Carlo J Guzman De Jesus Portfolio

Carlo Jose Guzman De Jesus University of Miami Bachelor of Architecture, 2012

Carlo Jose Guzman De Jesus 305.321.0076 carlojguzman@gmail.com www.carlojguzman.com

UNDERGRADUATE WORK EVERGLADES ECO-TENT

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Dismantable Modular Tent Prototype, Everglades, Florida Spring, 2012: Rocco Ceo & Jim Adamson

TRANSIT PAVILION

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PUNTA GORDA COURTHOUSE

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BAY FRONT TRANSIT STATION

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CHALK’S OCEAN AIRWAYS

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CAMPOS DO JORDAO RESIDENCE

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CASE STUDIES

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Transit Shelter in Las Flores, Barranquilla, Colombia Spring, 2011: Adib Cure & Carie Penabad Courthouse in Punta Gorda, Florida Fall, 2010: Enrique Macia Transit Center in Downtown, Miami, Florida Fall, 2009: Sonia Chao Seaplane Airport in Watson Island, Miami, Florida Spring, 2010: David Scott Trautman Residential Prototype for Community in Sao Paulo, Brazil Fall, 2011: Rene Gonzalez Architectural Research and Analysis

PROFESSIONAL WORK ALLEGUEZ ARCHITECTURE, INC.

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INDEPENDENT GRAPHIC DESIGN

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May 2010 - Present

January 2010 - Present

PERSONAL WORK PHOTOGRAPHY

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DRAWING & PAINTING

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SCULPTURE

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EVERGLADES ECO-TENT

Dismantable Modular Tent Prototype, Everglades, Florida Spring, 2012: Rocco Ceo & Jim Adamson it easier to assemble and replace broken parts interchangably. Some of the materials used included pressure-treated wood for the deck structure, Cali Bamboo decking, heat-treated wood for the knee wall, glue-laminated spruce for the poles and aluminum connectors through out.

Students: Violet Battat, Giancarlo Belledonne, Michael Galea, Carlo J Guzman De Jesus, Glenn Laaspere, Ho Luan, Ruslana Makarenko, Catherine O’Sullivan, Kelly Sawyna, Meagan Sippel, Sam Vana.

Personal Contribution: Document Site, Schematic Design, Renderings, Construction Documents, Drawing Standards, Construction.

UPPER LEFT: Site Plan for Future Construction LOWER LEFT: Existing Site, Flamingo Park RIGHT: Night and Day Renderings of Eco-Tents

PLAN DETAIL SCALE: 1/32"=1'-0"

EVERGLADES NATIONAL PARK ECO-TENT UNIVERSITY OF MIAMI DESIGN BUILD SCHOOL OF ARCHITECTURE

This design-build studio was made up of a collective of eleven students (listed below), Rocco Ceo, professor and architect, and Jim Adamson, contractor. It was a 16-week actual prototype for a tent-cabin hybrid which could be disassembled and stored during the off-season for the Florida Everglades National Park on a site located in Flamingo Park. The form of the tent in plan is a perfect square allowing ultimate customizable arrangement of furniture and a equilateral pyramid form above the knee wall.

If successful, the prototype will be one of a total of forty to be built on the site. The final outcome was modular in components making

N FEBRUARY 13, 2012

SITE PLAN

REVISIONS

by Park Employee SHEET NUMBER

J

A-5.5

by Carlo Guzman

SITE PLAN

FLAMINGO, FLORIDA

1"=60'-0"

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EVERGLADES NATIONAL PARK ECO-TENT UNIVERSITY OF MIAMI DESIGN BUILD SCHOOL OF ARCHITECTURE N FEBRUARY 10, 2012

FLOOR PLAN

REVISIONS

SHEET NUMBER

1.5’

3’

03

6’

EVERGLADES NATIONAL PARK ECO-TENT UNIVERSITY OF MIAMI DESIGN BUILD SCHOOL OF ARCHITECTURE

0’

N FEBRUARY 13, 2012

SECTION B-B

REVISIONS

SHEET NUMBER

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LEFT: Floor Plan, Section and Exploded Axonometric RIGHT: Assembly Diagram by Four Park Employees

