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HILLARY BROWN ARCHITECTURE P O R T F O L I O


C O N T E N T THRESHOLD

VARISCO

| ADAPTIVE REUSE & URBANISM | TEXAS A&M UNIVERSITY

LAYERS |

RESOURCE

BASQUIAT

MUSEUM

| TEXAS A&M UNIVERSITY

ACTION | SKATEPARK

| TEXAS A&M UNIVERSITY

SKATEPARK

| MEDICAL SHIPPING CONTAINER |

SERVICE |

BUILD

ORGANIZATION

TINY HOUSE

TINY HOME FOR AUSTIN HOMELESS | COMPETITION

PROFESSIONAL

PAUL DUESING PARTNERS | HARRISON KORNBERG ARCHITECTS

RESUME


UNDERGRADUATE WORKS


V A R I S C O THE SPACE BETWEEN INTERIOR AND EXTERIOR, AND THE THRESHOLD BETWEEN PUBLIC AND PRIVATE SPACES CAN BE APPROACHED BY MANY DIFFERENT ARCHITECTURAL ELEMENTS. I HAVE CHOSEN TO EXPLORE THIS THRESHOLD BY CREATING AN “EXTERIOR ROOM” THAT ALLOWS THE CONNECTION BETWEEN INTERIOR SPACE AND EXTERIOR SPACE AND THE CONNECTION BETWEEN PUBLIC SPACE AND PRIVATE SPACE.


A D A P T I V E THE VARISCO BUILDING, LOCATED ON THE INTERSECTION OF 24TH STREET AND MAIN STREET IN DOWNTOWN BRYAN, TEXAS IS CURRENTLY AN OFFICE BUILDING THAT UNSUCCESSFULLY DEMONSTRATES THIS CONNECTIVE LINK BETWEEN PUBLIC AND PRIVATE ARCHITECTURAL SPACES. IT’S HIDDEN ENTRANCE AND LIFELESS PLANAR FAÇADE ALSO IS UNSUCCESSFUL AT EXPLORING THE THRESHOLD BETWEEN INTERIOR AND EXTERIOR SPACES. IN ORDER TO SUCCESSFULLY CREATE A LINK BETWEEN PUBLIC AND PRIVATE, THE CURRENT OFFICE BUILDING’S PROGRAM MUST BE REEVALUATED. A NEW PROGRAM OF A GROCERY STORE ON THE FIRST FLOOR WITH APARTMENTS AND AMENITIES ABOVE FOR THE BUILDING MUST BE ESTABLISHED TO CREATE THIS LINK. THIS CREATES AN INTIMACY GRADIENT, FROM MOST PUBLIC TO MOST PRIVATE IN THE VERTICAL DIRECTION BY FLOOR. THE FIRST FLOOR WILL ACCOMMODATE AND EXPLORE THE LINK BETWEEN PUBLIC AND PRIVATE SPACES AND THE TRANSITION BETWEEN THEM. ON THE NORTH EASTERN SIDE THE BUILDING, A GROCERY STORE WITH A CAFÉ IS PROPOSED. ON THE SOUTH WESTERN PART OF THE BUILDING, A PROPOSED LEASING OFFICE FOR THE RESIDENTS IS LOCATED. ON THE NORTH EASTERN SIDE OF THE BUILDING, OR CORNER POINT OF THE BUILDING IS WHERE MOST PUBLIC AND PRIVATE INTERACT. IN THIS SPACE A LOUNGE AREA IS LOCATED WITH VERTICAL CIRCULATION TO THE APARTMENTS ABOVE. THE PLACEMENT OF THESE SPACES CREATES AN INTIMACY GRADIENT AS WELL.


SEMI-PUBLIC

CAFE POOL

LEASING OFFICE ROOF BAR + LOUNGE RESIDENTIAL

CAFE POOL LEASING OFFICE LINKING BALCONIES VERTICAL ROOF BAR + LOUNGE GROCERY CIRCULATION

PUBLIC

ON

FRAMED METAL FRAMED RAILING GLASS

W SECTION COLUMN EXISITNG BRICK WELDED TIE BACKS

FLOORING

INSULATION

JOISTS

GYP BOARD BOLTED BEAM EXISITING FOUNDATION


VERTICAL CIRCULATION

LEASING OFFICE

POOL

ROOF BAR + LOUNGE

POOL

ROOF BAR + LOUNGE

LINKING BALCONIES

RESIDENTIAL

ROOF BAR + LOUNGE

LINKING BALCONIES

GROCERY

LINKING B


2

1

3

4 5

FIRST FLOOR

1

POOL SYSTEM + STRUCTURE

2

SERVICE + STORAGE

3

LOBBY + LEASING

4

GROCERY

5

CAFE

1

POOL

2

LOCKER + SAUNA

3

SITTING AREA

4

GYM

N

SCALE 3/32” = 1’

