work experience leadership experience
Syracuse University School of Architecture
Syracuse, NY
Architecture Ambassador • Fall 2020 - present
Peer Advising Co-Coordinator • Spring 2021 - Spring 2022
Peer Advisor • Spring 2021 - present
skills
Rhinoceros, Adobe Creative Suite, Climate Studio, Climate Consultant, Physical Modeling, Digital Drawing, Hand Drawing, ArcGIS, V-Ray
queer space/clear space, located on the site of Palazzo Farnese, further conceptualizes the idea of a “museum of architecture” as a museum of queer space and posits the following thesis: what happens when the margins that have slipped by and hidden in plain sight become not only visible, but sacred? Courtonne’s French Hôtel serves as the basis for this investigation; by inverting the center and margin, the historically marginalized queer population is not only revealed to those who it was invisible to or ignored by, but celebrated.
Further investigations into Aaron Betsky and Beatriz Colomina’s theory lead to a defining of queer space as a type not only indetified by its occupents, but also by its phenomenology. Transparency, reflection, liminality, vouyerism, open public spaces for occupancy by all with hidden areas for those who know about them/can find them are all characteristics and qualities
which define and identify architectures as “queer.” additionally, formal analysis, adaptation, and appropriation of a Miesian and Wrightian language to produce an intentionally conflated and at times confusing spatial condition to place the general public into and make them aware of the queer experience via architecture which relies on two interwoven sequences: the “queer” museum and the normative public. The museum sequence is hidden within the public, revealed in overlapping interstitial moments to create awareness of its existence, but still hiding in plain sight.
queer space/clear space relies on its resistance of clear dichotomies to represent the spatial and concptual goals of other queer spaces. The sociopolitical issue at the center of the project is not one that can be reduced to a black and white diagram of us/ them. The disorientation of moving through the world as a member of a community that is treated as an “other,” whether that community is accepted or not is formally symbolized in plan; there is never truly a place of solace or rest, someone is always watching/observing/emphasizing one’s “otherness”. The project investigates the queer no longer slipping past, hiding between, and instead reclaiming/redefining/ absorbing the spaces of them (normative).
what happens when the margins that have slipped by and hidden in plain sight become not only visible, but sacred?
02 queer space/ clear space rome, italy fall 2022 professor richard rosa
ground floor
0’ 16’ 32’ 64’
0’ 32’ 64’ 128’
third floor
0’ 8’ 16’ 32’ 0’ 32’ 64’ 128’ roof
03radius syracuse, ny fall 2021 professor seok min yeo CHARACTER PROFILE: THE DANCER artists in residence ARC ARCHITECTURE GOETZKE PERSPECTIVE VIGNETTE 01
Radius is an arts incubator and housing project located in downtown Syracuse, NY. The project conceptualizes the arts incubator as a collaborative endeavour between not only artists alike, but also between artists and the community in which they live. Five artists-inresidence call Radius home, teaching classes in their respective disciplines to members of the community and collaborating with the other four residents to produce exhibitions and performances, all housed and displayed in the project. The artists include a dancer, a muralist, a baker, a musician, and a poet.
A playful circular formal language reigns over the project, not only to draw in the public by offering a new, unique public space to the public, but also to symbolize the importance of collaboration via the infinite continuity of a circle. Each artist acts as an arc of the circle, connected through the four-story atrium running through the center of the project;
without each arc, the circle wouldn’t exist, without each artist, art and collaboration would not be produced and fostered.
To support the creative goals of the artists, each apatrment unit is tailored to their specific needs; each artist also has their own classroom and office to complete their instructional duties. Radius also offers a library, greenhouse and communal garden, gallery, and theater to the public and the five artists to exhibit the artwork they produce in collaboration with eachother.