UNDERGRADUATE WORK: EVERGLADES ECO-TENT

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by Meagan Sippel

by Meagan Sippel

by Meagan Sippel

by Meagan Sippel

by Catherine O’Sullivan

by Catherine O’Sullivan

by Catherine O’Sullivan

by Catherine O’Sullivan

by Carlo Guzman

by Carlo Guzman

UPPER LEFT: 1� Scale Model and Final Presentation MID LEFT: Full-Scale Connector Mock Up Model LOWER LEFT: Construction of Deck Structure RIGHT: Tent Structure at University of Miami Temporary Site

by Carlo Guzman

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UNDERGRADUATE WORK: EVERGLADES ECO-TENT

by Meagan Sippel

LEFT: Tent Structure with Canvas Rain Fly RIGHT: Top Connector from Below

by Carlo Guzman

TRANSIT PAVILION

Transit Shelter in Las Flores, Barranquilla, Colombia Spring, 2011: Adib Cure & Carie Penabad

Three means of transportation intersect at the small town of Las Flores: the tram which takes fishermen, residents, tourists, and curious students to Bocas de Ceniza; the bus which currently drives along the Via 40, connecting workers and residents to the heart of the sloping city: and, the boat which connects fishermen from the Magdalena River to the heart of Las Flores along a road that harbors a number of quality neighborhood restaurants that buy and cook the fish that is caught in the very same coast. The proposal is simple; extend the bus route to the project site to unite these three forms of mobility.

The proposal incorporates wood and concrete construction, both of which are commonly used in the region.

The design responds to the conditions of the location and reflects the wisdom of vernacular construction methods.

Its form opens to frame the view to the water, either while waiting for the next leg of the commute or simply while taking a respite from the intense heat typical of the area. The buoyancy of wood is expressed visually as the roof lightly sits on the structure. The base transitions

by Google

up from the floor supporting the wood assembly.

The dynamic nature of transportation is also reflected in its form.

The base, which slopes up to address flooding, common to a large portion of Barranquilla, is constructed of poured in-place concrete with wood formworks leaves behind the unique surface texture and variations typical of wood, resulting in a “natural skin� that textures its surface.

Modularity in construction is adapted to make for a quick-to-build, easy-to-fix pavilion. Louvered screens divide two realms: one out to the water and one out to the street. Both provide filtered visibility to the opposing side. The glass tile detail is a reference to the water, as well as homage to Tecnoglass, the local company that often aids this neighboring community.

The realization of this modest, yet potentially iconic structure will hopefully result in increased tourist activity, bringing life to this forgotten, unappreciated coast, as well as providing welcomed rest and ease of transport for those who make a living by fishing at the edge of the river - something of which Barranquilla should be very proud.

LEFT: Context Photography, Las Flores, Barranquilla, Colombia RIGHT: Location Map of Site with Proposed Transportation Intervention

by Carlo Guzman

by Cedric Amanou

by Carlo Guzman

by Carlo Guzman

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75’

150’

300’

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UNDERGRADUATE WORK: TRANSIT PAVILION

Overhang Sun Protection

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8’

16’

32’

Comfort While Waiting

Visibility of Two Realms

Drainage

Ventilation through Walls

UPPER-LEFT: Site Plan of Immediate Context LOWER-LEFT: Concept Diagrams LOWER-RIGHT: Cost Analysis Diagram LOWER-RIGHT: Assembly Diagram

441 LFT Jatoba

$2220

370 cuft concrete

$1620

360 Screws

$40

140 Glass Tiles

$140

9 panels Formwork

$530

$4550

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UNDERGRADUATE WORK: TRANSIT PAVILION

0’

1’

2’

4’

UPPER-LEFT: Roof and Floor Plan of Pavilion LOWER-LEFT: Reflected Ceiling Plan of Pavilion UPPER-RIGHT: South Elevation of Pavilion with Transmetro Bus MID-RIGHT: North Elevation of Pavilion with Las Flores Tram LOWER-RIGHT: Section of Pavilion

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UNDERGRADUATE WORK: TRANSIT PAVILION

UPPER-LEFT: Perspective from Pavilion of the Magdalena River LOWER-LEFT: Perspective from River of Pavilion and Context RIGHT: Perspective from Bus of Pavilion and Magdalena River

UNDERGRADUATE WORK: TRANSIT PAVILION

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by Carlo Guzman

by Carlo Guzman

by Carlo Guzman

LEFT: Bird’s Eye View of Model (Stained Wood, Cement) UPPER-RIGHT: Perspective View of Model (Stained Wood, Cement) LOWER-RIGHT: Perspective View of Model (Stained Wood, Cement)

PUNTA GORDA COURTHOUSE Courthouse in Punta Gorda, FL Fall, 2010: Enrique Macia

This small Florida town is located on the west coast, just north of Cape Coral in Charlotte County. This town has recently undergone a rebuilding process after a hurricane left much damage to the town center.

