Jackson Key Architecture and Theatre Portfolio by Jackson Paul Key

JACKSON KEY Selected Designs 2019-2023

Blue Zone Lofts at 128th Street CORE III Studio: Housing Studio | Living in Between

Site: West Harlem, New York, New York Fall 2023 Studio Professor: Chris Leong Studio Partner: Jordan Howard

Review Critics: Nima Javidi (Cooper Union) Elisa Ours (Corocran Sunshine) Galia Solomonoff (GSAPP) John Paul Risavy (SHoP) Wonne Ickx (GSAPP)

Matt Shaw (U Penn) Dominic Leong (Leong Leong) Benjamin Cadena (GSAPP) Jenna Dezinski (BIG-NY) Khoi Nguygen (GSAPP) Nile Greenberg (ANY)

This housing proposal explores how living environments can increase longevity in New York City. With the framework of Blue Zone Living, this housing development refocuses on how people move, what they eat, and how they maintain deep personal relationships. Located at an intersection between a commercial district and residential neighborhood, urban farming becomes a tool for social and spatial connection. A common circulation core connecting 70 units enables social interaction and incorporates stairs into residents’ daily movement. Each apartment is clustered nodally in groups of 5-7 which promotes a circle of close friendships outside of the family unit. Unit aggregation looks to facilitate intergenerational living through adjacencies of studio, 1 bedroom, and 3 bedroom units. Food systems are a major focus of Blue Zone living, and the proposal seeks to incorporate locally sourced, plant based food at multiple scales. Critically, the proposal looks to partner with Harlem Grown to develop an urban farm for both production and education on the adjacent vacant lot. Food production through hydroponic greenhouses produces upwards of 1 ton of vegetables annually per 90 sqft, allowing for hundreds of residents and the larger community of West Harlem to have access to locally produced, healthy food.

Concept Diagram

Render from 128th Street

Model Photograph

Food Systems

Circulation Systems

Plan Conceptual Development

Groundfloor Plan

1. Hydroponic Greenhouse 08. Grocery Store 2. Teaching Farm 09. Cafe 3. Making Space 10. Library 4. Harlem Grown 11. Meeting Room 5. Food Storage 12. Office 6. Farmer’s Market 7. Central Stair Core 12.

11.

9. 10.

4. 7.

Vignettes: Stairs Circulation, Public vs Private Connections, Urban Farming 0’

16’

32’

0’

9’

18’

Typical Floor Plan

Render of Unit Commons

Model Photograph 1/4”=1’

1 BEDROOM LOFT (LARGE) 1050 Square Feet

Ground Level: Patio, Kitchen, Living

Upper Level: Bedroom, Closet, Bathroom

Two Roofs:

Frictional Speculations at South Seaport

CORE II Studio: Damage Control | Alternative Presents Site: South Seaport, New York, New York Studio Professor: Esteban De Backer

Review Critics:

Mario Gooden (Columbia University) Benjamin Cadena (Columbia University) Valeria Paez Cala (Columbia University) Claudia Tomateo (Columbia University) Andres Macera (Diller Scofidio + Renfro) Antiono Cantero (Princeton University) Rosana Ekhatib (Columbia University) Annya Ramirez (Marvel Architects)

Drawing with Albert Mo

Midterm model superimposing layers of spatial history architectural and geological on the site from the East River to Pearl Street - scaling each layer according to its endurance on the site - time intersecting with place, land, and structure.

Fulton Market Building Renovation into community spaces above and below with porosity to the urban district. Ambulatory encircles and creates levels of promenade and gallery circulating between levels and interior spaces.

When the Schermerhorn family bought this land at the turn of the 19th century they bought water. This act of speculation built this area into a thriving ferry stop and market district in 1810. However, speculation both built and promised have left scars on the landscape and the psychology of the inhabitants over the last 200 years. Buildings and lots left abandoned or stagnant for years as projects to build towers or extend the landfill are proposed, fought over, and eventually or quickly abandoned. The leaning and unfinished 161 Maiden lane is the embodiment of the island resisting the march of foundation pressures on its fragile edges. This 570 foot tall tower -stuck between the built and the idea is not the first marker of damage to the site. What does it mean when a place evolves from an economic space to a cultural one? What does social density in a public landscape mean? What is the goal of a district in the context of urban change? What is “emptiness” in architecture and how can it be maximized to create opportunities for public works?