2

1

3

5

5

4

SECOND FLOOR

CLUB HOUSE

THIRD FLOOR

forth + fifth + sixth

1

2

4

5

3 6

2

1 5

3

4

1

APARTMENT 1

2

APARTMENT 2

3

VERTICAL CIRCULATIOM

4

APARTMENT 3

5

APARTMENT 4

6

APARTMENT 5

STORAGE

2

PRIVATE DINING ROOM

3

VERTICAL CIRCULATIOM

4

BATHROOMS

5 ARCH 406 300

ALI, AHMED & KOICHIRO AITANI

ROOF TOP

1

EXTERIOR DINING + LOUNGE


EXPLODED BALCONY 1

EXISITING BUILDING

2

GLASS RAILING

3

GLASS PANES

4

FOOTING OF GLASS

5

FOOTING OF BALCONY

6

JOISTS

7

W SECTION BEAMS

8

W SECTION COLUMN

9

METAL PLATE

10 SHUTTER FRAMES ON TRACK

1

2

11 PROPOSED SCREEN

3

4

5

6 7

8 9

10

11

SCREEN PROCESS

EXISTING MOSAIC

DERIVED PATTERN

PROPOSAL


PUBLIC

SEMI-PUBLIC

PRIVATE

MOST PUBLIC

SEMI - PUBLIC

MOST PRIVATE

PRIVACY GRADIENT


The volumetr gallery were d rectangular p


ric spaces within the derived from a simple prism

B A S Q U I A T THIS TWO STORY, MODERN GALLERY LOCATED IN DALLAS, TEXAS FEATURES ARTWORKS BY THE WORLD RENOWNED ARTIST, JEAN-MICHEL BASQUIAT. BASQUIAT’S LIFE WAS SHORT LIVED, BUT INTERNATIONALLY KNOWN. HIS STARDOM BEGAN WITH WALL DRAW GRAFFITI IN THE URBAN JUNGLE, NEW YORK CITY. HE QUICKLY ROSE TO FAME IN HIS TWENTIES, MEETING CELEBRITIES AND OTHER FAMOUS ARTISTS OF THE 1980S, THAT DIRECTLY IMPACTED HIS ARTWORK. BASQUIAT’S ARTWORK DISPLAYS HIS POLITICAL VIEWS AND HIS POSITION ON THE AMERICAN SOCIAL SOCIETY.

c i c l i l b ub

u p


L O C A T I O N THE LOCATION OF THE BASQUIAT ART MUSEUM IS IN THE HEART OF THE DESIGN DISTRICT OF DALLAS, TEXAS. THIS LOCATION IS A PRIME SPOT FOR A BASQUIAT GALLERY, DUE TO THE CONTEXT OF BASQUIAT AS AN ARTIST. THE SITE SHARES SIMILIAR FEATURES SUCH AS THAT IT IS MUCH LIKE THE URBAN ENVIRONMENT BASQUIAT DID MOST OF HIS GRAFFITI WORK.


PLACEMENT

P R O C E S S AFTER STUDYING BASQUIAT, ONE WOULD REALIZE HIS INTENTIONS OF RELATING HIS PAINTING TO THE HUMAN FORM. THIS IS WHY THE STUDY TO THE LEFT WITH MODELS SHOWING THE RELATIONSHIP OF THE PAINTINGS TO HUMAN FORMS. IT ALSO EXPRESSES THE NEED FOR NATURAL LIGHTING IN A GALLERY.