The proposal includes the reorganization of the Punta Gorda’s town center along its two largest roads, through which the majority of travelers navigate. The reorganization establishes a line of vision to the under-appreciated waterfront, terminating the axis at the courthouse. The courthouse divided form adheres to this urban gesture while still establishing itself as an important structure in the urban center. Its center is receded back behind the parallel wings, opposite of that of a typical courthouse.

Because of the complex circulation, a simple and clear circulation core was established in the center of the building from which access to an appropriate service can be found easily.

Hierarchy among the spaces within are represented on the facades through the use of varying transparencies which individually correspond to the importance of the space. The stone along the pedestrian level is meant to imply strength and permanence, while the softly sloping stairs providing a welcoming less intimidating feel to the entrance. The locations of the courtrooms on the top level permits maximization of daylight usage through the adaptation of skylights which mimic the buildings directional form.

by Bing

by Enrique Macia

LEFT: Context Photographs of Existing Downtown Punta Gorda RIGHT: Site Plan of Proposed Downtown Punta Gorda

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by Enrique Macia

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65’

130’

260’

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UNDERGRADUATE WORK: PUNTA GORDA COURTHOUSE

Courtroom Judge Assistant

Articulation of Interior Spaces

Judge Office Jury Deliberation Conference Room

Transparency Relates to Hierarchy

Urban Axis Incorporated with Dual Entry

Proposed versus Traditional Layout

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LEFT: Concept Diagrams and Courtroom Floor Plan UPPER-RIGHT: South Elevation of Courthouse LOWER-RIGHT: Section of Courthouse

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18’

36’

UNDERGRADUATE WORK: PUNTA GORDA COURTHOUSE

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6’

12’

24’

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UNDERGRADUATE WORK: PUNTA GORDA COURTHOUSE

LEFT: Perspective of North of Courthouse UPPER-RIGHT: Perspective of Typical Courtroom LOWER-RIGHT: Partial Section through Courtroom

UNDERGRADUATE WORK: PUNTA GORDA COURTHOUSE

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3’

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BAY FRONT TRANSIT STATION

Transit Center in Downtown, Miami, Florida Fall, 2009: Sonia Chao

The unification of three means of transport is the ultimate goal of this downtown Miami transit station. This site fosters opportunity for such a unification which would join the existing train lines with the existing above-ground metro rail and a proposed bus route with would be a simple expansion of the existing city bus route. The project’s form is inspired from the South Florida landscape, predominantly the quality of broken up light between the mangroves of the Everglades. There exists a duality between the manmade structures on the south portion of the site and the

opposing natural landscape along the pedestrian passage on the north portion of the site.

Varying the sizes of implied volumes and spaces allow for a clear indication of circulation, making wayfinding in this complex integration of transportation easier for the patron. An organic pedestrian bridge is the spine of the site, providing a link across both sides of the site and the boarding platform. The intent was to provide a solution to the existing car traffic problem by providing an easier way to travel around this growing city.

by Carlo Guzman

by Carlo Guzman

by Carlo Guzman

LEFT: Context Photographs of Existing Downtown Miami RIGHT: Site Plan of Downtown Miami with Transit Station

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0’

105’

210’

420’

UNDERGRADUATE WORK: BAY FRONT TRANSIT STATION

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0’

18’

36’

72’

LEFT: Ground Floor Plan UPPER-RIGHT: Section through Vertical Circulation Pavilion LOWER-RIGHT: Perspective from East Portion of Platform

UNDERGRADUATE WORK: BAY FRONT TRANSIT STATION

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5’

10’

20’