Between Pier 16 and 17 on the waterfront this ntervention seeks to increase and enhance the present public use of the pier as a place of intersection, interaction, and destination through the regularization of a sptail grid, infrastructure of lighting and performance, and shelter.

Perhaps where the vertical fails, moving to the radical horizontal can work to activate liminal spaces -between the walls, roofs, and streets and work to create new opportunities for public gathering formal and informal -allowing the facilitation of changing needs over time within a landscape of framework and liminality without need for new towers and renewal development. The change in economic forces over time have impacted the land use and perception of what is today the South Seaport Historic District from Markets to Museum to “festival marketplaces” to shopping malls to music. In insisting on the civic, the liminal spaces between may become destinations on their own as well as thoroughfare acting as

multipurpose social condensers whose use(s) evolve within and across time -architecture supporting infrastructure and maintaining emptiness as much as generating the program. The two principal interventions work to create neighborhood engagement with space improving the existing needs for public gathering and circulation spaces. One serves to create a vast system over an existing pier in a continuity language at the site, the other opens up an enclosed center to create a zone of porosity within the district. Here the enclosure is Sectional rather than Planar. Instead of money density, the project aspires for social density in this landscape of changing economics over the last 200 years.

Final Model Photos Pier 16 Flexible Structure

TECH III & IV: Building and Material Systems Instructors: Berardo Matalucci, Stephen Potts, Teal Riggs, Nathan Vader, Aaron Campbell, Team Members: Aiko Alvarez Gibson, Alex Faza, James Churchill, Senait Araya, Dori Renelus This project was an evolution of my Core II studio project exploring material and building systems. Working through the understanding of porosity, we worked to rationalize the preliminary design studying the building envelope between the existing brick and the new enclosure, the structural systems, mechanical systems, and the roof. Bolts recieve to column flange

Facade Penetration Pitch Pocket sealed with membrane Fiberglass Thermal Break 1/2” Steel Plate welded to Y-Bracket Bolted Connection to column

6” Box Tube 1/2” Steel Plate welded to beam

4” Angle Welded from backer beam to window frames

6” C-Channel with 3/8” welded plate backing beam 3/8” Steel Plate Welded Frames around each window opening Existing Masonry Wall

Breakdown of the enclosure systems.

Render of fragment model

Render between old & new

(Im)permanence:

explorations beyond memory

CORE I Studio: Broadway Stories | Nature-works Site: 72nd & Broadway, New York, New York Studio Professor: Christoph a. Kumpusch

“Knowledge does not endure but must be recreated anew by each person, by each generation. Knowledge is created and dies with the knower.” - Lebbeus Woods

As described by Alan Wiseman in World Without Us -The city exists in ruin -the population having left the city’s 2,000+ blocks and the ancient path once called Broadway lies quiet. The waters of the Hudson have risen over 70 feet and the upper west side is covered in water. This story of reoccupation of the urban landscape is told over the following day, perhaps a rotation, a revolution (solar or lunar), or a century following three groups of explorers of memory -distant and invisible, human and natural -between observer and the cartographer acting as constructor in one moment operating in contrast to the maker at the haptic scale building the individual plurality of fragments whose layers over ages build the urban anew. Each of the three acts exists at this frontier of memory with their own understandings of space, distance, and time: What do they derive from the site, from purpose, and from the preceding echo of memories? What do they ignore? What fragments of knowledge do they leave behind? Review Critics:

Dean Andres Jaque (Columbia University) Dr. Anthony Titus (Titus Studio) Patricia Anahory (Storia na Lguan) Tatiana Tararintseva (Melamed Architecta) Dr. Patrice Derrington (Columbia University) Leah Meisterlin (Columbia University) Khea Vu (OXMANN) Dimitra Tsachrelia (Steven Holl Architects)

