Substance Architecture | Des Moines, Iowa | May 2024 - Aug 2024
Summer Architectural Intern
• Collaborated with a fellow intern on an office renovation proposal, including the development of a detailed Revit model and a comprehensive set of drawings and renderings to effectively present ideas to colleagues.
• Designed graphics for award submissions and contributed to updates for the company website.
• Created a document outlining graphic standards and streamlined workflows to enhance the efficiency of producing visuals.
• Assisted with 100% Bidding Documents preparation.
• Translated 2D hand drawings into a detailed Revit model for a renovation project
Workspace Art Studio | Iowa State University | Jan 2023 - Present
Studio Staff
• Directed and supervised customer interactions with delivering outstanding service and maintaining a fun, joyful, relax, and secure environment.
• Expertly guided and instructed individuals in various art-related activities, including walk-in crafts, pottery painting, and special events.
• Specialized in ceramics-related issues within the ceramic studio.
Reinaldo Correa Studio | Ames, Iowa | Apr 2023 - May 2023
Art Assistant
• Assist Artist in the development of artwork concepts, prototypes, analog & digital renderings, 3D modeling, and research.
ACHIEVEMENTS
• Substance Design Forum - Winner
• Spectacular Studio Awards - Winner
• Rome Studio Competition - Honorable Mention
• DLR Prized - Winner
• Architectural Visualization Award Edition #2 by Buildner Architect’s Sugar - Shortlisted
• Richard F. Hansen Competition - Honorable Mention
• Masonry Institute of Iowa Brick Competition - Most Creative
• Bench Competition in ARCH 345 - Most Creative
• Iowa State University Dean List
ENGAGEMENT • National Organization of Minority Architecture Students (NOMAS) | Member
• Iowa Women in Architecture Students (IAWIA) | Member
• Iowa State University International Family (iFam) | Member
• English • Vietnamese (fluent)
Iowa State University | Jan 2020 - Anticipated May 2025
B.A., Architecture | 3.82 / 4.00
Des Moines Area Community College | Jan 2017 - Graduated May 2020
A.A., Liberal Arts | 3.40 / 4.00
3D Rhino 3D
Vray
Climate Studio
Revit 2D Adobe Creative Suite AutoCAD Bluebeam Microsoft Office
• Physical Modeling, 3D Printing, Laser-cut, Ceramics Pottery Making, General Wood-shop
• Time Management, Strong Communicator, Sketching, Teamwork
REFERENCES Hur, Bosuk
Associate Professor of Practice [ARCH] | Iowa State University bhur@iastate.edu
Joshua Hamberger AIA, LEED AP
Associate Principal | Substance Architecture jhemberger@substancearchitecture.com
Paul Mankins FAIA, LEED AP
Professor of Practice in Architecture | Iowa State University
Founder and Contributing Principal | Substance Architecture pmankins63@gmail.com
Letitia Kenemer
Workspace & Arts Coordinator | Iowa State University letitia@iastate.edu
FORGOTTEN HISTORY
Museum Project
Substance Design Forum - Winner
Spectacular Studio Awards - Winner
Collaborator: Aaron Daniel, Hảo Cao
Forgotten History aims to shed light on the harrowing devastation wrought by Operation Ranch Hand during the Vietnam War—a tragedy too often overlooked. The scars it left on the land and its people demand recognition, yet they remain shrouded in silence. Through our architectural vision, we seek to reignite public awareness, ensuring these events are neither ignored nor forgotten. This space will stand as a poignant reminder, inviting visitors to reflect, learn, and connect with the weight of this history.
“All wars are fought twice, the first time on the battlefield, the second time in memory . . . . Memory is haunted, not just by ghostly others but by the horrors we have done, seen, and condoned, or by the unspeakable things from which we have profited.” - Viet Thanh Nguyen
Location: Sác Forest, Cần Giờ , Vietnam
ARCHITECTURAL DESIGN VII | FALL 2024 | INSTRUCTOR: BOSUK HUR
As stated earlier, we are focusing on the atrocity that is Operation Ranch Hand, which took place during the Vietnam War between the years 1961 and 1971. Within this time, the U.S. army sprayed an estimated 19 million gallons of ‘defoliants’ and ‘herbicides.’ Covering 5 million acres of forest and 500,000 acres of crops, causing an estimated 400,000 deaths.