SECURITY

GIFT SHOP

LOBBY

END

MEDIA HISTORY SKULL

FIGURES

SMALL 699

GALLERY GARDEN


ROOF BELOW

OFFICE

OFFICE

LOBBY

OPEN TO BELOW

STORAGE

OFFICE

ROOF BELOW

M U S E U M THIS MUSEUM HOUSES UNIQUE ART PIECES THAT SHOWCASE BASQUIAT’S LIFESTYLE. IT IS REFLECTIVE OF HIS DISTINCT PERSONALITY AND IS DIRECTLY DERIVED FROM THE WORKS OF ART HE COMPLETED. HIS PALIMPSEST STYLE OF LAYERING PAINT ALLOWS VIEWERS TO SEE WHAT WAS ONCE THERE BEFORE. THIS IS CONVEYED WITH THE LAYERING OF TWO DOMINATE WALL FORMS THROUGHOUT THE BUILDING. “L-SHAPE ” AND “STRAIGHT LINE” WALLS MOLD THE INTERIOR SPACES OF THE MUSEUM AND DIVIDE THE GALLERIES WITHIN. TRANSPARENCY AND MATERIALS THROUGHOUT THE BUILDING WERE CAREFULLY CHOSEN TO ALLOW THE VIEWER TO EXPERIENCE THE BUILDING THE SAME WAY BASQUIAT INTENDED THE AUDIENCE TO EXPERIENCE HIS ARTWORK. THE MUSEUM FUSES NEW YORK’S GRAFFITI SUBCULTURE WITH THE ELITE ART SOCIETY THAT BASQUIAT QUICKLY BECAME A PART OF.


lblicic b uu

pp

yry r e l e enen l l l d r d r ga ga ggaa y r llellery nn ga ga e e d rrd a a gg

THE VOLUMETRIC SPACES WITHIN THE GALLERY WERE DERIVED FROM A SIMPLE RECTANGULAR PRISM.

THE GALLERY IS ARRANGED INTO FOUR MAJOR SPACES: PUBLIC, GALLERY, GALLERY GARDEN, AND GARDEN.

EACH AREA WITHIN THE GALLERY WAS PUSHED AND PULLED FROM THE ORIGINAL SINGLE PRISM TO CREATE A HIERARCHY OF SPACES.


VISUAL PATHS GUIDE AND INTRIGUE VIEWERS TO THE MYSTERY OF WHAT LIES BEYOND THE LAYERS OF WALLS.

THE CIRCULATION IS DESIGNED AROUND AN ARCHITECTURAL PROMENADE; AN ELEMENT KEY IN DEVELOPING MOVEMENT THROUGH SPACES.

THE PATH THROUGHOUT THE GALLERY REFLECTS BASQUIAT’S LIFE BY SHOWING HIS ARTWORK IN CHRONOLOGICAL ORDER.


GARDEN

G


GALLERY

LOBBY


S K A T E

P A R K

IN THIS PROJECT, I WAS GIVEN A SELECTED SITE ON A GOLF COURSE IN BRYAN, TX, AND WAS REQUIRED TO CREATE A SKATE PARK AND A BUILDING THAT ACCOMPANIES IT. THE SKATE PARK TAKES ELEMENTS FROM A SUPER POWER I HAD TO MANUFACTURE. MY SUPER POWER WAS SUPER FOCUS, HYPERSENSITIVITY AND A UNIQUE PERCEPTION OF TIME. WE WERE TO CREATE ABSTRACT ITERATIONS TO PLACE IN THE PARK IN CERTAIN WAY TO EXEMPLIFY OUR SUPERPOWER. EACH ITERATION EMBODIES CERTAIN ASPECTS OF MY SUPERPOWER.


L O C A T I O N IN THIS PROJECT, I WAS GIVEN A SELECTED SITE ON A GOLF COURSE IN BRYAN, TX, AND WAS REQUIRED TO CREATE A SKATE PARK AND A BUILDING THAT ACCOMPANIES IT. THE SKATE PARK TAKES ELEMENTS FROM A SUPER POWER I HAD TO MANUFACTURE. MY SUPER POWER WAS SUPER FOCUS, HYPERSENSITIVITY AND A UNIQUE PERCEPTION OF TIME. WE WERE TO CREATE ABSTRACT ITERATIONS TO PLACE IN THE PARK IN CERTAIN WAY TO EXEMPLIFY OUR SUPERPOWER. EACH ITERATION EMBODIES CERTAIN ASPECTS OF MY SUPERPOWER.