Cory Archie (MACRO) Osvaldo Delbrey Alesandra Raffone (Ealain Studio) Graham Drennan Deepa Gopalakkrishnan Reem Makkai Kevin Hai Pham (Space Exploration Design) Samantha Vesseur (CetraRuddy)

Collective Site Model 1:750 Broadway from 59th to 87th Streets Photo by James Churchill

Selected Speculative Collages: “73rd Street Occupation” & “mazes”

Selected Extraction fragments of explorations via concrete castings

MORNING: AN ENCAMPMENT FOR URBAN OCEANOGRAPHERS

AFTERNOON: A VILLAGE FOR SPECULATIVE ARCHAEOLOGISTS

NIGHT: A CITY FOR CARTOGRAPHIC ASTRONOMERS

THE TEXAS & PACIFIC WAREHOUSE: A RAILROAD MUSEUM FOR DOWNTOWN FT. WORTH

ARCH 4020: Thesis Studio: Global Sites | Fictional Sections Fort Worth, Texas Spring 2022 Advisor: Peter Waldman

Review Critics: David Turnbull (ARUP) WG Clark (University of Virginia) Bill Sherman (University of Virginia) Shiqao Li (University of Virginia) Erin Putalik (University of Virginia) Sanda illuiesu (University of Virginia)

The project explored adapting an monolithically enclosed, derelict railroad inbound freight warehouse -designed in an Art Deco style by Architect Wyatt C. Hedrick in 1930 for the Texas & Pacific Railroad in Fort Worth Texas. This exploration sought to develop a railroad museum and cultural center for the city at the juncture of light, shadow and interior and exterior public spaces functioning day and night seeking to revitalize the south downtown area between rails, highways, and urbanity in five phased interventions. Light frames all - tectonic frames juxtapose the vertical facade where a doorway meets the oblique of the city, inviting one in. A locomotive, like Scarpa’s Cangrande, greets the door leading down the spokes of a ghostly roundhouse superimposed on the orthogonality of cardinal cartography reaching out looking down the river and towards the bluff -reaching radial spokes through the bones and bays of the warehouse and bridges seeks west above. Locomotives and Cabooses return as sculptural artifacts in garden-like radial maze -archaeological rotations transposing a roundhouse’s open circle to illustrate the mechanical and the geographic. Through the facade what was singular embraces multiplicity, and what was closed opens. Grotto and garden reveals a stage set. In the evening, the visitors return to gather for theater, or dining, or take in a showing of Giant. Perhaps they will look to the north or east into the city to the bluffs seeing in the lights the Army and Comanche campfires long extinguished, or to the south over the garden walls, or perhaps to the west following the river, the rails, and the setting sun.

Existing Warehouse Building Axon View of Final Project from Southeast

The Painted Bride: an Artist’s Collective The project, located adjacent to the north edge of the Ben Franklin Bridge’s descent into Philadelphia in Northern Liberties, is a residency collective for 12 artists to live and work for a period of months. The project’s intent is to respond to each side of the site: bridge, churchyard, brick, and street providing volumes for the artists to live and work, and space for the public to view exhibted work and engage with informal performances.

ARCH 4010: RESEARCH STUDIO Northern Liberties, Philadelphia, PA Fall 2021 Studio Professor: W.G. Clark Review Critics:

Dean Malo Hutson (University of Virginia), David Turnbull (ARUP Group), Ines Martin Robles (University of Virginia), Alessandro Orsini (Columbia University), Adam Frampton (Columbia University), Peter Waldman (University of Virginia), Devin Debrowolski (University of Virginia)

Study Sketch

TRANSVERSE SECTION (LOOKING EAST) 0

6TH FLOOR

3RD FLOOR

2ND FLOOR

1ST FLOOR

Section looking East

Studies of Artist Residence and Studio

1ST FLOOR PLAN

2ND & 4TH FLOOR PLAN

3RD & 5TH FLOOR PLAN

Ground Floor Plan and Second Floor Plan

6TH FLOOR PLAN

Site Model View from North (Above) and Southeast (Below)

Site Model

Final Section Model

Early Study Model

Study of Public Interior Space

Stair Theatre

The project focused on a 14’ wide urban infill site on the Downtown Mall in Charlottesville. I developed a theatre venue framed around a central stair and landings developing a flexible processional space connecting the public space of the mall with a lobby and intermission space leading to the two theatres: one open on the roof, one intimate inside. Private space for performers and staff climb directly up the back of the building allowing rapid access removed from the public sphere of the audience.

