

Five year old Cameron could craft anything from the giant bin of bits of plastic, and life was good in “Legoland”, the first stirrings of architecture. In middle school where I spent my time in front of a screen toying with Photoshop and testing my skills. Creating forum banners, I learned that I loved digital design. At the time I didn’t really perceive it as such: art, design, it was just fun, like Legos. In High school I had the fortune of being enrolled in the Drafting and Design program all four years. It had everything: computers, design, collaboration, but perhaps because of my upbringing and unsupportive family life, I never thought I could make a career out of design or creativity. My family life was full of turmoil during adolescence, already a critical and vulnerable time for most people, the situation exacerbated my insecurities. I didn’t believe in myself, my future, or anything. After I graduated, I unenthusiastically signed up for the computer engineering program at my university and dropped out a year later.
The next several years were spent at restaurants and IT companies. Going through the motions to make a paycheck still not seeing any future for myself. I finally had the good sense to quit my mind numbing IT work so that I could try to have the space to center myself enough to get moving in a direction of my own choosing. No longer simply flowing with a stream, picking up any spare branch that came my way, but becoming cognizant of taking matters into my own hands and swimming.
I went back to school, starting with what had been the only good thing that I had ever had in my life, art and design. What started as an uncertain return to school to try something different blossomed into a life-changing realization during my third semester of the Design pro-
gram at El Camino Community College. Spring 2020, the semester that would begin my journey out of the river. By this time, I had enjoyed my other drawing and design courses, but it wasn’t until I started taking Typography that my eyes opened. I rediscovered myself. I would spend hours a day on my Typography assignments, it had been years since I had completely lost track of time working. I was finally finding the words to give form to the ideas floating in my head. While I could always see what made good design or what was pleasing to the eye, I hadn’t had the vocabulary to articulate it and take my own work to the next level. Form, space, contrast- and all the other foundational design concepts became my own foundation where I could begin to understand the world and my place in it.
I was in love with the world and I was in love with myself for moving forward even when there was no instant satisfaction. While studying, I stumbled upon Massimo Vignelli – a formally trained architect turned designer – who said “an architect should be able to design everything from the spoon to the city.” That was it, my path was set and I would become an architect. The vocation that ignited my Vitality. All of the signs from my past, Legos, Photoshop, and Drafting, were coming together in the most beautiful awakening. The answer had been there the whole time, I just had to have the strength to find it.
Using the Kunsthal as a study precedent this building would become A structure that would pull from the ideas of Koolhaas in the 90’s and bring them into the 21st century. The harmonious utopia of the Kunsthal was exploded to better reflect the chaos the world has entered since the original building was created. Flying high above the ground, this building would appear like a scale in balance. With the world becoming more and more polarized, looking as if it was going to fall apart at any moment. The grand entrance was meant to entice the passerby with a striking visual, but ultimately it is up to the individual to walk into the chaos, or to simply turn around and continue on with their day. An obvious reflection on society of today.
A building that was meant to be more political than architectural became the start of an obsession with Koolhaas in general. How is it that one man can be so tuned into what is going on in the world and at the same time creating that vision into reality so beautifully? Yes he has gone on to spawn some of the greatest architects of this century and arguably has defined what architecture is for the past several decades. Though, I believe that this type of architecture is falling out of fashion. From what I can tell the dream of the utopia from the 90’s when the Kunsthal was built has not manifested itself. This idea that we can somehow blend
everything and everyone into one thing while keeping itself somehow desperate and diverse. The Kunsthal was a blender. a way to combine a bunch of disparate parts and turn them round and round until you get something out at the end that is more than the sum of its parts. This has yet to manifest itself elsewhere in society.
However, as the Kunsthal was a reflection of society in the time that it was built the Nukensthal is also a reflection of society at the time that it was drawn. The idea, essentially, is that the hopes and dreams of the past have been destroyed, they are becoming further and further stratified. Society is now in chaos, everyone is extremely divided and the person has become more political than ever because everything they say and do can be platformed and broadcasted to the world. While this is not a bad thing, we are at a point where we are learning to use this technology and to see what comes of it and how it can best work in society. For that reason, the past is blowing up. A new more stable configuration will result as we work out the kinks, or simply let it all crumble. There is a certain air of letting it all fall apart and rising from the ashes to become a better more fruitful society. There is no doubt in my mind that we are on a thin balance like this building represents. Much like Ted K said, things will continue on technologically unless something major happens.