ARC 207 FALL SYRACUSE ARCHITECTURE ARC 207 FALL 2021 SYRACUSE ARCHITECTURE CHARACTER PROFILE: THE MUSICIAN ARC 207 FALL 2021 SYRACUSE ARCHITECTURE CHARACTER PROFILE: THE MURALIST ARC 207 FALL 2021 SYRACUSE ARCHITECTURE CHARACTER PROFILE: THE BAKER ARC 207 | FALL 2021
short section short section perspective long sectionlong section perspective 1/16” = 1’0” BECKY GOETZKE PLANS THIRDFIFTH FLOOR long sectionlong section perspective long sectionlong section perspective short section short section perspective long sectionlong section perspective ground three four
ARC 207 | FALL 1/16” ARCHITECTURE GOETZKE AXONOMETRIC
ARC 207 | FALL 2021 SYRACUSE ARCHITECTURE BECKY GOETZKE INTERIOR PERSPECTIVE VIGNETTE
archipelagone
cocoa beach, fl spring 2022 | professor julie larsen in collaboration with tj farley
04
archipelagone water current site plan 1/32”=1’=0” Cocoa Beach Hurricane Frances Hurricane Irma Hurricane Matthew Tropical Storm Isaias residential
archipelagone, located in Cocoa Beach, FL, is a partially temporary educational and recreational center along the coast of the Banana River. The project also aims to address the worsening environmental conditions in Cocoa Beach via its materiality in tandem with mechanical and passive systems; the project functions as a machine of nature
As climate change and global warning continue to produce stronger weather patterns, the Cocoa Beach area experiences stronger hurricanes and larger storm surges, threatening its residents, flora, fauna, and coast line due to dangerous waves and rising sea levels. The mangrove forests local to the region are a crucial barrier; their strong root systems break storm surge waves, which can reach upwards of 10 ft. The mangrove population is under threat by harmful algae brought to the Banana River through runoff from northern Florida and the Cape Canaveral area as well as by kayakers (a
popular recreational activity in the area) disturbing mangrove root systems when tides are low. By protecting and growing the mangrove forests, archipelagone protects the coastline and its inhabitants.
Archipelagone is constructed from yellow loess clay, which when disolved into water kills the aforementioned harmful algae; the clay exists in two forms in the project: dried and dried with glaze. The dried clay comprises the mangrove protection islands; a temporary support and protection system that will promote mangrove growth and disolve with the help of water agitation from kayak travel, thus cleaning the water over time. Glazed elements are permanent, housing classrooms and laboratories to teach visitors about the environmental concerns the area faces. The organization of the islands in plan creates currents on purpose to encourage the dissolution of the temporary structures of archipelagone.
archipelagone site plan phase one 1/32”=1’=0” archipelagone site plan phase two 1/32”=1’=0” archipelagone site plan phase three 1/32”=1’=0” 2027 present day
2032
archipelagone mangrove classroom plan 1/4”=1’=0”
New Americans Pavilion, located at Salt City Harvest Farm in Kirkville, NY, was designed by ASDF, architecture practice of Professors David Shanks and Aurelie Frolet of Syracuse University School of Architecture. As SOURCE Grant recipients of Summer 2022, myself and my working partner TJ Farley worked collaboratively with Professor Shanks to design and build a bench and new clerestory enclosure for the pavilion.
The bench and its design were calibrated to waterproof the edge between the concrete slab and the cold and dry storage spaces of the pavilion, as well as to provide seating and temporary storage/ weighing space for the farmers. Two mock-ups of the initial bench design were produced to test stability, seat dimensions, refine masonry skills, and to finalize the aesthetics of the final product. After the construction details were finalized, we laid a CMU wall around the pavilion, constructed and water sealed all timber elements
of the design, and installed the bench frames onto the waterproofed CMU/ timber base.
We also mitigated water seepage into the cold and dry storage areas by designing and installing a new enclosure system along the clerestory gap of the pavilion’s two rooves. The gap was filled by clear polycarbonate panels, hand cut to size, and again installed by my working partner and myself under the supervision and guidance of Professor Shanks.
new americans pavilion
kirkville, ny & syracuse, ny
summer 2022 | professor david shanks in collaboration with tj farley
05
CORRUGATED STEEL ROOFING
2 x 4 PURLIN @ 16” O.C.
2 x 12 RAFTER @ 16” O.C.