Intermission Space Roof Theatre

Public and Private Circulations 2

Lower Theatre

Lobby/Entrance Space

R PLANS

/8”=1’

1 Arch 2020 Responsive Space From Rural to Urban: Assemblies in Context Exercise 4: Urban Additions Site: Charlottesville, VA Studio Professor: Katie Stranix

Review Critics: JT Bachman (University of Virginia), Brittany Utting (Rice University), Shiqao Li (University of Virginia), Dean Illa Berman (University of Virginia)

Sequence of Sectional Study Models

Final Section Model

Vignette Model Photographs

DUALITY AT THE DELL POND:

ARCH 3020: The New Collective Commons: The Student Center as Civic Anchor

A THEATRE AND STUDENT CENTER AT THE UNIVERSITY OF VIRGINIA

Spring 2021 The Dell Pond, University of Virginia Studio Professor: Schaeffer Somers

Review Critics: Emily Ashby (Machado and Silvetti), Gillian Shaffer (UCLA), W.G. Clark (University of Virginia), Peter Waldman (University of Virginia), Melissa Goldman (University of Virginia) Process images

At an intersecting edge of water and forest, a diptych regulates hill and Dell, and creek and road a village of anonymous rooms is located between a grove of trees and water. Caves of concrete and tents of glass and wood create a sense of public rooms that respond to the user: the north low and wide engaging the water, the east vertical and inward, the south surrounding and sheltering, and the west open to the sky. In the western water, a cube of glass sits singularly like a castle ruin, yet perforations reveal the assemblage of the interior and reveal within a great wooden cabinet resting on a monolithic table of concrete lifting the plane of the surface clear calling the masses to circulate up the stairs and peer over the balconies into the performance volume. From the roof one can hear the music from below, see the festivities at west, and glimpse the traffic of students at the south, and overlook the water at the north.

Project Site - the creek extending to the Dell Pond

Section through the theatre and village

0 1

Section through the final theatre tower and elevation. The inner volume forms a cabinet, resting on a structural table opening the ground plan within a glazed vitrine.

Early study plan and section. The theatre volume reflects an extraction and transposition from the grid central court of the pavilions.

Precedent Study:

KUNSTHAUS BREGENZ For ARCH 3020: The New Collective Commons Architect: Peter Zumthor Bregenz, Austria 1997

The First exercise of the studio involved a study of a precedent building providing a commons. Studies included siting, solar, and critically focused on the relationship between Zumthor’s approach to light and circulation in the tower building. Spaces wrapped and flowed up through the vertical galleries around three structural cores - sunlight enters between the floating floor plates.

Circulation Diagram

Study Sectional Model

Solar and Site Study Model

“The objective of this project is to revitalize the 1920 McIntire Amphitheatre, located on the historic grounds of the University of Virginia, from a public ruin rarely used formally or informally into a thriving public intersection by day and a working student performing space by night. This will serve to fill a deficiency of student performing spaces for theatre, dance, and music groups on Grounds by providing a spatial hub for student performance groups with a venue of flexible capacity and usability, production support infrastructure, and company spaces for storage and rehearsal.”

