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JOSÉ E GALLEGOS                                          


JosĂŠ Esteban Gallegos B. Architecture 2015 School of Architecture University of Texas at Austin 512.696.1230 | joseg@utexas.edu


 

08    

16 

 I   

 I

    

 II

 

  

  

   

 

  

  

  

26

32  38 42

 

48 

 II

 III

 III  IV

 

 II



52

 V

58

 III

  

60

  









62



CONTENTS

02


DESIGN

CASTING  An exercise in spatial awareness, this plaster casting project introduced the concepts of sectional comprehention and drawing. Using the bell and barrel of a clarinet, crumpled pieces of music, and a few pencils, I explored the contrasting impressions and spaces left behind by the three distinct items through a series of sectional drawings. Although the plaster model itself broke before it could be photographed, the drawings were the most important learning experience in this exercise.

Preliminary sketches (above) show the organization and though process behind the objets’ layout in the plaster. The objects in question (above, right) each have their own unique material qualities. A first attempt at a section drawing (right) begins to explore the textural differences between the objects

2


The drawing above more carefully analizes the dierences between the smooth shape left by the clarinet, and the complex imprint and residue left behind by the moistened paper.

3


DESIGN

BUS STOP  Downtown Austin is growing and public transport is becoming increasingly popular. This project calls for an expansion from the typical bus stop bench to a whole street corner to accomodate larger volumes of commuters. An indentation into the building that occupies the street corner manifests itself here in a simple, but bold curving concept that addresses both the building and the shading canopy. Light is the medium of the dialogue between the canopy and the wall, as small openings in the canopy allow pockets of light to shine through onto the curving surface in a dynamic and perpetually changing display. There are seating accomodations for a couple dozen people, and a counter for a food vendor is incorporated as well.

sketches in plan (top left) section drawing showing food vendor (bottom left) canopy openings, test one (right column)

4


ďŹ nal model images

5


DESIGN

ACL ROOFTOP  Austin City Limits needs a new venue which would be theoretically placed above a building of their offices on the southeastern corner of 7th street and Congress Ave of the ‘Live Music Capital of the World’. This dynamic performance space blurs the distinction between private concerts and public expositions. Musicians wander from the stage connected to the staircase to the overhanging observation deck and their sounds reach the sidewalks below. The audience is surrounded by sound and has a variety of places from which to enjoy the music. The sweeping tensile shade structures above are both functional and iconic.

plans: observation deck downstairs stage area

section, facing east

6

section, facing west


(top) Staircase from upper observation deck incorporates itself with stage and brings visitors down into the lower audience area. Waterfall wall behind staircase and stage. (left) Observation deck gives view of stage and downtown, shading structure again incorporates itself to handrails. (right) Bar area opposite corner to stage, shaded by observation deck but partially lit by clerestories.

7


VISCOM

LIGHT & SHADOW  Black and white photographs were taken to analyze the difference between light and shadow and then recreated in freehand graphite drawings to explore the full range of shading possible with the pencil.

original black and white photograph (above) graphite on stonehenge (right)

8


9


VISCOM

LIFE DRAWINGS  The human figure is an important theme and foundation of the visual arts. These sketches, rendered with charcoal on newsprint, are informed by observation of a pair of live models. With students sitting in a circle, each drawing reflects the perspective of an individual’s unique location relative to the model. Gesture drawings, with poses being held for only seconds, served as an introductory and warmup exercise. Longer pose times allowed more detailed drawings to be practiced.

10


charcoal on newsprint

11


VISCOM 12

BLIND CONTOURS  In learning to draw what is seen rather than what is imagined, we were asked to put pencil to paper without looking down at the lines we were marking or lifting the pencil up. Our eyes were to remain fixed on the subject, be it a mirror, a fellow student, or a pair of hands.


 Continuing from the blind contour exercise, one specific drawing of a hand gesture was chosen to be modeled out of wood. This wood joint represents hands cupped as to hold water or something delicate. They are two individual pieces that slide together and lock in the joined position. The grain of the wood lines up best when the hands are joined.