Situated in between river oaks and rest of the city lies an empty lot that was needing some entertainment. For our proposal, we suggested a device that would bring people together through the joy of music. A boombox that would blast music out from the utopic developer created delirium with the beauty of nature and the bayou that is next door, but previously unaccessible. A simple rectangular box was chosen to emphasize that connection, the reaching out from one high perch to the people below. A geothermal system was proposed for the HVAC, while black wood panels and thick insulation was used to keep the boombox as cool as a burst fire hydrant.
There was a quiet calm about this project as it sought to impose itself into a very ritzy area of the area. More than being a place to see it was a place to be seen. Because of this, or possibly because of the construction that was still ongoing for the newest delirious tower going up, the area was empty. There was nothing to see and nothing to do. It needed a boombox to come in and shake things up a little bit.
The design first and foremost, focused on the shadow study of the two massive twenty five plus story buildings to see what kind of solar heat gain savings we could possibly benefit from. As this was going to be a
music venue from the beginning, the actual daytime analysis wasn’t as important as what happened closer to late afternoon when the western sun would do the most impact onto the building. Our building would face the long edge of the building toward the west side so this was the primary concern and was deeply concerning.
The building had to face this way, because from the very beginning it was always going to be a bridge. It was a way to connect people from the rich side of town to the common side of the bayou. Realistically, though it was more about connecting people on a spiritual level. To bring people together through the power of music. There is something primal about listening to a fat bass line playing while your body is moving in chorus with everyone else around you. It was this type of behavior that we wanted to bring to the area.
As if in some grand approval in what we were doing, when we went to visit the site, there was a busker playing on their guitar strumming a sweet tune to a man from the bayou laying on the grass who had ridden his bike there. Another family sat at the patio table of a local and very expensive restaurant listening to the same sweet melodies of this local performer. It was always meant to be this way it would seem.
ROOF CONSTRUCTION
Terramai Open Slats Black 1.25" x 1.25 " Black Liquid Applied Membrane
Plywood Sheathing
Rigid Insulation 6" Min. Metal Decking
HSS 14X14X1/2 Grid 10-1/2' O.C
Terramai Open Slats Black 1.25" x 1.25 " Black Liquid Applied Membrane Plywood Sheathing Rigid Insulation 6" Min. Metal Decking ROOF CONSTRUCTION
HSS 14X14X1/2 Top and Bottom Chord
HSS 14X14X1/2 Grid 10-1/2' O.C
ROOF WALL CONNECTION
Aluminum Parapet
CDX Plywood Sheathing
HSS 3.5 X 3.5
Metal Angle 7"
EXTERIOR FACADE
Terramai Open Slats Black 1-1/4" x 1-1/4 " Rainscreen With Z-Clip
Marine Plywood Painted Black CDX Plywood Sheathing Rigid Insulation 6" Min. 6" Metal Studs 17-1/2" O.C
INTERIOR WALLS
12" C Channel Members 3-5/8 Metal Studs 17-1/2" O.C 5/8" Plywood Sheathing 2x Gypsum, White
Channel Member Cx12
HSS 14X14X1/2 Top and Bottom Chord
HSS 2X12
FLOOR CONSTRUCTION
Aluminum Parapet
Polished Concrete Floor
CDX Plywood Sheathing
2" Rigid Insulation
7" Concrete on top of Metal Decking
HSS 3.5 X 3.5 Metal Angle 7" Channel Member Cx12
HSS 2X12
HSS 14X14X1/2 Top and Bottom Chord
FLOOR CONSTRUCTION
FLOOR TO FLOOR CONNECTION
Aluminum Window Frame
C-Channel Member CX12
Polished Concrete Floor 2" Rigid Insulation 7" Concrete on top of Metal Decking
1-1/2" Metal Angle For Concrete
7" Metal Angle
C-Channel Member CX12
HSS 1-5/8X6X1/16
3-5/8 Metal Studs
HSS 14X14X1/2 Top and Bottom Chord
Aluminum Window Frame
FLOOR TO FLOOR CONNECTION
GLAZING
Double Glazed Laminated Safety Glass
2 x 1/2" Laminated Safety
3-5/8 Metal Studs Aluminum Window Frame
INTERSTITIAL SPACE
1-1/2" Metal Studs 28" O.C.