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UNDERGRADUATE WORK: BAY FRONT TRANSIT STATION

UPPER-LEFT: Perspective of Platform from Metrorail LOWER-LEFT: Perspective of Concrete Pavilion from Street RIGHT: Detail Perspective of Conrete Pavilion

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CHALK’S OCEAN AIRWAYS

Seaplane Airport in Watson Island, Miami, Florida Spring, 2010: David Scott Trautman An important transportation landmark in the short history of Miami, Chalks Ocean Airways established itself for the first time on the project site. The site affords amazing views of downtown Miami, the Miami Seaport, as well as the MacArthur Causeway which connects to Watson Island. The form of the site is unusual and must address pedestrian and vehicular traffic on the public realm and seaplane and pedestrian traffic on the private realm.

Paralleling the process of flight - going from one place to another - the scale of spaces varies to evoke movement and frame important views. The roof

assembly form is a reference the site and allows for the variation in the scale of the spaces gradually. The roof is a dominant element of the design and extends over the building edges not only to create comfortable outdoor public spaces but also to shield the interiors from the harsh Florida sun. This was especially the case with the southern exposure due to the solar angle. The tower was designed to afford magnificent views to anyone willing to climb the hundred feet. It is intended to be a light well to the core of the building contributing to the light coming from the edges. Its rectilinear form also acts as a grounding element, contrasting the curvilinear roof.

by Carlo Guzman

by Carlo Guzman

LEFT: Context Photographs of Miami and Watson Island RIGHT: Site Plan of Watson Island with Proposed Airport

by Carlo Guzman

by Google

by Carlo Guzman

UNDERGRADUATE WORK: CHALK’S OCEAN AIRWAYS

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Roof as Unifying Element

Open Space Relationship

Combined Hanger Typology

Sculptural Association to Context

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57’

114’

228’

Tower as Grounding Element

UNDERGRADUATE WORK: CHALK’S OCEAN AIRWAYS

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Corporate International Arrival Domestic Arrival Departure Hall Observation Deck

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15’

30’

60’

UNDERGRADUATE WORK: CHALK’S OCEAN AIRWAYS

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UPPER-LEFT: Ground Level Floor Plan LOWER-LEFT: South Elevation with Seaplanes RIGHT: Perspective of South of Airport

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UNDERGRADUATE WORK: CHALK’S OCEAN AIRWAYS

UPPER-LEFT: Section through Main Entrance and Waiting LOWER-LEFT: Structural Diagram including Undulating Roof RIGHT: Perspective of Departure Hall

UNDERGRADUATE WORK: CHALK’S OCEAN AIRWAYS

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Campos do Jordao Residence

Residential Prototype for Community in Sao Paulo, Brazil Fall, 2011: Rene Gonzalez

Campos do Jordao is a small community along the outskirts of the city of Sao Paulo. It is informally known for this idea of “prana” which is understood to be a vital energy which is transferred primarily through the breath. The client, who currently owns the land of the project site, is specifically connected with this idea of “prana,” naming his own home “Prana Fazenda.” Interpreting this idea of vital energy, wind, light and water is integrated with the home and emphasized in an outdoor courtyard space that subdivides the primary and secondary program. The primary

vertical element of the form is the vertical circulation which perpendicularly bisects the courtyard space emphasizing the entrance to the living spaces.

Being at high altitude and in such a rural context, the views are breathtaking and are framed throughout each of the primary spaces. The materials used are those typical to Brazil making the construction of the project appropriate to its location. The climate is very favorable all year. Accordingly, the home opens up to this courtyard and integrates the outdoor and indoor.

by Rene Gonzalez

by Rene Gonzalez

LEFT: Context Photographs of Campos do Jordao RIGHT: Site Plan of Proposed Residential Community and Concept

by Google

by Rene Gonzalez

UNDERGRADUATE WORK: CAMPOS DO JORDAO RESIDENCE

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45’

90’

180’

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UNDERGRADUATE WORK: CAMPOS DO JORDAO RESIDENCE

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A 0’

5’

10’

20’

UNDERGRADUATE WORK: CAMPOS DO JORDAO RESIDENCE

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5’

10’

20’

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LEFT: Lower Level Floor Plan with Sun/Wind Diagram RIGHT: Section A through Vertical Circulation

UNDERGRADUATE WORK: CAMPOS DO JORDAO RESIDENCE

UPPER-LEFT: Perspective of Residence LOWER-LEFT: Perspective of Courtyard RIGHT: Perspective from Living Room

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CASE STUDY

Umbrella House, Paul Rudolph, Sarasota, FL Architectural Drawings & Basswood Model Spring, 2011: Allan Shulman

The Paul Rudolph Umbrella House was built on the small island adjacent to Sarasota, Florida known as Lido Key. It was originally a spec home for the developer, Phillip Hiss. According to current owner and restorer, Vincent Ciulla, the home initially only included the main enclosed building mass and the portion of the “umbrella” directly above it.