VISCOM

WOOD JOINT

13


VISCOM

MECHANICAL DRAWING  Analog drawing is an incredibly important part of an education in architecture. The purest form of this is freehand drawing. This technical drawing exercise focuses on a mechanical object, in this case a Bb Clarinet, and is drawn without the aid of rulers or other stencils.

graphite on stonehenge

14


15


DESIGN II

16

FLIGHT STUDY  We studied the American Kestrel Hawk in detail, learning its behavioral patterns, diet, and other such characteristics. This is only one of such analyses. Such scrutinous and detailed studies of the natural world in which we were designing helped us make more informed decisions in projects that followed this.


ink on stonehenge

17


DESIGN II

BIRD BLIND  The Hornsby Bend Bird Observatory is a 1200-acre site located in a Biosolids Management Plant in southeast Austin, Texas. The program calls for a bird blind for people to conceal themselves in while bird watching. The bird blind stretches from the levee, which is surrounded by tall, dense trees, to the edge of the swampy water where there are only grasses and shrubs. The blind’s facade is made up of long, regularly spaced horizontal metal members whose horizontal trajectory is interrupted strategically to allow viewing openings. There is a gradient of coverage which responds to how dense the vegetation is at a given point. Midway through, the blind is offset to the right, creating two corner conditions that open up viewing angles in more directions. As the blind approaches the lower topography at the water front, it splits into upper and lower levels to allow users a variety of experiences and views.

18


(left, top) hand stitched panoramic of Hornsby Bend site (left, middle) longitudonal section of site, images of changing sectional conditions (left, bottom) theoretical transverse sections analyzing chaning vegetation and elevation (above) preliminary sketches, site plan (right) model iterations of bird blind

19


longitudonal section of ďŹ nal design (below) ďŹ nal model images (right) rendered image from inside blind

20


21


DESIGN II

HORNSBY BEND VISITOR CENTER  A visitor center for the Hornsby Bend site would help educate visitors about the animal and plant species of the area. No such facilites exist at the site presently. Situated close to the parking area and sitting on the trail which leads into a more densely wooded section, the visitor center acts as a gateway to the site. Visitors funnelled through its doors are given access to information, park offices, gift shop, and restrooms. Butterfly roofs feed a water catchment system.

22

(top) preliminary sketches (middle) longitudonal section, water catchment roof (below) midreview iterations of entrance/exit water catchment (right) watercolor perspectives and plan, final


23


digital site analysis compilation

24


ďŹ nal model

25


VISCOM II

GUNMA HOUSE  An exercise in both technical drawing and analysis, this assignment asked for a house to be analyzed and diagrammed isometrically, as well as reproduced in plans and sections. This weekend house in Gunma, Japan is a small building made to be both an exhibition and living space. It is a one story building with a central space inside and three glass courtyards that bring the outside world into the house. Built in 1998, the architects are Kazuyo Sejima and Ryue Nishizawa. The first axonometric drawing examines the glass courtyards of the house, with the vegetation of the courtyard floor in green and opened roof plane in yellow. The second displays the strict structural and organizational grid of the house. The third compares the different uses of space within the house. The adjacent page contains a plan, section, and elevation of the Gunma weekend house.

26


27


VISCOM II

28

SHADOW ANALYSIS  Understanding the trajectory of the sun and its effect on our projects is an important part of design. Using a wooden model inspired by the feathers of the Kestrel hawk previously studied, specific angles of shadows were calculated by considering the angle and azimuth of the sun at different times of the day at our specific latitude.


 Continuing in the study of the Kestrel bird, a pattern was developed using again the hawk’s feathers for inspiration. The colors, also derived from the bird, stay constant. The square pattern is rotated 90 degrees each time to allow for differing border conditions and combinations.

VISCOM

WATERCOLOR STUDY

II

29


VISCOM II

30

KESTREL ANALYSIS  This exercise in mixing mediums also added mixed ways of looking at the structure of the bird. The body’s form, quickly captured in a charcoal parti, is very different than the complex skull rendered in graphite or soft feather in colored pencil. Careful selection our drawing tools was necessary for this assignment.