L A Y O U T THE SKATE PARK DESIGN IS DERIVED FROM FILM WITH AN EMPHASIS ON THE ASPECT OF FOCUS. THE TOPOGRAPHY OF THE SITE IS ORGANIZED BY THE AMOUNT OF PEOPLE USING THAT AREA. THE OUTER RIMS ARE DESIGNED FOR MORE EXPERIENCED SKATERS AND DECREASE IN SKILL TOWARD THE CENTER. EACH CHANGE OF ELEVATION SIGNIFIES A CHANGE IN SKILL LEVEL. THE CENTER OF THE PARK IS MOST CONCENTRATED WITH PEOPLE, JUST HOW A CAMERA FOCUSES THE SHOT IN THE CENTER. THE PLACEMENT OF THE SKATE PARK ELEMENTS ARE DERIVED FROM FILM EDITING AS EXPRESSED IN THE DIAGRAM ON THE RIGHT. EACH ELEMENT IS PLACED FROM WHERE THE DERIVED DESIGN IN ELEVATION INTERSECTS WHEN GRID LINES ARE EXPRESSED. EACH ELEMENT IS ALSO DERIVED FROM THE SAME CONCEPT OF FOCUSING IN FILM.


CAMERA LENSE | FOCUS

DEPTH OF CAMERA LENSE

DERIVED FOCUS | FILM EDITING

START

END

FRAME INCREASES AS TIME IS SLOWED

START

END

DETAIL BECOMES GREATEST IN CENTER

FOCUS DESIGN


S K A T I N G

E L E M E N T S

EACH OF THE ABOVE ELEMENTS ARE CONCRETE STRUCTURES THAT TAKE ON THE SAME CONCEPT OF FOCUS FROM FILM . EACH ONE IS DIFFERENT IN SCALE AND ALLOWS THE OVERALL DESIGN OF THE SKATE PARK TO BE COMMUNICATED ON A MORE HUMAN SCALE. THEIR PLACEMENT IS DEPENDANT ON THE GRID SYSTEM CREATED FROM THE OVERALL DESIGN FOCUS.


COMPETITION & ORGANIZAITON WORKS


B U I L D BUILD IS AN ORGANIZATION AIMED AT UNIFYING THE STUDENT BODY AT TEXAS A&M UNIVERSITY BY UNDERTAKING A LARGE SCALE SERVICE PROJECT. THE SERVICE PROJECT THAT I WAS IN CHARGE OF ,WHILE BEING ON THE DESIGN AND CONSTRUCTION TEAM OF THE ORGANIZATION, REQUIRED THE DESIGN DOCUMENTATION OF A SHIPPING CONTAINER FABRICATED AS A MEDICAL UNIT. THE FOUR UNITS


THOMAZEAU, HAITI

DOLORES, HONDURAS | NO NEAR BY HOSPITALS


LOCATION OF MEDICAL UNIT | TEN MILE RADIUS OF NEAREST HOSPITALS

LA PAZ, BOLIVIA

MANTA, COLUMBIA | NO NEARBY HOSPITALS

S E R V I C E THE FOUR SHIPPING CONTAINERS ARE APART OF A SERIES OF TWELVE CONTAINERS. EACH CONTAINER REPRESENTS ONE OF THE VICTIMS OF THE BONFIRE TRAGEDY AT TEXAS A&M UNIVERSITY. THIS PROJECT ALLOWS STUDENTS ALL ACROSS THE TEXAS A&M CAMPUS TO COME TOGETHER TO WORK ON A SINGLE SELFLESS SERVICE PROJECT. THE FOUR CONTAINERS WILL BE SENT TO: THOMAZEAU HAITI, DOLORES, HONDURAS, MANTA, COLUMBIA, AND LA PAZ, BOLIVIA. ALL LOCATIONS WITH LITTLE ACCESS TO HEALTHCARE LOCATIONS.


A R R A N G E THE ORGANIZATION WAS DONATED FOUR SHIPPING CONTAINERS TO USE. USING A SHIPPING CONTAINER RESTRICTED THE AMOUNT OF SPACE ALLOWED FOR THE DESIGN. PRIVACY WANTED TO BE INCORPORATED INTO THE DESIGN TO ALLOW FOR PATIENT AND PRACTICE INTERACTION. IT IS THE MOST PRIVATE INTERACTION, SO IT IS FURTHEST AWAY FROM THE ENTRANCE. MOVING THE EXTERIOR WALL CLOSER ALLOWS THE THRESHOLD TO CHANGE. IT ALLOWS THE PUBLIC TO BE SHIELDED FROM THE EXTERIOR BEFORE ENTERING INTO THE INTERIOR OF THE SHIPPING CONTAINER. CIRCULATION WAS KEY IN THE LIMITED SPACE. THERE SHOULD BE A NATURAL FLOW FROM THE FRONT OF THE CONTAINER TO THE REAR OF THE CONTAINER. THE SPACING ALSO PROVIDES CLEARANCE FOR A STRETCHER TO ACCESS THE PRIVATE TREATMENT AREA AS WELL. AS ONE PROCEEDS FROM THE FRONT TO THE BACK OF THE CONTAINER, THE INTERACTION BETWEEN PEOPLE DECREASES, AS DISPLAYED IN THE BOTTOM GRAPHIC. THE MOST FREQUENTED AREA BEING IN THE FRONT OF CONTAINER.


