left open to the breakwater. Moving closer to the city, the “step-down”, our proportions shift. Here tectonics take a greater foothold and all covered space is programmed, although not completely enclosed. The city-side layer of our construct has the greatest influence from tectonicity, being completely enclosed and programmed.

Sahil Shah | Professor Gabriel Esquivel | Term Fall 2019

SUBJECTIVITY /ˌsəbˌjekˈtivədē/ actors, agendas, and opinions

by: Sahil Shah

://Flows Francisco Anaya, Marie Chapa, Daniel Wang Professor Tyrene Calvesbert Term Spring 2020 | ARCH 305 Description: The premise of the project started with research on different types of flows, including people, resources, data, services and frequencies. These have been categorized into 3 layers, which are defined as the Hidden, Seen, and Unseen. After defining these, a tension was discovered of the incomplete perception of the city. As people are more consciously aware of the layer of the Seen, consisting of the more tangible form of flows, which includes private and public transportation. The Hidden defined as the layer mostly found underground and consisting of a more diverse type of flows, including oil, natural gas, fiber-optic, and electricity. And the layer of the Unseen being defined as the non tangible entities that work as services for the people, such as WIFI, cellular coverage, and radio towers. Through the research of networks and flow along with mapping of the city of Bryan. The perception of the horizontal organization of the city, and we found vertical spatial relations through the idea of the unseen and hidden flows of the city (including services, technology, and data) was discovered. The project seeks to explore a speculative a new model of public space showcasing the unseen aspects of the city. The public space is the main driver of the project in order to produce space for every day activities. By having ephemeral public spaces which make up 60% of the project. The strategies of network, stacking and patterns were used in order to formalize the unseen & hidden layers of the city. In order to flip the current hierarchical organization of the city. This project attempts to change that perception. The project is based on duality of layers; network and flows (including non-human space), day & night duality, built & unbuilt. The intervention will serve as a way to extrapolate on the layers of infrastructure the city.

Castiglion Fiorentino Visitor Center Jared Labus, Sean Nimmons Professor Michael O’Brien, Paolo Bulletti Term Spring 2020 | CARC 301 This project approaches the formal layering of the historic town of Castiglion Fiorentino as a thematic to drive the organization of the layers and envelopes that compose the building itself. At the heart of the project, the figural object of the auditorium activates the series of interior reverberations and connections that stimulate movement through the building. The exterior condition acts as a porous mask to this notion and breaks the surfaces down into faceted panels. The site plan extends opportunities for tourist/ local interaction through a new market stall layout and designated zones for local and tourist traffic.

Student names: Francisco Anaya | Professor names: Francisco Anaya | Term Spring 2020

Assembly of the Excess Student names: Elijah Huggins, Savannah McDougal Professor names: Gabe Esquivel Term Fall 2020

Description: “Assembly of the Excess” is an accumulation of excessively kit bashed objects onto a dense site which also reinforces an excessive method of organization. It was important that we establish a site that could argue for the significance of the aesthetic regime by reinforcing the use of object-oriented-ontology (OOO). For the facades of our objects, we assembled a network of gothic, residential, and mechanical parts through an understanding of OOO which dictates that [parts] react and grow from each other within a system. In the façade ornamentation, you see parts grow into, interlock, and even reject each other as they create a system of built vs unbuilt parts. We then give meaning to our heavy ornamentation by enforcing its use as structural elements. Thus, enforcing that the aesthetics of the objects are the backbone for the objects’ structural integrity. In developing the site, influences from sources such as Piranesi’s Carceri Series came to light as we continued a relationship between the objects and site. Piranesi’s Carceri Series influenced us to establish an “ungrounding” of the site that removes a leveled ground in place for a series of paths/bridges and platforms which grow from and connect the objects at different levels. As a result, the objects are not understood as objects buried into a ground. Rather, they are understood in relation to the site (paths and platforms).