Out of all the ‘defoliants’ and ‘herbicides’ used, Agent Orange was the most notable used during this operation as it was contaminated with Dioxin. It is a highly toxic chemical that leads to cancer, reproductive development problems, compromised immune systems, and disturbed hormone systems and is carried through generations. After the war ended, the problems caused by Operation Ranch Hand continued as the Vietnamese government estimated around 4.8 million people had been affected due to the Dioxin-contaminated Agent Orange
FORGOTTEN HISTORY
The AI images form a matrix that represents the outcome of leveraging architecture as a tool within the Sác Forest. Two scales define the overall layout of the matrix. The x-axis explores the relationship between destruction and wholeness, symbolizing the contrast between pre- and post-war conditions. The y-axis examines the interplay between nature and architecture, addressing the question of how much architecture is too much.
Each scene also incorporates various elements of the forest, such as sound, light, and temperature, to enhance the sensory connection to the site. This approach strengthens the relationship between each space and its context
When observing the matrix as a whole, we uncover the story of a forgotten history. The bottom-left corner portrays the beginning of Operation Ranch Hand, where chaos poisoned the land and devastated countless lives. The top-right corner illustrates a serene forest, restored from the devastation caused by Operation Ranch Hand. The area between these two extremes reflects the ongoing struggle, the fight to move forward, and the enduring impact of Agent Orange on innocent lives.
The manifesto continues the matrix’s story emphasizing the theme of forgotten history. At the bottom, it portrays the forest thriving today, with a path leading to a gate. This gate opens to the middle, where the forest’s past is revealed, particularly the history of Operation Ranch Hand, presented in an exhibition-like space. Moving further, the top unfolds a ghostly space representing the forest’s future— where growth and prosperity are expected to continue, but the forest’s history must remain remembered.
Figure: Left - Matrix/AI Generator Images
Center - Art Installation
Right - Manifesto
The Site is located in southern Vietnam, where the operation occurred, and south of Ho Chi Minh City in the Sac Forest. This forest was bombarded 300 times with ‘defoliants’ and ‘herbicides,’ adding up to 930,000 gallons. The Sac Forest was also the location of the government’s first cleanup efforts in the country, which started in 1979 with the help of local volunteers.
After almost 60 years and totaling an area of more than 30 acres, the forest that used to be called “Death Land” is now 75% recovered from the native mangrove forest. It houses many endangered plants and animals and is now regarded as the “green lungs” of Ho Chi Minh’s population. The local community cares for the forest, aiming to restore it to its original state before Operation Ranch Hand.
Taking a Step Back: The architecture we are making should work hand in hand with the history it is trying to commemorate. It should not be a dominating figure but rather a column helping to hold the memories of the victims.
Engage Place: The space we inhabit is crucial, and allowing it to speak with the architecture will bring placeness, connecting people to the places where the actual events occurred.
Create Emotion: The architecture used should push specific emotional priorities. Creating purposeful, emotional spaces should help visitors understand while also gaining tremendous respect for the space. In simpler terms, architecture needs to be used as a tool.
OPPRESSION
Stepping inside, the world fades away. Nature’s vibrant sounds are replaced by an oppressive silence, amplifying even the faint rhythm of your heartbeat. Jagged foam blankets the floor, absorbing every noise, while dim lighting stretches the room into seeming infinity.
Above, acrylic rods suspend fragments of war—bullet shells, bomb shards, charred fabric— casting a heavy presence over the space. This haunting environment evokes the disorientation and numbness soldiers endured, trapped in the unending chaos of war.
DEVASTATION
Atop the hill, a poisoned forest bears the scars of Agent Orange. The barren landscape amplifies the destruction, while clusters of short metal rods at the entrance hum eerily in the wind, mimicking air raids. The building divides into two spaces: a narrow corridor ending in hanging pipes that echo fear and anguish, embodying a mother’s silent torment during the war. The second space opens to the sky, where sparse, orderly pipes blend with nature’s sounds, symbolizing her strength and composure to protect her children. Together, these spaces reflect the duality of chaos and resilience in a mother’s wartime emotions.