STANDARD SHIPPING CONTAINER

PARTITION WALL | PRIVACY

MOVE

| THRESHOLD & PUBLIC

FLOW | DOOR & PATH

TRIAGE

EXAMINATION

LABRATORY

TREATMENT CIRCULATION

PLACEMENT

TRIAGE

EXAMINATION

LABRATORY

TREATMENT CIRCULATION

MOST PUBLIC

MOST PRIVATE

PRIVACY GRADIENT


NETS

TRIAGE L

EXAMINATION

LABRATORY

TREATMENT MOST PRIVATE

MOST PUBLIC

TOP SHELF WITH METAL BRACKETS

BASE CABINET SINK

BASE CABINET SINK

EXAM TABLE

EXAMINATION

LAB

EX

TRIAGE HALLWAY / CIRCULATION

RY

2”X4“ FRAMING 11”O.C. WITH 1/2” GYP ON INTERIOR SIDE

AM

TA

BL

E

TREATMENT

2”X2“ POCKET DOOR WITH 1/2” GYP ON PUBLIC SIDE

POCKET DOOR WALL

EXTERIOR ENTRY

TOP SHELF WITH METAL BRACKETS

BASE CABINET SINK

EXAM TABLE

EXAMINATION

LAB

TRIAGE HALLWAY / CIRCULATION

TS

OOR WALL

EXTERIOR ENTRY

POCKET DOOR WALL

2”X4“ FRAMING 11”O.C. WITH 1/2” GYP ON INTERIOR SIDE

EXTERIOR ENTRY REAR CABINETS 2”X2“ POCKET DOOR WITH 1/2” GYP ON PUBLIC SIDE


F A B R I C A T I O N THE FOUR SHIPPING CONTAINERS WERE CONSTRUCTED AND BUILT DURING THE FALL SEMESTER OF 2015 AT TEXAS A&M UNIVERSITY. BEING APART OF THE DESIGN TEAM, I OVERSAW THE CONSTRUCTION CARRIED OUT AS WELL AS LENDING A HAND IN CONSTRUCTING THE MEDICAL UNITS. THESE UNITS WILL IMPACT THE PEOPLE IN THE COMMUNITIES OF THE COUNTRIES THAT DESPERATELY NEED THEM. BEING APART OF THE PROJECT IS SOMETHING THAT I WILL TRULY TAKE MANY THINGS AWAY FROM.


T I N Y

H O U S E

THIS SINGLE STORY TINY HOUSE WAS CREATED WITH THE CONSUMER IN MIND. AS A COMPETITION DESIGN FOR COMMUNITY FIRST, THAT PLACED FIRST, THIS TINY HOUSE THE HOME WAS DESIGNED TO ACCOMMODATE THE NEEDS OF A HANDICAP INDIVIDUAL. THIS 120 SQUARE FOOT HOME HAS PLENTIFUL SPACE, MEETING THE REQUIREMENTS OF THE COMPETITION CRITERIA OF FITTING ON A TRAILER AS WELL AS FALLING INTO THE BUDGET OF $8,000. THE DESIGN EVENTUALLY WAS REFINED BY SEVERAL FACULTY MEMBERS, BUILT, AND DONATED TO THE ORGANIZATION IN SPRING OF 2015.