31


DESGIN III

SOCCER SHOE  Precedent research is an important part of design developoment. In this case analyzing a specialized piece of footwear such as a soccer shoe allows for a bit of insight as to what may have happened as the shoe was being initially designed. Apart from studying the outside of the shoe, its layers were dissected to expose more of what makes it work.

Above is a parti sketch such as the original designer might have initally drawn. To the right are more technical drawings of the shoe, analyzing its form. On the adjacent page is the shoe taken apart to expose its many parts and layers.

32


33


DESGIN III

34

FOOD TRAILER PARK  Street food culture in Austin is perpetuated by the numerous and diverse food trailers that can be found parked in popular places in town. Parks for said food trailers are seldom more than an empty lot. This project, located on East 6th street and Medina, formalizes the arrangement of food trailers and provides a covered pavilion eating area. The pavilion includes a sloped roof for water catchment, restrooms, and a ticket booth. Adjacent is an open green area with a permanent outdoor stage which can be fenced off for shows during the SXSW Music Festival or used to project outdoor movies, uses which the existing site already accomodates to a less succesful degree.

(right) site forces diagram mapping foot and car traffic, circulation, ground condition, and noise. built elements such as trailers, parking, stage, and proposed pavilion also shown (below) first sketches showing sloping roof pavilion and cistern (bottom) final longitudonal and transverse sections


ďŹ nal model

35


DESGIN III

36

EAST AUSTIN BRANCH LIBRARY  

East Austin is growing and bridging the socioeconomic gap marked by I-35. Just south of the food trailer site of the previous project is an empty piece of land that could well accomodate an eastern branch of the public library system and help East Austin continue to grow. In two and a half levels to fit into the slope of the site, this library includes adult and children stacks, reading rooms, study rooms, lecture halls, offices, restrooms, and a small café. The double-height windows facing the street corner invite pedestrians into the lobby, where the main vertical circulation core is exposed in a series of receding volumes to continue drawing the user upwards to the books. The central core of the library, over the circulation desk and main staircase, is opened up to a brise soleil in the ceiling that is as strictly geometric as the rest of the library.


(top left) sectional model (top right) partial front elevation, featuring the entrance to the cafĂŠ and the double-height glazing to the entrance lobby which exposes the glass elevator shaft. (lower left) view as seen from third floor down onto main staircase and elevator entrances. (lower right) entrance view, elevator shaft and main staircase up to circulation desk

37


VISCOM III

38

SURFACE TO SOLID  To keep the complexity of digital modeling grounded in reality and not lost in a virtual world, three-dimmensional shapes designed in Rhinoceros were made tangible by being unfolded into their many component surfaces. Once printed and cut, these surfaces were reassembled into the complex volumes previously seen on the screen.


 Complex geometries only possible through digital design can also be made into physical models through sectional component assembly. Again in Rhinoceros, continuous curving surfaces were designed and then sliced into a number of adjacent tectonic elements that could be laser-cut and glued together to produce tangible solids.

VISCOM

SECTION ASSEMBLY

III

39


VISCOM III

40

DIGITAL RENDERING  Exploration of three-dimensional models through purely digital means is an option that requires familiarization with different digital environments. Rhinoceros models were imported into Revit for generation of descriptive drawings and renderings that approach photo-realism and an idealized representation only possible through this medium.


 Taking a previously submitted model, a shade canopy was designed to cover a small seating area. An iterative pattern based on adaptive parameter modeling was designed, and final submission included an animated daylighting study of the canopy’s performance at different times of day.