The building’s delicate form contrasts sharply with the devastated landscape, barely supported by rusted columns. A thin polycarbonate shell, like a child’s coat, encases the structure. Inside, narrow walkways encircle a central void filled with rubble—twisted metal, toys, and chemical drums from war-torn homes. Strings hang from the ceiling, suspending belts of ammunition, toy planes, firearms, and disarmed mines, reflecting the dangerous playthings of children during wartime. Suddenly, an orange mist descends, carrying a chemical scent, a haunting reminder of Agent Orange’s generational toll on children.
The burned metal structure forms a maze-like platform, its skeletal walkways leading to various exhibitions. Resembling ruins, the space showcases war remnants such as dioxin mixing containers and airplane fragments. Navigating the maze evokes feelings of confusion, anger, and helplessness, mirroring the experience of fathers during and after the war—unaware they carried Agent Orange, lost in its generational impact, and enraged by the lack of justice for victims even decades later.
ADRIFT TRANQUILITY
The path descends sharply as walls rise around visitors. A stone wall with pressing gabions and towering steel structures overhead create a sense of confinement and unease. The uneven gravel floor forces awkward movements, while the twisting, narrowing path obscures the destination, mirroring the endless struggle of Operation Ranch Hand victims. Eventually, the path inclines, symbolizing a difficult ascent toward hope. Emerging from the enclosed tunnel, visitors face a steep climb ahead, but for the first time, a glimmer of hope appears on the horizon.
The exterior is clad in charred wood and large curtains, blending seamlessly with nature. At its center, a flourishing mangrove tree rises through an opening in the wooden facade, its canopy casting dappled light onto the space below. Here, peace finally prevails. Visitors reflect on their journey of fear and struggle, finding solace in this tranquil, circular space. The billowing curtains offer views of the restored forest, while the resilient mangrove symbolizes the enduring strength of Agent Orange victims, thriving despite destruction.
ANTICIPATION
The path becomes enclosed by a thin grid, framing glimpses of the forest as mangroves intertwine with the structure. Expanding outward and upward, the lightweight design interacts with nature, offering fresh perspectives. The path leads to a tower rising above the treetops, with six flights of stairs providing views through dense foliage. At the top, visitors are rewarded with a panoramic view of Dong Tranh River and the thriving saplings of a recovering forest, symbolizing hope and a promising future.
MEMORIAL PATH
Leaving the overlook, the path continues into the dense mangrove forest, now fully recovered, and leads to a bridge crossing over the river. The pathway changes and is now adorned with steel and name-carved stones on both sides. A closer look at the brick reveals engraved names of those affected by Agent Orange. The walk through the forest is silent as if nature is paying respect to those suffering. Hundreds of thousands of names along this mile-long pathway act as a poignant reminder to visitors to always remember the history and its victims.
ADDENDUM
Higher Education Project
DLR Prized - Winner
Collaborator: Bayleigh Hughson
The project is the design of a new, 45,000-square-foot studio arts building for the College of Fine Arts at Drake University. The existing Studio Art Building is a re-purposed grocery store with 8,500 square feet of flexible space north of the primary campus. The addendum will incorporate studio, seminar, and public spaces in addition to faculty offices and will be situated on the campus adjacent to the existing Harmon Fine Arts Center designed by Harry Weese and completed in 1972. The HFAC houses Drake’s Music and Theater programs as well as the Anderson Gallery. This New Studio Arts Building will consolidate the fine arts on Drake’s campus and lead to synergies between programs.
Location: Drake University, Des Moines, Iowa
ARCHITECTURAL DESIGN V | FALL 2023 | INSTRUCTOR: PAUL MANKINS, FAIA LEEP AP
Harmon Building is a Fine Arts Facility for Drake University in Des Moines, Iowa. This Building is located here on the North East side of campus. This means it is on the far end of campus, where you would exit the area. This building hosts classes related to painting, music, and performance, but the rest of the design studios are located over here in a renovated grocery store.