TINY HOUSE PROPOSAL


FIRST FLOOR

=

FITS ON 18’X6’11” TRAILER

FITS ON 18’X

LESS THAN $8,000

LESS THAN $8

8’6” WIDTH 14’ HEIGHT FOR TRANSPORTATION

DISABILITY COMPATIBILITY

=

=

8’6” WIDTH 1 TRANSPORTA

DISABILITY C

THE CONTEST REQUIREMENTS FOR TINY HOUSE WERE VERY STRICT. THE HOME HAD TO FIT ON A 18’ X 6’11” TRAILER AS WELL AS ACCOMODATING FOR A TRANSPORTATION HEIGHT OF 14’ AND A WIDTH OF 8’6”. THE HOME ALSO HAD TO BE LESS THAN $8,000 . A BUDGETED LIST WITH THE MATERIALS AND THEIR COST AND A GHANT CHART WITH THE SCHEDULE WAS PRESENTED WITH THE DESIGN AS WELL. THE HOME DID NOT HAVE TO BE HANDICAP ACCESSIBLE, BUT AFTER RESEARCHING THE ORGANIZAATION AND THE PEOLE THAT POPULATE THE COMMUNITY, MAKING THE HOME COMPATIBLE WAS A MUST.

INTERIOR ELEVATION

INTERIOR ELEVATION


PRIVATE BEDROOM

PUBLIC LIVING SPACE

PRIVATE BEDROOM

PUBLIC LIVING SPACE

THE HOUSE IS DIVIDED INTO TWO BASIC AREAS: PUBLIC AND PRIVATE.

PRIVACY DIVISION PRIVACY DIVISION

PRIVACY DIVISION THE HOUSE OFFERS VISUALS OF THE EXTERIOR OF THE HOUSE FROM ALL POINTS OF INTEREST INSIDE.

VISUAL INTERACTION VISUAL INTERACTION THE HOUSE IS EASILY ACCESSIBLE FOR A WHEEL CHAIR. THE DESIGN COMPETITION DID NOT ASK FOR THIS, BUT AFTER RESEARCHING THE ORGANIZATION, THE NEED FOR HANDICAP ACCESSIBILITY WAS AN ESSENTIAL.

VISUAL INTERACTION

HANDICAP FREEDOM HANDICAP FREEDOM


N

FRONT ELEVATION

SIDE ELEVATION

N

FRONT ELEVATION

SIDE ELEVATION

FIRST FLOOR

N

REAR ELEVATION

SIDE ELEVATION

N

REAR ELEVATION

SIDE ELEVATION

ROOM ON

PUBLIC LIVING SPACE

ROOM

PUBLIC LIVING SPACE

INTERIOR ELEVATION

PRIVATE BEDROOM INTERIOR ELEVATION PRIVATE BEDROOM


THE MODIFIED DESIGN INCORPORATED A PITCHED ROOF WITH SOLAR PANELS. THE HOUSE NOW PROVIDES HOUSING FOR THE HOMELESS IN AUSTIN THROUGH THE ORGANIZATION COMMUNITY FIRST.


PROFESSIONAL WORKS


P R O F E S S I O N A L WHILE INTERNING FOR HARRISONKORNBERG ARCHITECTS, A FIRM SPECIALIZING IN HIGHER EDUCATION AND K-12 EDUCATION DESIGN, I COMPLETED WORK ON TWO MIDDLE SCHOOLS IN THE HOUSTON AREA. I HAD MANY RESPONSIBILITIES INCLUDING THE TECHNICAL FLOOR PLAN DRAWINGS FOR THE PROJECTS AS WELL AS THE SCHEDULES REQUIRED FOR THE ARCHITECTURAL PACKAGE & INTERIOR DESIGN SCHEMES. I PRIMARILY USED REVIT ON THESE PROJECTS BUT I ALSO USED AUTOCAD AND I COMPLETED RENDERINGS AND PRESENTATION GRAPHICS IN PHOTOSHOP, SKETCHUP, AND ILLUSTRATOR.


P R O F E S S I O N A L WHILE INTERNING FOR PAUL DUESING PARTNERS, AN INTERIOR DESIGN FIRM SPECIALIZING IN HIGH END RESIDENTIAL HOMES AND LUXURY HOTELS AND RESORTS, I COMPLETED A VARIETY OF DIFFERENT TASKS. SOME OF THESE TASKS INCLUDED SPECIFYING MATERIALS TO BE USED IN THE PROJECTS, DESIGNING THE FURNITURE LAYOUT OF THE INTERIOR SPACE, COMPLETING PHYSICAL PRESENTATION BOARDS TO SHOW TO CLIENTS, AND COMMUNICATING WITH DIFFERENT REPRESENTATIVES. I PRIMARILY USED AUTOCAD DURING THE DURATIONS OF MY INTERNSHIP WITH PAUL DUESING PARTNERS. A HELPED COMPLETE A MURAL AT THE FOUR SEASONS COSTA RICA AND A GALLERY WALL IN AN APARTMENT COMPLEX IN DALLAS, TX. I ALSO WORKED ON INTERIOR DESIGN FOR PRIVATE RESIDENCES THROUGHOUT DALLAS AND THROUGHOUT THE U.S.


