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dPm

EDUCATION

DANIEL PATRICK MORRISON

EXPERIENCE

dpm525@gmail.com www.danielmorrison.us 2401 Leon St. Apt. 111 Austin, TX 78705 3315 Beachwater Dr. Katy, TX 77450 281.687.8728

The University of Texas; Austin,Texas - Bachelor of Architecture - 2012 • 4.0 GPA in all design studios, 3.82 cumulative GPA The Oslo School of Architecture and Design (AHO); Oslo, Norway - Visiting Student - Fall 2010 • AHO selects only five international students each term to participate in the visiting student program

Intern, nARCHITECTS, PLLC; Brooklyn, New York - 2011 For seven months, I pursued an internship with nArchitects under the auspices of the University of Texas School of Architecture Professional Residency Program. I worked primarily in the schematic design and design development phases of several projects and competitions. During my time with the office, I managed the production of all schematic and presentation models. Intern, Ball-Nogues Studio; Los Angeles, California - 2010 For an entire summer, I worked as a full-time intern for Ball-Nogues Studio, a creative collective focused on architecturally scaled installations, material research, parametric design, and digital fabrication. During my time with the studio, I worked to fabricate and install several pieces throughout Southern California. Freelance Designer & Contractor; Austin, Texas - 2009 - Present During the past three years, I have provided services to several international clients including publication design, schematic design, model-making, renderings, fabrication, and construction (clients included: Universal Joint Design, The Institute of Form and Theory: Arkitektur- og designhøgskolen i Oslo (AHO), FD2S, A Design Build Adventure, and Bunkhouse Management LLC). Intern, KMD Architects; Seattle, Washington - 2009 I worked as a full-time intern for the Seattle office of KMD Architects, a San Francisco based architecture and planning firm. I assisted with renderings, construction administration, and site visits. Intern, PBK Architects Inc.; Houston, Texas - 2006-2008 For three consecutive summers, I worked as a full-time intern for PBK Architects, a Houston-area firm specializing in educational facilities design. While learning basic design development skills, I was assigned tasks involving research, client service, drafting, and graphic design. My last summer with PBK was spent as a intern project architect working with a team to complete construction documents for a Houston-area elementary school.

INSTALLATIONS Cardboard Sky; Austin,Texas - April 23-25, 2010 Cardboard Sky involved a personally submitted proposal to an open competition for large scale installations sponsored by Art Alliance Austin. The proposal was ultimately selected and the project was installed and featured during the Art City Austin festival. Horizontal XII: collaboration with Adam Bork; Marfa,Texas - October 9th and 10th, 2009 Working with a team of designers, I constructed a temporary installation space to house a new piece by video artist Adam Bork. The installation was featured for two days during the Trans-Pecos Festival of Music and Love held in Marfa, Texas.

PRESS & PUBLICATION • Thinking Outside the Box: Contemporary Cardboard Design - Written by Anneloes van Gaalen; Book Industry Services (BIS); forthcoming ISBN: 9063692390 • Installation Art - Edited by Vivi Yi; Sandu360 Publications; Fall 2010 • Austin Monthly Magazine - “Art and Soul: One Man’s Trash is One Artist’s Revolutionary Artwork;” April, 2010 • The Daily Texan - “Student Reaches for the Sky with Cardboard Installation” - (April 23, 2010) • News 8 Austin - “Art in April: The spirit in the ‘Cardboard Sky” - (April 15, 2010) • KUT 91.7 FM - Morning News feature on Art City Austin 2010 (April 23, 2010)

LEADERSHIP & ACCOLADES • Received a Special Mention for entry to ‘Under the Railroad,’ a competition hosted by ‘anonymous.d’ • Served as the Design II Studio Assistant with professor Smilja Milanovic-Bertram - Spring 2011 • Received the 2010 Sound Building Distinction Award • Nominated for the Design Excellence Award in Design I, III,V,VI • Served as the undergraduate representative for the UTSoA Awards Committee - Spring 2009 • Served as the Worthy Grand Scribe (graphics coordinator) for Alpha Rho Chi - Dinocrates Chapter

SKILLS • Proficient in AutoCAD, 3DS Max, MicroStation, Rhino, Grasshopper, & the Adobe Creative Suite • Experienced with a wide range of digital fabrication techniques, fine woodworking & finishing, industrial die cutting, basic machining, both SMAW, GMAW & GTAW welding processes