We chose this New location next to the Harmon Fine Arts building because it makes sense to create one space where all the studios are located and improve the existing building at the same time.
Addendum is a new Studio arts building, as the original old location is separated from the campus. New building will act as a threshold to campus, allowing students to gain exposure to art, music, and performances.
SITE
SITE ANALYSIS
MASSING DIAGRAMS
MASSING DIAGRAMS
Harmon has three main issues. There is no clear front entrance. Currently, you enter the building “generally” over here, but there are multiple entrances making it confusing. There is no gathering space in this whole building. There is no pin-up space.
We solve these issues by establishing clear paths. These paths determine the usable space for our building. Areas of the old building that don’t follow our path are filled in. Then, joined our structure to the existing building to improve the art center wholistically. Studios and usable space are highlighted with double skin facades facing east and west. This brings to our final design
PHYSICAL MODEL
EXISTING BUILDING
ADDENDUM CONNECT TO EXISTING BUILDING
BUILDING
The studio spaces use the glass block double-skin facade on the elevation. This visually clear space aligns with the atrium spaces, allowing for light to reach lower levels. The areas covered with cladding hide the service spaces that contain our vertical stacks. Inspired by the first floor of the Old Harmon contains an addition using slate cladding, to create an addition that aligns with Harmon but is still separate we chose to use slate for cladding over service spaces.
The first floor of the building will serve as a gallery and pin-up space. The area on the North East, which was previously the entrance, will now be repurposed as a café. This change directs movement through the building and outward toward the campus, creating an opportunity for students to engage with artwork, sculptures, and live performances taking place in the atrium.
Bridges span across the structure, connecting the upper floors of the old and new buildings. The second floor of these bridges will house seminar rooms, while the third floor will function as an open space that fosters interaction. This level will serve as both a gathering area and an additional pin-up space for art studios, encouraging collaboration and creative exchange.
THE SPLIT
Housing Project
Collaborator: Kianna Lechtenberg
The project focuses on urban housing, exploring a range of uses and occupancies shaped by cultural influences. It delves into collective and individual identities, emphasizing the significance of adjacency, the capacity to incorporate diverse scales, and the refinement of critical and technical approaches.
Location: Downtown Des Moines, Iowa
ARCHITECTURAL DESIGN IV | SPRING 2023 | INSTRUCTOR: AYO IYANALU & ROD KRUSE FAIA LEED AP
Divide the square footage into public and residential spaces. We wanted them separate so the residents could have more privacy. We rotated the residential floors to give more sunlight to the units. The residential side aligns with the road. Through addition and subtraction, we created a form that would work with our layout.
The site for the project is located in Des Moines, Iowa, between the downtown and the historic Sherman Hill neighborhood. The location is close to the PapaJohn Sculpture Garden and Hoyt Sherman Place, with lots of green space. This place is close to the Central Iowa Shelter Services.
Currently, the site is a parking lot for Unity Point Hospital. We plan to transform this parking lot into a green space. We have removed the High Street road that intersected our site to create a condition of public green space The new green space encourages people from the sculpture garden to walk toward the site and connects to the Hoyt Sherman Place.
The building includes single, family, and co-living units. In each unit, we wanted to maximize daylighting and provide views. Residents can view the Sherman Hill lawn to the Northwest and the sculpture garden to the Southeast. The downtown cityscape can be seen to the East, and sunsets can be considered to the West. We want to provide these views, and the residential space is at a 66-degree angle. This rotation provides views and maximizes daylight for occupants and plants.
There are two sets of greenhouses, one above the public side, which is a hydroponic garden, and another on the east side of the residential side. Residences can grow their plants seasonally and use this space to hang out and relax. This garden space is on all six floors.
Affordable housing project with a soup kitchen and community gardens attached. The public space is a soup kitchen and houses cooking lessons that teach how to prepare affordable meals. The kitchen space is shared between the cooking lessons and the soup kitchen. The cooking classes are offered in the evenings and on weekends when soup kitchen meals need to be prepared. The soup kitchen’s Southern end can open up in warmer months and connect to outdoor greenspace. We want to create a space for people to gather and feel community.