The iconic expansion over the pool was added during construction.

The site’s proximity to the water ensures constant breezes, maximizing the characteristics of the tropical environment that would attract potential buyers. A seminal member of the Sarasota school, Rudolph incorporates his principle of tropical regionalism with this umbrella typology, addressing the strong Florida sun. The floor plan adopts a modular linear grid at about 3’0” on center. The grid is used to subdivide spaces hierarchically as

well as position window sections directly across from each other, maximizing cross ventilation.

Wood construction provides a breathable light material, and was a favorite of Rudolph’s.

Unfortunately a mere ten years after construction a storm destroyed the original umbrella structure. It was not until a few years ago that Vincent Ciulla was able to reconstruct the primary portion of the umbrella, directly above the home. Ciulla has also laid out the foundation for the extension over the pool but has not yet built the remaining portion.

The reconstruction includes an aluminum frame sandwiched between the pair of 2x8’s that make up each column, preserving the original appearance but bringing it up to contemporary structural standards, therefore ensuring that the home lasts for many more years to come.

from Vincent Ciulla

LEFT: Photographs of Original Rudolph Umbrella House RIGHT: Site Plan of Original Rudolph Umbrella House

from Vincent Ciulla

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from Vincent Ciulla

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5’

10’

20’

UNDERGRADUATE WORK: CASE STUDY

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0’

5’

10’

20’

UPPER-LEFT: Ground and Upper Level Plan LOWER-LEFT: East and South Elevation UPPER-RIGHT: Long Section LOWER-RIGHT: Short Section

UNDERGRADUATE WORK: CASE STUDY

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7’

14’

28’

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UNDERGRADUATE WORK: CASE STUDY

by Carlo Guzman

UPPER-LEFT: East Elevation Including Umbrella Assembly LOWER-LEFT: Bird’s-Eye Perspective of North Elevation

by Carlo Guzman

CASE STUDY

La Perla, Old San Juan, Puerto Rico Figure Ground & Analysis Spring, 2011: Adib Cure & Carie Penabad In Collaboration with: Fabiana Assenza Personal Contribution: Documentation of Site and Context, Develop Drawings & Diagrams, Organize Presentation

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UNDERGRADUATE WORK: CASE STUDY

by Josue (Prensa Ilegal)

by Jaro Nemcok

0’

by Sarah Wu

100’

200’

400’

LEFT: Photographs of La Perla in Old San Juan, Puerto Rico RIGHT: Historical Development Diagram of La Perla

La Perla Figure Ground

UNDERGRADUATE WORK: CASE STUDY

Topography

Section through La Perla

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UNDERGRADUATE WORK: CASE STUDY

by Phillip Greenspun

La Perla Location

by Gomba Jahbari

by Walter

LEFT: Photographs of La Perla in Old San Juan, Puerto Rico

La Perla Points of Entry

UNDERGRADUATE WORK: CASE STUDY

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Old San Juan Civic Spaces

Old San Juan Street Structure

Old San Juan Commercial Spaces

Old San Juan Public Spaces

PROFESSIONAL WORK Alleguez Architecture, Inc.: May 2010 - Present Independent Graphic Design: January 2010 - Present

PROFESSIONAL WORK Alleguez Architecture, Inc.

This small Coral Gables architecture firm consists of six employees, including myself. The type of work varies from government work, such as schools and fire stations, to commercial and residential projects. Government and private organization contracts have maintained a good amount of work coming in to the office.

I am responsible for a variety of tasks, everything from working on a set of construction documents to working on a computer model and developing a rendering. Being involved in site documentation and the construction administration process has consolidated the full course of a project from beginning to the certificate of occupancy. In addition, I am responsible for occasionally documenting a finished project and updating the website portfolio.