IS T A NB U L D IS A S T E R PREVENTION & E D U CAT I O N C EN T E R Project Description There are two sides to Disaster, characterized by extremes: extreme planning for those engaged in preventing or mitigating one; extreme experience for those affected. The Istanbul Disaster Prevention and Education Center will achieve its educational mission by both disseminating information about disasters and prevention, and by placing visitors in simulations that prepare them for similar experiences. Our entry correspondingly has two sides: dissemination, and immersion. These two coinciding agendas are embodied in two intertwining programmatic loops. Together, the Dissemination Loop and the Immersion Loop form an institution dedicated to educating the public about disaster preparedness.. As an institution diffusing and generating information, the Center will disseminate information to visitors about disasters and their prevention through a variety of educational settings and media. This first side would combine the social atmosphere of a university with the national reach of a media or remote learning center. The second side borrows the participative engagement of a science museum and the theatrical ambience of edutainment centers to produce an immersive experience that prepares visitors through both their intellect and their senses. Project Role . I was involved in almost every phase of this particular project, beginning with research and programmatic diagrams. I was included in all schematic design meetings and was encouraged to introduce new ideas. I am personally responsible for the diagrams shown in this work sample, as well as the renderings and the model. Project Duration: June-September 2011 Principals in Charge: Eric Bunge and Mimi Hoang (nArchitects) Project Manager: Tiago Barros Project Team: Tiago Barros, Alana Flick, Lily Zhang Structural Engineer: ARUP New York


IS T A NB U L D IS A S T E R PREVENTION & E D U CAT I O N C EN T E R (previous page, from top) iterative study models, aerial rendering, approach rendering (this page) site plan, 'immersion loop' program diagram


IS T A NB U L D IS A S T E R PREVENTION & E D U CAT I O N C EN T E R (this page) level 1 plan, 'dissemination loop' program diagram


IS T A NB U L D IS A S T E R PREVENTION & E D U CAT I O N C EN T E R (this page, from top) 'interior rendering of the 'immersion loop' lobby, interior rendering of the 'dissemination loop' cafe, competition model (with roof plane removed)


A M A IZE I N G Project Description Every autumn, rural Americans flock to the corn fields to take part in a time-honored tradition: the corn maize. In October 2012, we'll bring this unique Fall experience to the urban dwellers of New York City through a project we've named "Amaizeing." Not unlike the High Line, the corn maize is a mediation of the 'natural' landscape by means of artificial construction. Paths are carved into the physical mass of the corn to create varied and intimate experiences. Whereas the High Line delineates a linear path above, Amaizeing conversely creates a winding one below. In contrast with the High Line's strong directionality, "Amaizeing" instead promotes enclosed moments of pause and reflection. "Amaizeing" supplants the typical notion of a temporary exhibition space by offering gallery crawlers a chance to participate in an activity typically reserved for regions of much lower density. While considerably smaller than most corn maizes, "Amaizeing" affords a brief but transcendent encounter with the sights, smells, and sounds of the real thing. Upon installation, "Amaizeing" will serve as part gallery-space and part interactive installation. From 24th Street, individuals will see an alluring entrance in the form of a slit within the wall of corn. As people enter and wind their way through the maize itself, a series of gathering and exhibition spaces engender a sense of mystery, discovery, and wonder. A large exhibition space in the middle of the maize can accommodate larger sculptures or events while a small coffee bar marks the terminus of the maize. Among the corn stalks are 'planted' interactive display monitors that maize-goers can access by peeking through the corn; each of these 'media stalks' will feature the work of a different artist or designer. These 'media stalks' activate dead-ends in the maize, allowing them to serve as opportunistic gathering and exhibition spaces; patrons are rewarded for their lack of direction. As a public amenity, the High Line has assuredly transcended its own typology through its inventive re-appropriation of space. But while the allure of the High Line lies above the street, "Amaizeing" engages the public with a singular engrossing jaunt. By juxtaposing these two seemingly discordant experiences, new parallels can be discovered by urbanites and ruralites alike. (this page, from top) exterior rendering - view from 24th Street, interior rendering of the media arcade, interior rendering of the small gallery, site plan, typical detailed section