STATEMENT OBJECTIVE I AM A SENIOR AT TEXAS A&M UNIVERSITY WITH PLANS TO EARN MY BACHELOR DEGREE IN ENVIRONMENTAL DESIGN. I AM AGGRESSIVELY SEEKING AN ARCHITECTURAL INTERNSHIP POSITION IN WHICH I CAN UTILIZE MY ABILITIES AND SKILLS TO INTERACT WITH PEOPLE & TO GAIN EXPERIENCE AND UNDERSTANDING OF THE ARCHITECTURAL BUSINESS WORLD. I AM WILLING TO WORK IN ANY POSITION THAT WILL DRIVE THOSE EXPECTATIONS. I AM OPEN TO ALL TRAINING AND MENTORING THAT WILL HELP ME BECOME SUCCESSFUL IN THIS ROLE.

HILLARY BROWN 4008 CARTAGENA DRIVE PEARLAND, TEXAS 77581 8 3 2 . 4 7 4 . 3 4 5 6 HILLARYBROWN1992@YAHOO.COM www.linkedin.com/in/hillaryashtonbrown

EDUCATION TEXAS A&M UNIVERSITY ENVIRONMENTAL DESIGN

GPA 3.66

COLLEGE STATION, TEXAS FALL 2011 - FALL 2015

BLINN COLLEGE

GPA 3.50

PEARLAND HIGH SCHOOL

GPA 3.90

BRYAN, TEXAS FALL 2011 - SPRING 2012

PEARLAND, TEXAS FALL 2007 - SPRING 2011

ARCHITECTURAL SKILLS REVIT AUTOCAD SKETCH UP RHINOCEROS 3D 3DS MAX MICROSOFT OFFICE

WORD + EXCEL + POWER POINT

PREZI ADOBE SUITE

PHOTOSHOP + ILLUSTRATOR + INDESIGN


PROFESSIONAL EXPERIENCE HARRISON KORNBERG ARCHITECTS

CHARLES JACOBS

3131 EASTSIDE STREET, SUITE 100

AIA

HOUSTON, TEXAS 77098

NCARB

LEED AP BD+C CDT 832.788.9638

CJACOBS@HARRISONKORNBERG.COM

ALISON ANDRUS

PAUL DUESING PARTNERS

INTERIOR DESIGNER 214.763.2406 AANDRUS@PAULDUESINGPARTNERS.COM

2600 FAIRMOUNT ST DALLAS, TEXAS

ORGANIZATIONS & IMPACT TAU SIGMA DELTA

MEMBER OF THE NATIONAL ARCHITECTURE HONOR SOCIETY RECOGNIZING ACADEMIC ACHIEVEMENT

AMERICAN INSTITUTE OF ARCHITECTURE STUDENTS MEMBER OF THE NATIONAL STUDENT CHAPTER

BUILD | DESIGN AND CONSTRUCTION LEADER TEXAS A&M UNIVERSITY ORGANIZATION

| DESIGNER OF MEDICAL SHIPPING CONTAINERS

TINY HOUSE | WINNING SUBMISSION

TEXAS A&M UNIVERSITY | CREATED THE WINNING TINY HOUSE DESIGN FOR COMMUNITY FIRST, AN ORGANIZATION HELPING THE HOMELESS OF AUSTIN

AWARDS & ACHIEVEMENTS FRESHMAN SHOWCASE EXHIBIT | SELECTED WORKS SHOWCASED TEXAS A&M UNIVERSITY COLLEGE OF ARCHITECTURE

JOHN HOUCHINS ‘58 ENDOWED SCHOLARSHIP TEXAS A&M UNIVERSITY COLLEGE OF ARCHITECTURE


HILLARY BROWN ARCHITECTURE P O R T F O L I O

2015 | Hillary Brown | Undergraduate Architecture Portfolio  

Please see the other document in my stack to see my latest portfolio. Hillary Brown | Undergraduate Architecture Portfolio | Texas A&M Unive...

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