VISCOM

SHADE CANOPY

III

v

41


DESIGN IV

AIRPORT BLVD MAPS  This semester was centered around high density, mixed use developments to be designed for Airport Boulevard in Austin, Texas. This is an area that the City of Austin is currently studying for redevelopment. These maps, compiled with those of the rest of the students, provide a database of diverse and intensive site analysis studies. The first map is an analysis of sidewalks along Airport Blvd. Pedestrian safety and comfort are important parts of making Airport Boulevard a successful and thriving corridor. At present, as shown by the map, there are many inadequate stretches of sidewalk along the boulevard. The second map is a study of watersheds and natural and artificial waterways around Airport Boulevard. With the immense amounts of impervious cover along the corridor, notably at Highland Mall, new developments should look to be more sensitive to the collection and contamination of rainwater. Flash floods are a very real danger in Austin partly because of lack of consideration for these issues.

LEGEND Street

Bus Stop MetroRail

42

Existing Sidewalk Absent Sidewalk


Little Walnut Creek CH

AN

CK

BR

O

NC

HA

Buttermilk Branch

TA NN EH ILL

BR AN CH

CR EE

K

Shoal Creek

Fort Branch

ANCH

FORT BR

Waller Creek

EK

CREEK

BOGGY CREEK

WA LL E

RC

RE

Tannehill Branch

Boggy Creek

LEGEND Streets Above-ground Underground Man-made underground WATER COLLECTION Lower

Higher

0

500 1,000

2,000

3,000

Feet 4,000

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DESIGN IV

MULTIPURPOSE BUILDING DEVELOPMENT  In teams, we worked to develop a highdensity, mixed use development on Airport Boulevard, adjacent to I-35 on one side and to single-family residences on the other. Our strategy was to grow in scale with relation to the surroundings. Smaller buildings would neighbor the small houses and taller ones would rise to meet the highway and the Airport corridor. My building is nestled in the middle of this transition, and carries the change of scale from four stories to seven before handing it off to the building that would mark the tallest point of our site. Team members were Leonardo Caballero, Peter Binder, Liz LeBlanc, and myself.

(above) our site, with preliminary density and circulation studies in place (top right) sketches addressing the change in scale of our design (middle right) parti drawings of interaction with adjacent building to reduce highway noise (bottom right) pedestrian bridge concept for common area of our site (next page) iterations and massing models of my bldg

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1/32� model

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(above) transverse section showing loading dock, commercial lower level, residential levels, occupiable rooftop terraces, steel catwalk hallways, and balconies (above, right) ground floor plan showing proximity to I-35 and adjacency to Leonardo Caballero’s building to the left and Liz LeBlanc’s building to the right. commercial ground floor level, green area in front, and entry lobbies for residential floors also shown (right) typical floor plan showing residential units, circulation cores, rooftop decks, and catwalks (below) longitudonal section showing change in height from the single-family residential towards areas of larger scale. rooftop terraces and catwalk hallways also shown

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CONSTRUCTION II

AQUAPONICS EDUCATION CENTER



The Agua Dulce Farm of Southeast Austin is an aquaponics facility that raises fish and grows vegetables in a symbiotic process. An existing shed on their property needed rennovation to become an education center for tours to pass through and learn how it all happens. This became a Design/Build project for a group of undergraduates in Professor Gomes’ Construction II class. We submitted proposals, decided on a final design, sourced and priced all materials, and did all of the demolition and re-construction. The design proposal I put together with Leonardo Caballero and Jack Lozano was well received. The main contributions to the final product included changing to a shed roof and exposing the wooden studs behind a layer of polygal to create a sort of greenhouse. This project solidified what we learned in class in a highly effective manner. It provided valuable first-hand experience in demolition, construction, project-management, and safety. The skills learned in this project were many and will not be easily forgotten. This project was led by Teaching Assistant Karl Gleason and the team members were: Isabelle Atkinson, Peter Binder, Carlos Carballo, Leo Caballero, Sam Cigarroa, Erin Dear, Ricardo Diaz, Daniela Garcia, Christina Hunter, Reid Joslin, Liz LeBlanc, Jack Lozano, Nikki Markim, David Mora, Laurel Morrow, Hai Nguyen, Ben Parker, Yosua Setiawan, Shalika Shetty, Jennifer Stein, David Thompson, Cindy To, Higinio Turrubiates, Michaela Wright, and myself. www.construction2designbuild.wordpress. com/category/ed-shed/