5/8" Plywood Sheathing
9" Rigid Insulation
CDX Plywood Sheathing Black Painted Wood
EXTERIOR FACADE
Terramai Open Slats Black 1-1/4" x 1-1/4 " Rainscreen With Z-Clip
Marine Plywood Painted Black CDX Plywood Sheathing Rigid Insulation 6" Min. 6" Metal Studs 17-1/2" O.C
INTERIOR WALLS
12" C Channel Members
3-5/8 Metal Studs 17-1/2" O.C
5/8" Plywood Sheathing 2x Gypsum, White
Earth for the materials, wind for the concept, and fire for everyone. In the heart of Waco lies an area that has been taken over by some TV show personalities. Instead of another wanna be designer space, I would build affordable housing that would work in harmony with the iconic Alico building in downtown Waco. A living complex made from CLT that was, above all, created on the knowledge gained through environmental analysis of the environment and the massing. The tower element would allow large open windows for maximum amounts of passive ventilation while the smaller apartments would be abound in skylights to reduce the amount of artificial light needed. The idea was clear, and the way to achieve it would set the ground work for much of the research I would start doing around the time that I completed this project. How can you have a Texas building that works passively? Or that uses less energy because it can be allowed to run free, instilling in it the ideas of Indian architecture. The large windows were the last addition to this project as it was mostly giant openings that were adorning the tower and several smaller units spread out the space. By creating a structure that is tuned to the power of wind and sun, could we do something too for the humidity. There was this burning question the whole time which I had attempted to solve by allowing the maximum
amount of air flow that I could. Gigantic openings would be used for the inlet while the outlet would be much smaller. Ultimately creating the most perfect flow possible given the site and the conditions. There was also this question of how to interact with the current building there, The Alico. It is quite the marvelous structure and is truly the heart of Waco. It was building in the early 20th century and was the only building that would survive the untimely destruction of the city when a tornado would rip through the city. Ironic that it would be the one to survive because it was the tallest building too. So it was this very strong symbol that had to be delicately used for my project. As there are windows all over , I felt the only real option was to situate myself around the building and to push myself strategically away from all of the windows, while at the same time, touching the building on as many points as possible. This allowed this large platform that the building sits on be used for something more than just a roof. It would now turn into a green space that would morph and conform to the new smaller apartments on the ground floor. Like a tree growing out of the acorn of the oak tree that is the Alico, this building was meant to reach out and be a part of Waco and the community in general in direct opposition to the recent influx of tourism thanks to the famous HGTV designers, Chip and Joane.
How can you revitalize a neighborhood while also tackling the excessive waste of the world? Sky High Fishtank Live answers that question by creating a recycling facility that takes in plastic and creates fishtanks that can be used to feed the community. As this is the area new the ship channel, the water has made the fish their inedible, so new water filtration techniques would need to be incorporated in order to allow people to catch fish, sell fish and learn about fish in this all inclusive facility. The tanks being elevated allows the top of the facility to be used as a boardwalk that will be shaded for the more uncomfortable parts of the day. . The main design opportunity for this space was to let the ‘science’ create the building. A vague idea that had to be interpreted from client to architect. My idea was the use the shading of the sun to guide where the tanks themselves should be placed. As the fish in the buffalo bayou do not enjoy the colder weather, my idea was the create the optimal arrangement that would not allow any of the tanks to shade each other when seen individually. Of course, once the tanks were arranged, there would be some overlap, but because there was minimal overlap on an individual cluster, the total proved to not have as much of an impact. This was always, like many of these projects, meant to be a bridge between communities and people. When I first came to visit the site by
myself, it was around sunset and I noticed just how many people loved coming to the other side of the island in order to fish. Well then, that’s what the community wants. They need a place that someone can bring their family as there wasn’t much to do in the area. They would want somewhere where they could buy local produce and meat. Ultimately, based on observation, they would want someplace they could come to just unwind and cast their pole into the water so they could relax. It would be a multipurpose space that would seek to revitalize a community not by trying to create something for them. But by seeing what they already have and then expanding on it. It was a way to bridge the fishing spot I had discovered with the derelict island that we would use to develop upon. It was meant to bridge the people living in the area with something healthy to eat that didn’t cost an arm and a leg. Unfortunately, all of the water in the Bayou is pretty contaminated, enough for the government to insist that you only eat the fish here once a month at maximum. That is why, along with the fishtanks, this building would use advanced, natural filtration systems that would clean the water enough for the fish inside to be edible. Initially a long process, but once the fish had be decontaminated, we could use this for a model all over the world.
