This project transforms the Penn Center, a historic campus for vocational education, into a multipurpose, community-focused building that prioritizes local empowerment over visitor engagement. Designed as an amphibious structure, the building is built on vertical catchment systems, enabling it to float during floods and gradually recede as waters subside.
The building serves as a hub for economic development and resilience, featuring studios and incubator spaces to help locals monetize their skills, as well as offices, a wellness center, and an exhibition hall. A dedicated workshop for heavy machinery offers resources to restore buildings damaged by storms, reinforcing the community’s ability to rebuild and adapt.
By restoring the tradition of waterborne access and addressing the challenges of climate change, the structure becomes a place of refuge and opportunity. It honors the Penn Center’s legacy as a space for growth while embracing the future with resilience and purpose.
Physical model photographed at the dock of the Penn Center (site context), created by the author.
Exhibition hall rendering by Niknaz T.
Steel
- structural frame provides a corrosion resistant foundation
existing house
new steel channel reinforcement for sill beam
existing sill beam
secondary steel framing to support buoyancy blocks
steel double angle “T” beam
buoyancy blocks
screen for water-borne debris
vertical guidance post
Elizabeth English’s Buoyant Foundation Project addresses flooding by raising Louisiana shotgun homes with buoyant foundations, preserving their cultural heritage. A diagram was created to analyze and illustrate this adaptive strategy.
Timber Framing - encases the steel frame, creating a secure interface for attaching other components
Wood Joists - distributes weight across the platform - allows easier modification of the floor layout
Wooden Platform - finished with weather treated wood
Galvanized
Marsh rendering by Niknaz T.
Rendering of the entrance to the platform by Niknaz T.
Structural diagrams drawn by the author, illustrating the design’s key elements.
Dock rendering by Niknaz T.
Cafe entrance rendering by Niknaz T.
Full team collaboration on diagrams.
Studio Site Map (4’ x 8’) | Surrounding site buildings and primary structure were modeled and 3D-printed by the author.
Exhibition Hall Trusses | Physical model showcasing structural details, constructed by the author.
02
/ CERAMIC 3D PRINTING / 2024
STUDIO
V (fourth-year)
Instructor: Katherine Wright
Partner: Esteban Ramirez-Fregoso
In this project, we used a pug mill to prepare the clay, ensuring consistency, de-airing, and recycling scrap clay. The clay was then loaded into a hopper and pressurized for continuous flow through the nozzle of a SCARA printer.
Using Rhino, we created support structures to ensure the stability of the bricks. In Grasshopper, we generated layer lines and converted them into g-code for the printer to read. Simulation tools enabled testing and refinement of the design before printing.
This project demonstrated the incredible potential of 3D ceramic printing in architecture. By merging traditional craftsmanship with modern technology, it opens new possibilities for creating durable, custom structures with complex geometries that were previously difficult to achieve. This innovative approach can revolutionize the industry, enabling sustainable production and creative design solutions that push the boundaries of conventional building methods.
STUDIO II (second-year)
Instructor: Stuart Romm
This project consists of a 9-story mixed-use building situated in Rocinha, Brazil, the largest hillside favela in Rio de Janeiro. Inspired by the mesmerizing patterns of girih tiles, the design explores the dynamic interplay of decagons, hexagons, bow ties, pentagons, and rhombuses, embracing a freeform approach that mirrors the lively spirit of the community.
Drawing from the principles of translational unity, seriality integration, and radial symmetry, the design weaves these elements together to create a visually striking building facade. However, challenges arose with the incorporation of pentagons and rhombuses, leading to gaps and irregularities. To address this, secondary girih tiles were introduced strategically to fill the gaps and ensure a seamless flow across the entire facade.
With goals ranging from architectural innovation to community engagement and aesthetic appeal, this project seeks not only to redefine Rocinha’s architectural landscape but also to establish a lasting dialogue between traditional Islamic art and modern design.
CONFIGURATION PANEL
PHYSICAL CONFIGURATION MODEL
DIMENSIONS 2’ x 1’ x 1’
PANEL EXPLORATION
/ BEERSCAPE RETREAT / 2023
STUDIO IV (third-year)
Instructor: Hazem Ziada
Nestled beside the legendary Skútustaðagígar craters in Iceland, Sel Hotel, a cherished family-run establishment with a rich history, provides the ideal canvas for a groundbreaking multi-purpose facility.
The challenge was to design a new facility that seamlessly replaced the old building, housing essential functions such as the brewery, cafe snack bar, and souvenir shop. Adding a unique twist, we were tasked with introducing a key feature: the Beer Spa.
My project challenges traditional longhouse design, encouraging participants to rethink communal gathering spaces. The innovative proposal introduces a central core, transforming and reinterpreting the concept of gathering.
The project incorporates the principles of voluntourism, emphasizing a connection with the local culture, environment, and communities. The approach uses 3D printing for the bottom floor, blending modern technology with traditional materials for the upper level.