1 3

4 2

1. Existing Conditions

2. Deepen Stage and Enclose Backstage

3. Optimize Sightlines

4. Excavate & Grade Landscape

5. Add Circulation Routes

6. Add Overstage Systems

New Public Plazas Stair Circulation Ramp Circulation

McIntire Amphitheatre United States Institute of Theatre Technology and the American Society of Theatre Consultants Venue Renovation Challenge

Winner: Edgar L Lustig Award (1st prize) April 2021

Team Members: Cat Heneberry, Oliver Church, Caitlin Kreinheder, Tim Victorio Advisors: ASTC Mentor: Kimberly Corbett Oates, ASTC; Faculty Advisor: Steven Warner

Pergola for a Bungalow Design / Build Project Mistletoe Avenue Fort Worth TX Summer 2021 I designed and built a cedar pergola carport addition onto a 1918 bungalow. I used to architectural tradition of the arts and crafts styling carrying the meter of the columns of the porte-cochere into a lighter language of double beams and columns supporting the trellis top. The site proved challenging as it was between the original house and a 2010 addition going through a number of iterations. The objective was to create a protected parking space that remained open to light and did not obstruct the architectural rhythm of the house. I designed, determined method of construction, and estimated the project beforehand and then constructed the project on site over the summer.

Render Looking West

Elevation Looking West

ikon.5 architects:

Selected Work Summer 2023 Internship

New York, New York Principals: Joseph G. Tattoni, FAIA; Arvind Tikku; Charlie Maira Duties included: presentation model fabrication, drawing presentation and finish drawings and diagrams for multiple projects, creating interview and proposal diagrams, and digital modeling / rendering of design updates.

Left Four: Presentation Drawings: Embry Riddle Aeronautical University Student Center, Prescott AZ. Designer: Mike Zareva, Dan Cumming, Owen Haft Top Right (and underlay): 1/4” Model: Fahnestock Memorial State Park Comfort Station, Putnam NY . Designer: Liza De Angelis, Eric Suntup Center Right: 1/8” Model: Olana State Historic Site Maintenance Building, Hudson NY. (with Luke Park) Designer: Liza De Angelis, Eric Suntup Bottom Right: Digital Model & Presentation Rendering: Mary C. Dalton Recreation Center, Staten Island NY. Designers: Roger Molina-Vera, Nicole Bansal

The Accidental Death of an Anarchist Live Arts Theatre - Gibson Theatre Spring 2022 Role: Scenic & Lighting Designer Director: Susan E Evans Photo Credit: Will Kerner

Photo Credit: Will Kerner

Preliminary Sketch - the audience “judges” the foregoing as jurors to the Madman’s inquiries. The Madman at the top of the show entering from the outside. Photo Credit: Will Kerner

Preliminary Collage Rendering Developmental Isometric Sketch

Final working render viewed from the balcony

Capt. Bertozzo’s Desk in Act 1

Wreckage of the bombing that preceeded the events (and perhaps indeed the chaos of the world), underpins and susurrounds the events.

View from house right of the preshow. The stage is twisted and warped in the regularity of the room. Fragments of window architecture loom above with the wreckage below placing the action in a liminal space.

Antlers 2nd Year MFA Directing Materials Project, Columbia University School of the Arts, Schapiro Theatre Fall 2023 Role: Scenic & Lighting Designer Director / Writer / Puppetry: Ghina Fawaz Antlers, follows a girl named Rania set on a journey through the fantastical Cedar Island is a new work based on the interviews of Lebanese citizens about the end of the fifteen year occupation of south Lebanon in 2000 - aside from Rania - all other characters who appear are puppets. Produced for a 2nd year MFA directing project, the project was realized on a very tight timeline with a limited budget largely of found material. Chains grown over with ivy, rope, fabric, and flowers created a perimeter and trees surrounding the performers and reaching up to the grid creating a relationship between inside and outside, center and edge. Lighting establishes the various villages and paths along the journey as well as weaving in and out of the worlds of the monologues and magical reveals.

Photo Credits: Jonathan Barbee, Jackson Key

Process Collage Render

Elevation

16 Winters, or the Bear’s Tale UVa Drama Department Mainstage - Culbreth Theatre Spring 2022 Role: Scenic Designer Director: Kathleen Morris

The play, located in the 16 year act break of “A Winter’s Tale” is a play across numerous locations, yet outside of time -it is a play about waiting located between the woods and the theatre and is told by a Bear. The process required many iterations through sketches, collages, models, and drawings.