2 x 8 BLOCKING
3-PLY 2 x 12 BEAM
CLOSURE STRIP ATTACHED w/ 2” FASTENER WITH COMPRESSABLE WASHER
CORRUGATED PLASTIC PANEL
CORRUGATED METAL ROOFING
1X3 BATTEN
16X8X8 CMU BLOCK W/ 3/8” TYPE-S MORTAR JOINT
SILL PLATE
2-PLY 2 x 12 RAFTER
2
ALIGN 6” 32” 3 12 7 8 19 ” 48 ” ” 18” 1 2
21 3 16 ” FROST LINE ICE & WATER SHIELD 1/2” PLYWOOD 1X3 SQ. EDGE BOARDS W/ 3/16” SPACE BTWN. ATTACH W/ CONCEALED HEAD TRIM SCREWS 3/8” CARRIAGE BOLT HOT DIP GALV. W/ NUT & WASHER COUNTERBORE 1 1/16” DIA. AT 9/16 DEPTH SIMPSON STRONG-TIE 2”X2” BRACKET 15 5/8” 2X4 VERTICAL KICKER 15 3/4” 1/2” PLYWOOD SIDING 14 3/4” 1X3 BATTEN 19 1/2” 2X4 W/ 4.7º CUT 9 3/4” FROM LEFT
espuma intends to collect and store clean water for the Uros people who reside on Lake Titicaca in Peru/Bolivia while also acting as an archive of the endemic species and totora reed plant of the region.
Through thorough analysis of the site, we discovered that the lake’s water contains toxic levels of lead and mercury; these pollutants primarily are caused by sewage run-off from the urban center Puno, Peru which lies along the lake’s northwestern shore. The lake is also home to around a dozen endemic species; we took a particular interest in the Titicaca Water Frog and Titicaca Grebe (a species of duck) because of their primary restriction to the bounds of the lake’s water. The water level of the lake fluctuates dramatically throughout the year due to the heavy rainfall in the region. The lake is also affected by the El Nino wind and associated weather patterns which can cause the water level to drop by at least 6 feet in a
given year. The lake water and the totora reed plant are also a critical resource of the Uros community. The Uros people live on floating islands constructed out of the totora reed plant, which is in danger because of the polluted lake water and steadily declining water level. These islands need to be replaced every twenty years, but the circulatory platform made of dried totora reeds needs to be replaced every two weeks because it begins to rot due to constant contact with the water of the lake. The Uros people also use the water of Lake Titicaca as potable water daily because they have little to no access to a purified water source due to the remote location of their community.
The project proposes a system of water collection vessels and an archive to address the ecological and cultural concerns of the site, and to educate the public about the site specific challenges that the project wishes to respond to.
espuma
lake titicaca, peru/bolivia
spring 2022 | professor julie larsen
in collaboration with tj farley
06
PERU BOLIVIA BRAZIL ECUADOR COLOMBIA CHILE ARGENTINA PARAGUAY URUAGUAY 1997: 178.94 m El Niño year 2022: 179.5 m 2015: 180.47 m 1986: 182.43 m 2022: 179.5 m 1986: 182.43 m 1997: 178.94 m El Niño year 2015: 180.47 m espuma site analysis: el nino years and water level change
The water collection vessels take advantage of the heavy rainfall and cold climate of the Lake Titicaca region to collect and store rainwater and condensation as clean, potable water within close proximity to the Uros people. Each vessel has seven water collection basins, which when full, hold enough water to support the daily needs of 81 people (around 2,200 gallons of water).
These basins are constructed out of a cellulose based foam so they can float in a similar fashion to the floating islands of the Uros people. The cellulose based
foam is antimicrobial and antifungal and is 200 times stronger than traditional, petroleum based foams according to researchers at the KTH Institute of Technology. The basins also have an electromagnetic platinum plate embedded into their base; the plates remove four atoms of lead and mercury from the lake water for every atom of platinum in the plate. These plates will slowly clean the water of the lake during the lifespan of the project. The foam structures of the vessels and the archive contain a lost formwork made of dried totora reed plant, a reference to the traditional construction methods of the Uros people. The
year one year three year ten year twenty
foam will slowly deteriorate over time, requiring foam to be reapplied to ensure the structural integrity of both the archive and the vessels.
The archive is situated in the center of the vessel network. It contains educational areas which show visitors the construction methods of the foam structure and teaches them about the habitats of the endemic species of Lake Titicaca. The archive also houses a frozen zoo, seed
bank, and water pollution lab where the pollutant levels in the lake water can be tested and studied further. The archive also contains a totora reed farm which will grow larger as the project ages in order to ensure that the plant’s population is maintained and protected. The roofscape of the project is crucial to the water collection process of the archive. The roof either dips down to direct rainwater into basins or extends vertically to collect
espuma site plan & pollution a raction 1/192”=1’-0” espuma plan & boat traffic 1/16”=1’-0”
condensation that naturally occurs at the elevation of the lake. The varied height of the archive’s roofscape is also reminiscent of the mountainous setting of Lake Titicaca and aids in the efficient daily collection of clean water for the Uros community.
