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contents 04 a complicated chunk Exploring volumes and intersections

06 precedent study Taking a building apart

08 a new composition Putting a building together

12 double negative Dismantling sculpture

14 stair Introduction of circulation

16 library Circulation meets program

22 memorial Conceptual work in the landscape

26 graphic and web design Examples of work

28 material study Wooden planter



a complicated chunk

and all of its pieces — arch 11b, spring 2017

problem understand the spatial implications of 3D modeling processes

solution explore the results of intersecting volumes exploit symmetries to create new relationships flatten and build

software / media Rhinoceros. Adobe Illustrator. Adobe Photoshop. Bristol board. Xacto knife. Tacky glue.



precedent study

Paspels School : Valerio Olgiati — arch 11b, spring 2017

problem divide an old building into new parts

solution trace circulation patterns invert empty space to create solid masses

software Rhinoceros. Adobe Illustrator.



a new composition

the woven residence — arch 11b, spring 2017

problem fit the old parts together in a new way — in relation to the word “woven”

solution use systematic moves to arrange volumes in respect to each other evaluate the spaces created with architectural convention

software / media Rhinoceros. Adobe Illustrator. Adobe Photoshop. Printed museum board. Xacto knife. Tacky glue.



concept The meaning of the word “woven� is based in the repetition of simple moves to form intricate results. As applied to this project, volumes were connected on a vertical axis, and precise and repetitive moves were applied in plan and section in terms of wall thickness, window inset, and seating arrangement. Meticulous, local moves were evaluated at a global scale for their aesthetic and spatial qualities. The result was a composition embodying both the mechanistic intricacies of a woven basket and the informal aesthetic of a woven bracelet.



double negative

An analysis of ‘For P.C.’ by Tony Smith — arch 100a, fall 2017

problem Evaluate a pre-existing sculpture in three dimensions

solution conserve mass through the means of spatial projection begin to manipulate the results of volumetric intersection

software Rhinoceros. Adobe Illustrator.




to circulate within the volume — arch 100a, fall 2017

problem allow for occupation of the solid / void abstraction

solution negotiate within and around the intersection of guiding volumes challenge the spatial qualities of a centralized mass

software / media Rhinoceros. Adobe Illustrator. Adobe Photoshop. Printed museum board. Xacto knife. Tacky glue.




circulation meets program — arch 100a, fall 2017

problem transform the pre-established conceptual framework into a truly usable building type

solution negotatie both within and around a central mass develop a formal language continue to think volumetrically

software / media Rhinoceros. V-Ray. Adobe Illustrator. Adobe Photoshop. Bristol board. Xacto knife. Laser cutter. Acrylic. Tacky glue. Tape.



concept The entirety of this semester was a stumbling through intricate Rhino processes and the subtleties of Illustrator line work. This conceptual library design attempts to allow the user to negotiate within and around a central mass, thereby experiencing moments of interior and exterior all within one surrounding enclosure. The central volume becomes a vessel for the main program of the library — books — while also housing the primary vertical circulation. A smaller, human, scale was introduced in this final composition, manifested as the secondary “peeling” of the large interior volume to hint at circulation and allow light infiltration. The design language of volumetric intersection and the resulting massive forms therefore carries from the global scale of the circulation, to the smallest scale of subtle, individual moments.




semester process

*human not to scale


Sutro memorial

concept, in progess — landarch 102, spring 2018



Sutro memorial

concept, in progess — landarch 102, spring 2018

problem integrate a new memorial into a historic site; the San Fransisco Sutro Baths

solution using a design language of cut and fill, introduce positive and negative masses into the crumbling remains of the site create a series of moments for the users to encounter the intersections of old and new, allowing for attitudes of both play and contemplation

software / media Rhinoceros. AutoCAD, Adobe Illustrator. Graphite, Micron pen, charcoal wash.


graphic design

website design, newsprint publication, logos, tshirts, pamphlets, apps Adobe InDesign, Illustrator, and Photoshop, Wordpress and Java charcoal, watercolor, ink


Negative Space is an innovative artist collective focusing exclusively on the use of negative space in the artwork and working in a watercolor medium. Owner and lead artist Grace Amundson established Negative Space in 1996 after graduating from the University of California

at Berkeley. Beginning with a Moleskine full of rough sketches, Negative Space quickly grew into an oncommission company, and gained recognition as well as employees. 15 years later, Negative Space has grown into a tightly knit team producing posters, tshirts, handcolored cards, and other merchandise. Negative Space has garnered much attention for our creation of images with the canvas as the focus of the art. Here in the studio, we handmake all artwork in the hope to create a personal feel and a longlasting relationship with our clients.



material study: wood

Architecture 160 — spring 2018

problem design a planter box that emphasizes the material properties specific to wood

solution explore the driving language of one continuous, winding structural member exploit both load transfer and horizontal banding within the established language

group members Grace Amundson, Ruiheng Li, Ryan Shin, Vincent Todosiev

software / media Rhinoceros. Softwood. Wood glue. Stain.


thank you

Grace Amundson, portfolio  
Grace Amundson, portfolio