Taking an old development that was damaged in the downtown Houston floods of 1927, we would create an infill development to rethink the ideas of housing. For my proposal I suggested a living machine for people to hang out and build a community. As a reflection of the world at the time, everything was all jumbled up and knotted. It created a spiraling two staircase, private and public, that would wrap themselves around all of the functional spaces of the living complex. At the bottom would be the residents bedrooms to take advantage of naturally cooler spaces. As you climb up the building, it becomes more public, ending with a full bar and mini golf on the roof.
The project brief begins with a way to reinvent the way that we live our day to day lives. A rethinking of house a house can be used beyond the nuclear family. While I think the verbiage around this topic is particularly not helpful, the goals themselves are interesting. It started a thread that I would want to follow throughout my entire career so far. This idea of creating a community. Of creating someway to connect people. The theme of bridges and climbing and connection play a big role in most of the work that I have done. It is especially true here as the rope is literally binding the people together. It’s this swirl of chaos that keeps everybody close. There is a beautiful force that can bring people to-
gether, but it is something that must be sought after and found. For this project, that connection was found through the rock climbing wall and various physical actives that people could do together in order to occupy themselves enough to not think about too much of what they were doing. This project also came directly after the lock downs, so it was some sort of a dream home at the time I suppose. A place where you could physically rock climb your way all the way to the top. A place that was built on order but still had this very real look of chaos. It all felt like so much of a reflection of the world that was going on around me at the time. This is is important to show a nice progression from a study model and basic theme into something more concrete, even if the end of it it is actually not that concrete. The beauty of the building lies in the limitless possibilities for change and improvement. The true fun of it all was creating this system that allowed me to do as I wanted with the material I had been given which would lead to something more than the sum of its parts. It was in answer to the question of who controls the way a society moves forward. The answer I had was that no individual can hope to become part of such a complex system without first anchoring themselves to something bigger than themselves. One must start small, and the best way to start strong, is to begin with a loving community.
Seating
Datalogger
While working with Mili Kyropulou I have been engaged in a series of outdoor thermal testing experiments. This started by first assembling two environmental parameter stations. A stationary unit that would be used on the roof of one of the UH buildings and the other is the mobile station that would be used to test people’s thermal comfort while measuring the weather at the time of testing. Eventually it would be used to develop this abstract that would go on to be featured in a conference in Chicago, BTES, and in Switzerland with the CISBAT. Indoor thermal comfort relies on thermal neutrality, reducing physiological adaptability and, arguably associated with substantial energy consumption. Critiques often address its limited alignment with modern sustainability standards. Which is why over the past 20 years, a marked increase of outdoor comfort models has been developed in European and Asian countries. While several studies have been conducted in hot, humid outdoor environments, there is a lack of research on semi-outdoor spaces, especially in North America. This study aims to find alternatives in the form of semi-outdoor spaces. Somewhere between the sealed box and an open field lies the semi-outdoor environment. Studies show that being outside feels good, but can we be just as productive outside as inside? or are the negatives worth the benefits?
The most compelling finding is that air temperature alone is an equivalent predictor of thermal sensation, when compared to the most involved model, PET. On average, all participants felt hotter after they had been sitting in a semi-outdoor environment for an hour. This was purely due to the difference in air temperature. Initial results do not indicate a strong correlation between other climatic conditions monitored -- humidity, wind speed, solar radiation. Since air temperature was the strongest predictor of thermal sensation this would suggest that semi-outdoor environments mitigate most extreme sources of discomfort, such as solar radiation in the hot periods, or high wind speed in the cooler periods. It is also interesting that all thermal comfort models have a weaker correlation after participants have been sitting for an hour. The weak correlation between the different outdoor comfort models could be due to the fact that this was between seasons, and once we have data over a full year, a better picture will emerge. On the other hand, it could be the novelty of the activity and environment that accounts for the weak prediction. Evident in the fact that the correlation was weaker for all models after a person acclimated to the environment.