UPPER-LEFT: Weston Publix, Brandon Parterns, Weston, FL, 2012 MID-LEFT: Altos Plaza Publix, Brandon Parterns, Miami, FL, 2011 LOWER-LEFT: Old Cutler Towne Center, Sansone Group, Cutler Bay, FL, 2012 UPPER-RIGHT: CSC Conference Room 240, Florida International University, Miami, FL 2012 LOWER-RIGHT LEFT: OE 309 Labs, Florida International University, Miami, FL 2012 LOWER-RIGHT RIGHT: PG Gold PantherCARD Offices, Florida International University, Miami, FL 2012

PROFESSIONAL WORK: ALLEGUEZ ARCHITECTURE, INC.

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LEFT: Schematic Design Presentation, Markel Residence, Mr. Markel, Islamorada, FL, 2011 RIGHT: Schematic Design Presentation, Miami Lakes Fire Rescue Station 64, Miami Dade County, Miami Lakes, FL 2012

PROFESSIONAL WORK: ALLEGUEZ ARCHITECTURE, INC.

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PROFESSIONAL WORK: ALLEGUEZ ARCHITECTURE, INC.

LEFT: Axonometric Renderings, Schematic Drawings, Plantation Energy Building Proposal, City of Plantation, Plantation, FL, 2010 UPPER-RIGHT: Construction Documents, Conchita Espinosa Academy Kindergarden Addition, Conchita Espinosa Academy, Miami, FL 2010 LOWER-RIGHT: Construction Documents, PG Gold PantherCARD Offices, Florida International University, Miami, FL 2012

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PROFESSIONAL WORK: ALLEGUEZ ARCHITECTURE, INC.

LEFT: Construction Documents, GC Student Orientation Offices, Florida International University, Miami, FL 2011 RIGHT: Construction Documents, Altos Plaza Publix, Brandon Partners, Miami, FL 2011

ALTOS PLAZA PUBLIX

WORK: ALLEGUEZ ARCHITECTURE, INC. S. W. 1st STREET & S.W. 22nd PROFESSIONAL AVENUE MIAMI, FLORIDA

PERMIT SET October 17th, 2011

DEVELOPER:

ARCHITECTURE:

CIVIL ENGINEERING:

200 PASADENA PLACE ORLANDO, FL 32803 FX 407- 835-9955 PH 407- 835-9000

901 PONCE DE LEON BLVD, SUITE 202 CORAL GABLES, FL 33134 305.461.4001 FAX 305.461.6002

5001 SW 74TH COURT, SUITE 201 MIAMI, FLORIDA 33155 (305) 662-8887 FAX (305) 662-8858

LANDSCAPE ARCHITECTURE:

307 SOUTH 21ST AVENUE HOLLYWOOD, FLORIDA 33020 (954) 923-9681 FAX (954) 923-9689



MECHANICAL PLUMBING ELECTRICAL

   

4750 EAST ADAMO DRIVE TAMPA, FLORIDA 33605 (813) 241-2525 FAX (813) 241-2424

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PROFESSIONAL WORK: ALLEGUEZ ARCHITECTURE, INC.

PROFESSIONAL WORK: ALLEGUEZ ARCHITECTURE, INC.

LEFT: Project Documentation, Conchita Espinosa Academy Kindergarden Addition, Conchita Espinosa Academy, Miami, FL 2010 RIGHT: Project Documentation, Miami-Dade County Tropical Park Equestrian Center Miami Dade County, Miami, FL 2010

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LEFT: Project Documentation, Women’s Park History Gallery Miami, FL, 2011 RIGHT: Project Documentation, Royal Palm Hotel Miami Beach, FL 2011

PROFESSIONAL WORK Independent Graphic Design

Depending on word-of-mouth advertisement of previous clients, I have completed a number of graphic design commissions; some relating to event promotions, others to logo design. It has definitely been a learning process. The more projects I complete, the more I learn. This is in regards to not only the programs I employ to complete the task, but also in terms of dealing with a client. The intricacies of the relationship of what the client is seeking and what I can offer are sometimes very delicately intertwined.