Photo Credit: James Looney

Second Design Iterative Collage

Second Design: Perspective Sketch - Base

Photo Credit: James Looney

PROJECTION LOFT

ROLL DOOR

STAIRS TO GRID

29 28

10'2"

(4E) 27 26 25 24 23 22 21 20 19 18 17

SOUND LOCK

(3E) 16 15 14 13 12 11

(2E)

10 9 8 7

(1E)

STOVE

6 5

SOUND LOCK

3 2 1

OLD HYDRO RAIL

0'0"

First Design Study Model

0'0"

-6" -6"

-1'0"

Bear's Clock

Bohemia Wagon

All decks walkable. Unit needs to be able to move/rotate, and able to lock in 16 Winters 02.17.22 place. UVa Department of Drama: Culbreth Theatre.

6'+

Scenic Designer: Jackson Key Director: Kate Norris Technical Director: Casey Horton Props Master: Sam Flippo

Consult with TD regarding safety. (Note that the unit is <30" tall)

SWIVEL CHEESEBORO JOINT X-MASS LIGHTS

Act 1 - Groundplan

Scale: 1/8" =1' SWIVEL CHEESEBORO JOINT

Unit will have dressing including a couch. TBD with Props Master.

Clo

Hard facing as noted in Red.Otherwise vertical surfaces "exposed." Facing dimension not shown. Deck Surfaces covered in 41" MDF not shown. Treatments TBD.

HAT RACK 6'-0"

Christmas lights practical to be determined with the LD.

White Model: Act 1

Hat-rack may be built or if we have on in storage borrowed.

8'-0"

1" 24 1'-23 4"

FOR BID v3,

111" 8

7'-0"

+6"

9" 4'-016 9'-5"

Cantilevered-ply deck to edge.

2'-6"

13" 816

5'-6" 2'-0"

1" 1'-28

1'-13 8"

White Model: Act 2

16 Winters

2'-0"

+1'0"

02.24.22 1'-55 8"

UVa Department of Drama: Culbreth Theatre. Scenic Designer: Jackson Key Director: Kate Norris Technical Director: Casey Horton Props Master: Sam Flippo

Bid Drawing: Bohemia Wagon 3 Scale: 21" =1'

Selected Construction Drawings (Act 1 Groundplan, Wagon, Clock Unit)

The Simon Suites Columbia University Performing Arts League - Glicker | Milstein Theatre at Barnard College Spring 2023 Role: Scenic Designer / Co-Technical Director Director: Julia Ruth Patella

The Simon Suites was a new work framed as a experiment to tell a narrative theatrical story through the medium of dance. Set to the music of Paul Simon the dance followed two couples and the course of their relationships. The scenery formed a backdrop of fragments of the several locations across 1970s New York: a club, the sidewalk, each couple’s apartment, and a doctor’s office while giving the maximum amount of floor space to use for dance. Walls pivoted, and beds rolled from under the stage to allow for seamless transitions. The project was executed on minimal time and budget, being explored started with the sketch into a series of renderings before moving into construction.

Photo Credits: Emily Lord, Josh Halvei, Jackson Key

Preliminary Sketch

Final Composite Render

Developmental Composite Render

Typical Construction Plate

Henry VI: the Civil Wars Third Year MFA Actors, Columbia University School of the Arts, Schapiro Theatre Fall 2023 Role: Scenic Designer / Props Designer Director: Katy Walsh Henry VI: the Civil Wars is a cut of Shakespeare’s Henry VI Part 1, Part 2, and Part 3 following the key political figures intersecting and juxtaposing the political machinations with the brutality of battle leading to the war of the roses. Banners as surfaces for projection and lighting where pulled down throughout the production adding to a pile of detritus and artifact of conflict on the throne as symbol of the cost of power and path from order to chaos. The Throne on its dais implies an axis and evoked the English Coronation throne, the rituals of court. Two long tables and 6 chairs allowed for the swift movement and configuration for locations from the halls of Parliament to the battlefield of France.