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www.aguadulceaustin.com


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DESIGN V

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48-HOUR TOWER  This adaptive reuse project challenged us to use reclaimed or recycled materials to create a tower in the span of two days. Using only water bottles and balloons, Reid Joslin, Ben Parker, and myself made a fifteen foot tower. Balloons were inflated inside of water bottles and tied to each other to create flexible joints. Water bottles had their ends cut off and slid onto each other to allow for balloon joints on both sides. A geodesic-inspired structure gave form to our tower. It was assembled in parts so as to be deployable from studio to the outdoors, and coaxed smiles and questions out of passersby as it was being raised. The joints ended up being too flexible for the tower to stand on its own, but it needed little help to stay upright.


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DESIGN V

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MARFA GEODOMES  Buckminster Fuller’s geodesic structures and books helped guide the first part of our semester which culminated in the installation of three different geodesic structures at El Cosmico during the Trans-Pecos Festival of Music and Love in Marfa, Texas. Although we split up into three teams, my own including Isabelle Bogran, Victoria Carpenter, Ben Parker, and Michaela Wright, all members of the studio participated in the assembly of the three domes in Marfa. Our dome was made out of venetian blinds purchased from the H4H ReStore. Informed by small scale studies and analysis of a soccer ball, it had circles of two different sizes, arranged so as to create a sphere. It was extremely deployable and transported to Marfa in only a few small boxes. Once the studio joined the final link, we let go and the sphere wobbled and deformed, more flexibly than we had anticipated. It was nonetheless well received and occupied by small children at the festival. Other domes were made of cardboard stars or paper rolls and featured internal lighting or space for the studio to eat a meal.


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DESIGN V

OCNP PAVILIONS  The Oak Cliff Nature Preserve is a 12-acre, unmanicured park only a few minutes from downtown Dallas. It is mostly used by the Dallas Off Road Bicycle Association, but there is tension on the trail between hikers and bikers. Working with and for the Texas Land Conservancy, the owners of the site, we put together a series of proposals for pavilions to occupy the Nature Preserve. These pavilions are in the form of banking mountain bike ramps which on their underside create a covered seating space for pedestrians. They formalize and balance the relationship between hikers and bikers by recognizing that the bikers are the primary user group and by nature need more equipment. These ramps utilize a language already present in boardwalk bridges throughout this and many other mountain biking parks and thus they do not feel out of place on the site and are less likely to be vandalized. Furthermore, they are made out of durable cedar and square steel pipe. The Oak Cliff Nature Preserve, like many other parks, has multiple user groups and a variance of needs to accomodate. Presently, there is noticeable discord between the hikers and bikers, as each use the narrow trail at very different speeds. This project will attempt to harmonize this uneasy relationship with a series of small, linear installations that will serve each user group in different ways and tune the tension in such a way as to strike a balance.

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CONSTRUCTION

AACHEN HEIZKRAFTWERK CASE STUDY  This case study required a more in-depth look at a building than we usually take with other classes. We were required to produce a 2”=1’ section model and plan, section, and elevation drawings at 1/2”=1’. Using drawings and photographs of a heating plant renovation in Germany, Leo Caballero and myself produced those detailed drawings and model while having to make educated, logical assumptions about what was not shown in the limited amount of information we had.

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Photo from: Architizer

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drawings not to scale


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ENVIRONMENTAL CONTROLS II

LUMINAIRE: HARVEY 

A luminaire custom-built for a specific space is not common. Most of the time, lights are ordered from a catalog rather than designed as part of a room. Although this can be quite effective, John Bodkin, Leo Caballero and I tried to improve upon existing lighting conditions in gallery spaces in the School of Architecture. Most wall-washer lights in UTSoA only illuminate the work on the walls and do little for the rest of the room. Our goal was to create a luminaire that could do both. Our wooden luminaire is surface mounted to the ceiling and has two sides. The side of our luminaire facing the wall is angled 30 degrees down towards the work, and gives off a soft white light with a vellum paper diffuser covering the fluorescent bulb inside. The other side, facing the inside of the room, is left open but angled 30 degrees upwards to reflect light onto the ceiling and avoid glare. This light, not diffused with vellum, gives off warmer light more flattering to skin tones. Because the wooden housing covers so much of the bulb, we covered the interior face of the wooden member capping the unit with aluminum foil so that the luminaire would not have a very low overall efficacy. The foil acts as a reflector and makes it so that there is less wasted light and energy. This unit performs two different lighting tasks with a single bulb. Because of its multifaceted nature, we named our luminaire ‘Harvey’ after the fictional villain in DC Comics’ Batman series.