GREEN CONNECTIONS
Urban Project
Rome Studio Competition - Honorable Mention
Collaborator: Katelynn Vasey, Ella Kannegiesser
San Lorenzo is a neighborhood built upon a foundation of connections - a connection to Rome and the countryside through the strong transportation infrastructure, con-nections between the multigenerational families and students that reside here, and, as in all of Rome, a connection to its historic past seen through ruins, monuments, and the ever present Aurelian Walls. Most of the neighborhood is made up of working class housing built quickly to account for the mass population growth in the late 1800s and early 1900s. Within these housing blocks certain typologies begin to emerge such as inner courtyards, commercial bases and ballatoio halls.
Our primary goal for this intervention is “Connection” – physical connections between parts of the neighborhood, visual connections through sequencing of spaces, and social connections through the fostering of community place.
Location: San Lorenzo, Rome, Italy
ARCHITECTURAL DESIGN VI | SPRING 2024
INSTRUCTOR: CONSUELO NUNEZ, LAVINIA ANN MINCIACCHI, MATILDE MELLINI
SITE MAP
PROGRAM DIAGRAM
MASSING STRATEGY
San Lorenzo lacks green space, with only a gated park and basketball court offering programmed areas for the community. Green Connections introduces flexible and programmed green spaces to enhance public life. A rooftop garden with greenhouses and raised beds connects residential towers, while ground-floor courtyards provide open and adaptable spaces.
Inspired by San Lorenzo’s traditional courtyards, Green Connections expands them into public areas with green spaces shaping circulation paths and play areas. The west courtyard houses a community center, while the east features commercial spaces like shops and cafés, blurring the line between private and public realms.
Align to Site
Subtract Voids
Extrude Residences Key Sightline Green Spaces
Residences are linked by semi-private ballatoio halls, fostering social interaction. Interior community spaces at the ends of these halls extend public life within the building. Historically, the site sits between the Aurelian Walls and an ancient tomb. A new sightline between these landmarks reinforces Green Connections’ integration with its surroundings.
A grand stair addresses the site’s topography while doubling as a public gathering space. Green Connections weaves public life through its courtyards, circulation paths, and green spaces, reconnecting San Lorenzo’s urban fabric while preserving its historical essence.
THE HORSE
Construction Project
The Bench Construction Competition - Most Creative
Collaborator: Bayleigh Hughson & Ella Kannegiesser
The goal of this project is to create, document, and build a modest sitting structure. It will adhere to the listed design parameters and be made of the three materials listed: wood, metal, and concrete. The structure must allow all team members to sit on it simultaneously in comfort, and it must maintain stability.
BUILDING SCIENCE AND TECHNOLOGY I | FALL 2021 | INSTRUCTOR: E. BADDING, B. HUR, & R. WHITEHEAD
Architectural visualization plays a crucial role in the industry, providing architects and designers a platform to express their creativity limitlessly. It is vital for crafting detailed interpretations of buildings, structures, and even entire cities. While the process of creating architectural visualizations has evolved with technology, it is essential to recognize that creative thinking remains at its core.
In a single architectural visualization, “Hereafter” aims to explore the interconnectedness of architecture, the natural environment, and artificial intelligence shortly. Laden with metaphorical meanings, “Hereafter” creates a captivating scene that elicits a spectrum of thoughts and emotions.
ARCHITECTURAL VISUALIZATION | BY
BUILDNER ARCHITECT’S SUGAR | SUMMER 2023
Through a single Architectural Visualization, we aim to depict future scenarios from an architectural perspective. As information technology advances, the growing capacity of AI to replace human jobs prompts reflection on the potential consequences of excessive reliance on AI. The envisioned future raises questions about the balance between AI utility and its impact on human relevance, presenting a speculative scenario that underscores our collective limitations and aspirations for change. Exploring the intricate relationship between human intelligence and artificial intelligence, the presented scene in ‘Hereafter’ deliberately omits explicit causes or reasons. It is an evocative glimpse into a specific moment, inviting viewers to immerse themselves