Framing Barcelona Sahil Shah, Jesus Frias Professor Miguel Roldan, Zana Bosnic Term Fall 2020

Sites and Spaces of Commodity Chain Jeannelle Fernandez Professor Andrew Tripp Term Summer 2020 | ARCH 406 This exploration is based at Ewarton, Jamaica, a town in which a school by CRS Architects is located from their school master plan constructed in the 1960’s. However, there are many entangled systems that are at the root of the location of this school. One of these systems is the bauxite industry in Jamaica and the physical location of a power plant at Ewarton. The ownership of resources traces to transnational powers like Canada, Russia and the U.S. The mining, processing and exportation of this resource cannot operate without an undertone of postcolonialism, exploitation, oppression and injustice. The foundation of this industry is built upon inhumane working conditions, relocation of homes and property of Jamaican residents, the replacement of the agriculture industry, among many other repercussions of this industry. The education system in Jamaica operates hand in hand with this industry. Through the tools of research and surveying, these histories are uncovered, challenged and questioned in accord to the role of the architect and his or her agency. The synthesis of this exploration culminates in the speculation of possible occurrences of agency, not at the scale of design or a building, but at the scale of conversation and introspection.

Manifested Agency Jeannelle Fernandez, Sean Nimmons Professor Marcelo Lopez-Dinardi Term Summer 2020 | ARCH 406 This table and manifesto are the response to a variety of discussions and debates centered around ideas, controversies, and projects from architecture culture since the 1980s, specifically Reganism, the Post-Critical, and Parametric(ism). Both the table and manifesto portray certain sensitivities focused on issues of design, labor, the political position of the architect and other complexities.

NOISE MAKING /noiz/ /ˈmākiNG/ what do we do next ?

by: Sahil Shah

Urban Living Room Stormy Hall. Isabela Doberenz, Logan Froebel Critic: Livia Loureiro

Urban Living Room: a place that brings together and fosters a joint atmosphere and bridges the divide created by Texas Avenue.

The living room

would allow for the development of a hub or district that would inspire more creative, cultural and humanitarian arts, which is something that the city of college station is in desperate need of. The living room becomes the perfect neologism for this urban condition, especially with its relationship to the neighborhood areas immediately surrounding it. Just as members of a household have their separate dormitories and dedicated open and shared spaces, we can only help wonder where these types of open and free spaces exist in our urban areas today? The living room would be large enough for one to be able to kick their feet up and relax, throw a party, even a socially distanced one, attend community classes and events and in general promote the idea that this is a city project and as such should cater to the needs and desires of its surrounding community. The site is a direct characterization of an urban living room that begins to bring in the population present and surrounding our site in college station. To maximize the impact of intervention, Texas Avenue is put underground and allows the site to connect with Texas A&M as well as the neighborhood areas behind it. Programmatically, the project is centered around supporting local art and entertainment. Other than The Arts Council in college station, the support for creativity is limited. By designing a space that encourages local artists and creators to express their creativity publicly, allows for an inclusive environment for community members to come together. The project consists of multiple spaces that can be transformed into conference rooms for city hall members to workshops that community members can be involved in to learn new skills, an exterior amphitheater, and indoor theater allowing for large events to be held, multiple gallery spaces that can be used to showcase local art, repurposed offices derived from the existing buildings, and plenty of open space that can be freely used for socializing.

Community Sahil Shah, Alberto Ibarra Professor James Tate Term Spring 2020

Project Urbia Student names: Robert Pyle Professor names: Term Description: “Project Urbia” was an undertaking in cooperation with a peer of mine to produce housing within College Station, Tx. The main objective: to manifest accommodation and liveliness through the formal manipulation of opening and orientation, which is credited to the inclusion of interior within. These drawings break down the formation of each unit, the subdivisions of populated vs unpopulated, and highlight the viewpoints into and out of the atrium. For example, by looking at the floor plans, one would understand how the programming of each unit begins with the atrium’s, which govern the spaces that encompass it. Furthermore, the section cuts teach about the dynamic between transitional channels and occupiable rooms. However, most notably, the unfolded elevation serves to portray the relationship between interior and exterior through the allowance of natural light. The openings are positioned in spaces of interaction to declare importance on the idea of communion and familial bond.

Architecture School for Downtown Bryan Student names: Hannah Leber Professor names: Hawkins Term Spring 2020 | ARCH 305

Castiglione Fiorentino Welcome Center Meagan Dinh, Royal Petrie Michael O’Brien Term Spring 2020 | CARC 301

The Grand Baltimore Hotel Karen Cardenas, Daniel Wang Wu Professor Aitani Ko Term Fall 2020 | ARCH 435