Selected Renders of Scenes

(un) furled - Fall Dance Concert 2021

Lighting Design for the UVa Drama Dance program piece (un)furled for Kim Brooks Mata (Director, UVa Dance) UVa Drama Department - Caplin Theatre Fall 2021 The Choreographer envisioned a piece wherein “dancers furl and unfurl in relation to themselves, each other and the spaces they are moving through”, and explore the world of isolation, and rejoining of the past 2 years in three movements. The Lighting design worked to build from isolation to collective, and aid the transition of movement to movement through an evolutionary language of color, texture, and dimension.

Photo Credits: Justin Poruban

Notes on Transition - Fall Dance Concert 2019 Lighting Design for the UVa Drama Dance Program piece Notes on Transition for Merdith Sutton UVa Drama Department - Caplin Theatre Fall 2019 The work, as described by the Choreographer: “gives a nod to Susan Sontag’s daring literary work, explores the wrenching unpredictability experienced in times of transition and its undoubted rootedness in community and isolation.” The lighting design en-captured the dancers as they grappled with entering and leaving, and heightening the moments of unity, or division between the dancers.

Photo Credits: Tom Daly

Diversity Awareness Picnic UVa Drama Department Mainstage - Caplin Theatre Fall 2021 Role: Lighting Designer Director; Michael Jerome Johnson

The play, located in a college office, followed an ensemble cast as they grappled with themselves and each other contrasting moments of gathering, tension, and monologues that took the audience into the mind of each character under a giant clock “pulling the scenes forward”. The lighting supporting these moments to help the audience follow the focus moment to moment.

VECTORWORKS EDUCATIONAL VERSION VECTORWORKS EDUCATIONAL VERSION VECTORWORKS EDUCATIONAL VERSION

VECTORWORKS EDUCATIONAL VERSION VECTORWORKS EDUCATIONAL VERSION

VECTORWORKS EDUCATIONAL VERSION VECTORWORKS EDUCATIONAL VERSION VECTORWORKS EDUCATIONAL VERSION

The Humans Live Arts Theatre, Gibson Theatre Winter 2020 Role: Lighting Designer

The Humans is set in a duplex Chinatown apartment where a family gathers for Thanksgiving. It is a production of both the subtly of real time, realistic action and gripping emotion and introspection. The lighting, through a stylized language of cool and warm helped the audience feel the tonal shifts and follow the actors both spoken and non spoken in the nonstop action across two floors.

Photo Credit: Martyn Kyle

Rent Live Arts Theatre, Gibson Theatre June 2019 Role: Lighting Designer Rent is a complex musical with a large cast set in the 1990s East Village of New York City. The set of this production was a large thrust with moving scaffolding which presented a dynamic playing volume to illuminate. The lighting designs captured character color, shifts between moments reflective of the harsh cold of street winter , introspective despair and anger, and colorful post industrial rock and roll.

Photo Credits: Martyn Kyle

Macbeth: THE SOUTHERN PLAY Shakespeare On the Lawn, Student Activities Building Spring 2019 Role: Lighting Designer

Photo Credit: Sanjay Suchak

A View from the Bridge Spectrum Theatre, Student Activities Building Fall 2018 Role: Lighting Designer, Master Electrician

Photo Credit: Jessica Washington

Lighting of the Lawn 2020 & 2021 I designed and implemented the annual lightshow for UVa’s Lighting of Lawn tradition which takes place on the historic Rotunda. The Lawn, the 200 year old heart of the University of Virginia and a UNESCO site, is an important gathering space for the community and the Lighting of the Lawn tradition was created to bring the community together after 9/11 and has grown annually into a large event with performances and a lightshow. I lead the drama dept team and designed the “rig” or equipment configuration, assembled the equipment and programmed the show offsite and then loaded it on to the Lawn leading a team of approximately 20. In 2020, the lightshow was recorded at night and broadcast several days later. The 2021 year was designed in previsualization software, and played live before an audience of 14,000. Role: Lighting Designer, Master Electrician, Drama Dept. Lead Team Leadership: Silas Hayes (Co Designer), R.Lee Kennedy (Faculty Advisor)

Photo Credit: Sonia Chandra

Photo Credit: Sanjay Suchak