What I enjoy the most is being able to bring an idea to life; if not my own idea, being able to bring the client’s vision to life. These various commissions have strengthened my sense of composition and have expanded my ability to design a presentation.

UPPER-LEFT: Leisure Services & Recreation Guide, Client: Andrina Pardee, Village of Pinecrest, 2011 LOWER-LEFT: FAKAWI 50 Silent Auction and Raffles Flyer, Client: Josselyn Gutierrez, Promise Foundation, 2012 RIGHT: Event Poster for Irshad Khan Performance, Client: David LeBlanc, University of Miami, 2011 UPPER-RIGHT: Logo Design for Lanza! Musical, Client: Chris Palmer, University of Miami, 2010 UPPER-RIGHT: Background for Americas United, Client: Adela Young Bryant, TADA!, 2010

PROFESSIONAL WORK: INDEPENDENT GRAPHIC DESIGN

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PERSONAL WORK Photography Drawing & Painting Sculpture

PERSONAL WORK Photography Explorations of composition, value and color, photography proves to be a medium which expands my understanding of portraying space in a two dimensional frame. By using a combination of a Nikon DSLR and Photoshop post-processing techniques, learned from acclaimed architectural photographer, Steven Brooke, I showcased various Miami locations of personal significance.

LEFT: Plymouth Congregational Church, 2010, Coconut Grove, FL RIGHT: Bridge Symmetry, 2009, Watson Island, Miami, FL

PERSONAL WORK: PHOTOGRAPHY

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PERSONAL WORK: PHOTOGRAPHY

LEFT: Discovering Prado II, 2010, Coral Gables, FL UPPER-RIGHT: Ocean Drive Streetscape, 2010, Miami Beach, FL LOWER-RIGHT: Pinecrest Elementary School, 2010, Pinecrest, FL

PERSONAL WORK Drawing & Painting My artwork is an expression of lessons learned through life experiences that have left a significant stamp in my memory. Each piece provides a means of sharing my individual experience with others in the hope they will gain an awareness of the details of life that are often overlooked or taken for granted. I use vivid, rich color, sharp contrast, dynamic composition, or a combination of all to evoke an emotion needed to alter the viewer’s perspective of the world. I produce a realistic rendition of the subject, providing a strong connection to the piece, making the message more effective. Not being limited to a specific medium, each piece presents a unique idea with its own character.

LEFT: Madison Marley, 2012, Carbon 18x24 UPPER-RIGHT: Michelle, 2006, White Prismacolor 20x15 LOWER-RIGHT: SMSH, 2005, Graphite 23x12

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PERSONAL WORK: DRAWING & PAINTING

LEFT: Colors, 2004, Prismacolor 16x12 UPPER-RIGHT: Infiniti, 2007, Prismacolor 20x14 LOWER-RIGHT: Dead Amy, 2006, Graphite & Prismacolor 21x13

PERSONAL WORK Sculpture No longer a framed view of an intended scene, sculpture brings a whole new attribute to my perception of art. These objects are not limited to any frame but rather adapt the opportunity to be explored in three dimensions. The use of clay retains a quality of imperfection akin to human condition. This relationship allows the viewer to relate to the piece more readily.

Inner Light, 2009 The form was inspired from a pair of hands offering something; in this case light. Size is proportional to quantity of light representing growth and maturity.

LEFT: Relationship between the interior and exterior forms.

UPPER-RIGHT: Interior texture representing unique palm print.

LOWER-RIGHT: Illuminated set of five.

Decay, 2009 This piece is fired clay, glazed to give it a reflective finish. Initially it was meant to be an underground installation with a small view port being the only visible part at first glance. To satisfy their curiosity the viewer would have to get down to the ground to discover a commonly overlooked world.

UPPER-LEFT: Two of the more developed forms in disarray.

LOWER-LEFT: Progress and order superimposed by decay.

RIGHT: Detail of the individual forms as they relate to each other.

Vessel, 2009 This piece was inspired by the female figure. Initially intended to be taller and slimmer, the natural response of the wet clay added girth to form. Instead of fighting with the result, it was embraced and fired in that way.

LEFT: Form of vessel as reference to female figure.

UPPER-RIGHT: Resulting texture inside of the vessel.

LOWER-RIGHT: Resulting texture outside of the vessel.

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