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C A R D B O AR D S K Y Project Description Cardboard Sky is a personally submitted competition proposal to the 2010 Call to Artists sponsored by Art Alliance Austin. The proposal was selected and featured during Art City Austin Festival (April 23-25, 2010). Formally, suspended swaths serve as shading structures while providing visual interest for festival patrons. Graphically, the installation serves to incite curiosity amongst patrons while invoking a reexamination of a humble material with which we are in constant contact; single-wall corrugated cardboard. For the final installation, thousands of cardboard boxes were harvested from the dumpsters of local businesses and recut as more 18,000 unique modules. With each module designed to knit together in a pixelated tegular system, large-scale montages can be created to display any number of images. As patrons approach the gates, the work is experienced through a spectrum of scale. After viewing the cohesive mosaic from afar, viewers are excited to approach the work to gain a closer look at each constituent module. In this progression, patrons gain new perspective on the inherent beauty of the ubiquitous cardboard packaging in which most everything is parceled. Patron engagement of the piece effectively becomes a seek-and-find; lending a playful nature to the installation as viewers recognize last week's pizza box, last month's fruit crates, or the refuse from last year's Christmas gifts. Effectually, users are reconnected to their waste in a manner which challenges the conventional credo of 'reduce, reuse, and recycle.' Special thanks to Art Alliance Austin (this page, from top) assembly diagram of the cardboard module, proposed rendering, detail photo, assembly event branding

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CRADLE Project Description During my time as a full-time intern for BallNogues Studio in Los Angeles, California, I worked with a team to fabricate and install a new piece titled 'Cradle'. Featured in a heavily trafficked area of Santa Monica, 'Cradle' serves as "an aggregation of mirror polished stainless steel spheres which reference the ubiquitous Newton's Cradle toy. Each ball is suspended by a cable from a point on the wall and locked in position by a combination of gravity and neighboring balls. As a whole, the balls imply an articulated surface suggestive of foam or sea life." * Project Role I was involved in all phases of fabrication and deployment. Fabrication began in June 2010 with the construction of a full-scale formwork to give shape to the 338 stainless steel spheres which comprise the piece. Cradle was strategically constructed on a sled built of aluminum event trussing which served to transport the finished piece to its final site for installation. Principals in Charge: Benjamin Ball and Gaston Nogues Project Manager and Lead Fabricator: James Jones Project Team: Ayhod Kamath, Benjamin Jennett, Rach Shillander, Alison Kung, Daniel Morrison, Jielu Lu, Amador Saucedo, Ron Shvartsman. Lawerance Shanks, Norma Silva, Andrew Lyon, Tim Peeters, Will Trossell Structural Engineer: Buro Happold, Los Angeles. Matthew Melnyk *www.ball-nogues.com (this page, clockwise from top left) formwork in progress, installation en route to final installation site, deployment and installation diagrams, photo of the final installation


WYCKOFF HOUSE VISITORS CENTER Project Description After submitting an RFP in June of 2012, nArchitects was awarded the commission to design an education center for M. Fidler Wyckoff House Park. Located in East Flatbush, Brooklyn, the Wyckoff House is the oldest standing structure in the state of New York. The house and surrounding parkscape are both managed by the New York Department of Parks and Recreation who regularly hosts visitors to learn about the history of Dutch settlers, urban farming, and the agricultural history of New York City. On the heels of another firm's failed attempt to design a cohesive solution, nArchitects was charged with the challenging task of designing a flexible education center in consideration of both the past and future of the Wyckoff House foundation. Conceptually, the design of the visitors center is intended to serve the following aims: to establish an iconic presence at corner of the site, to maintain a frontal view of the Wyckoff House, and to form an appropriate master plan that ensures a holistic experience of the site. The project will remain in design development until October 2012. Project Role My involvement with this project began when the firm was still submitting the RFP. Following the award of the commission, I was included in all preliminary design meetings and site visits. In the early phases of the project, I spent most of my time conducting research concerning the site's historical and demographic context. This research was collated into several compulsory presentations for the clients and stakeholders. Additionally, I was responsible for all iterative study models and final presentation models. Project Duration: October 2011- October 2012 Principals in Charge: Eric Bunge and Mimi Hoang Project Manager: Ammr Vandal Project Team: Daniel Morrison, Ammr Vandal, Lily Zhang Landscape Architect: Nancy Owens Studio Structural Engineer: Munoz Group


WYCKOFF HOUSE VISITORS CENTER (previous page, from top) iterative study models, presentation site model, schematic plans (this page, from top) exterior rendering of the primary portal, exterior rendering looking through the visitors center towards the Wyckoff Farmhouse Museum, exterior rendering looking towards the visitors center from the museum, lobby, exterior approach rendering


Daniel Morrison _ Work Sample