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(top left) sketch of desired lighting conditions in Jury Room (top right) existing lighting conditions in UTSoA Review Rooms (bottom left) photometric graph of desired lighting distribution (bottom right) section of luminaire derived from lighting goals


(top left) Harvey Luminaire illuminating both the drawing and the space behind it. (middle left) front view of Harvey, fluorescent light diffused with vellum paper (bottom left) false-color image more clearly showing the light distribution achieved (top right) team members observing the lighting effects created by luminaire (bottom right) detail shot of luminaire. angled wooden housing, 24” soft white fluorescent bulb, aluminum paper reflector, vellum paper diffuser

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INDIVIDUAL 62

OUTSIDE WORK  These are selected works done individually outside of any formal school or instruction. Produced mostly for college applications that required a portfolio, they include freehand drawing, stained glass, and photography.


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José Esteban Gallegos 659 Nenna Ct. El Paso, TX 79932 512.696.1230 joseg@utexas.edu EDUCATION 08/2010 – Present

University of Texas at Austin School of Architecture B. Architecture candidate 2015 GPA: 3.233 Hours Undertaken: 96

08/2006 – 06/2010

Coronado High School Graduated top 10%

INTERNSHIPS/EMPLOYMENT 07/2010 – Present

Garland & Hilles Architects - El Paso, TX Part-Time Seasonal Intern

07/2010-08/2010

Bilingual Research Services - El Paso, TX Bilingual Phone Research Data Collector

EXTRACURRICULAR ACTIVITIES

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11/2011 – Present

Kappa Kappa Psi - Alpha Tau Chapter National Honorary Music Service Fraternity – Conditional Member

10/2011 – Present

Texas 4000 for Cancer Ozarks Travel Coordinator, Mechanic, Cyclist

02/2011 – 05/2012

UT School of Architecture Student Council Co-Social Coordinator

01/2011 – 05/2012

University of Texas Symphony Band 1st Clarinet Player

10/2010 – Present

American Institute of Architecture Students Member


University of Texas Longhorn Band Clarinet Player

08/2008 – 05/2010

El Paso Symphony Youth Orchestras Clarinet Player in Top Orchestra

COMMUNITY/VOLUNTEER SERVICE 08/2010 – Present

Austin Habitat for Humanity Volunteer

06/2006 – 12/2009

St. Francis of Assisi Catholic Church Youth group member

04/2007 – 06/2010

National Honor Society Member

RESUMÉ

08/2010 – 05/2011

HONORS 2009

National Hispanic Recognition Program 2009-2010 Scholar Award

2010

AP Scholar Award Achieved by making a 3 or higher on 3 or more AP Exams

SKILLS/INTERESTS Languages Proficient in English and Spanish, Beginner in French Software AutoCAD, Rhinoceros, ArcGIS, Google Earth, Sketch-Up, Adobe Photoshop, Illustrator, InDesign, Microsoft Word, PowerPoint Proficiencies Hand Drafting, Sketching, Hand Model-Making, Photography Musical Instruments Clarinet, Tenor Saxophone, Alto Saxophone, Piano Sports Texas 4000 Cyclist - Texas to Alaska 2013 UT Longhorn Band Intramural Soccer Team-2011 UT School of Architecture Intramural Indoor Soccer Team-2011

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JosĂŠ Esteban Gallegos B. Architecture 2015 School of Architecture University of Texas at Austin 512.696.1230 | joseg@utexas.edu


José Gallegos Academic Portfolio UTSoA