LINEAR EXPANSION OUTDOORS DURING SUMMER MONTHS (JUNE - SEPTEMBER)
ENVIRONMENTAL CONSERVATION
-PLANT NATIVE VEGETATION
-WILDLIFE HABITAT ENHANCEMENT
CURRENTLY: INSTALLING STRUCTURES TO ATTRACT AND SUPPORT DIVERSE FAUNA
CURRENTLY: INSTALLING STRUCTURES TO ATTRACT AND SUPPORT DIVERSE FAUNA
MONITORING + RESEARCH
-IDENTIFYING AND REMOVING INVASICE SPECIES
-EXAMINE WATER QUAITY FROM SURROUNDING LAKES
-BIRD SPECIES IDENTIFICATION
CURRENTLY:
MEASURING CHANGE IN THE GROUND AS MAGMA SHIFTS
COLLECT VOLCANIC GAS FROM BOREHOLES
USING FIBRE-OPTIC COMMUNICATION CABLES TO DETECT EARTHQUAKES
MONITORING + RESEARCH
-IDENTIFYING AND REMOVING INVASICE SPECIES
-EXAMINE WATER QUAITY FROM SURROUNDING LAKES
-BIRD SPECIES IDENTIFICATION
CURRENTLY:
MEASURING CHANGE IN THE GROUND AS MAGMA SHIFTS
COLLECT VOLCANIC GAS FROM BOREHOLES
USING FIBRE-OPTIC COMMUNICATION CABLES TO DETECT EARTHQUAKES
PRIVATE
BEER BATH TREATMENT ROOM RELAXATION LOUNGE
MASONARY MORTAR
BEER WALL DETAIL
VERTICAL LADDER ROD
HORIZONTAL LADDER ROD
GLASS BLOCK
(7” x 7”) METAL FRAME
BEER BOTTLE
Fire + Ice Experiment
Instructor: Hazem Ziada
This experiment explores the intersection of design agency and causality by visualizing interactions between the four states of matter—fire, water, earth, and air. Drawing inspiration from Iceland’s dynamic environment shaped by tectonic, volcanic, and glacial processes, the project connects natural phenomena with design.
Faraday Waves: a phenomenon of standing wave patterns in fluid induced by vertical vibrations, offer a visual representation of harmonic interactions.
Setup: Petri dish (black-painted for visibility) on a subwoofer, controlled by a laptop generating 50–120 Hz frequencies.
Fabrication: Captured 3D sound waves were modeled, 3D printed, molded in silicone, and cast in clear epoxy to create tangible, transparent representations of the waveforms.
The experiment visualized sound-fluid interactions and translated them into physical artifacts, revealing dynamic wave properties and inspiring integration of these principles into design.
- simple concentric circles are formed from the center towards the outsidee
- the waves become irregular and seem to wander aimlessly e
- the number of concentric rings increase
- the pattern resembles a sideways 8 (or the symbol for infinity)
- the concentric circles start to intersect each other and split up the infinite pattern - a flower with 7 petals starts to emerge from the middle
- the delicate ripple resemble mandala like shapes
- these clusters of crater-like holes start to appeare
- the floral pattern disappears as the concentric circles start to reappear
- the water begins to respond to sound waves in the middle (at the beginning),
- the cluster of holes start to align creating a fractal pattern
- the lines of the concentric circles become more distinct
- the pattern starts to evolve into a complex shape that bounces around the edge of the dish
- the concentric circles are visible underneath the new pattern, but it is a more complex geometry
- the water returns to its original state of tranquility
/ CATALYST / 2022
STUDIO III (second-year)
Instructor: Hayri Dortdivanlioglu
This project is situated at the intersection of Auburn Avenue and Piedmont Avenue in Sweet Auburn. The area is fragmented and unconnected, but the community comes together during the two annual festivals in May and September, celebrating jazz, blues, R&B, rap, and hip hop.
In this unconventional space, the emphasis is on fostering a sense of unity through the universal language of music. The design encourages impromptu performances, providing a platform for local talents to shine. Moreover, when celebrities grace the venue, the rooftop transforms into a stage, amplifying the communal experience as they perform and connect with the diverse audience below.
The sunken plaza hosts a unique cafe, breaking away from the typical elevated setting, while the speakeasy takes center stage, elevated above the norm. The innovative design connects these diverse spaces through a thoughtfully crafted atrium, creating a dynamic void that seamlessly links the top floor to the second.
Catalyst is more than just an architectural marvel; it is a dynamic and inclusive space that celebrates the power of music to bring people together in the heart of Sweet Auburn.
ARCH 2020
Instructor: Daniel Baerlecken
voronoi diagram + two attractors circles positioned at voronoi edge and vertex of voronoi cell; the radius corresponds with the attractor points
voronoi cell: used to scale component to create offset appearance interior variations: small and large
voronoi cell: used two scale components to make repeating patterns within the cell interior variations: small and large
voronoi cell: overlapping voronoi edges and connecting segments interior variation: similar size
In this module, we created a two-dimensional pattern using multiple attractors. By making a set of points based on random point distribution and setting up a geometric relationship between our attractors and geometry, we created a visually complex and structured composition. In this case, the voronoi pattern was made. Based on the pattern, I constructed the three-dimensional object from Rhino and Grasshopper through additive manufacturing. There is a central void in the object which I used to insert a PVC pipe wrapped in LED lights to create a lamp.
STUDIO I (Kennesaw State
Instructor: Simon Hoffiz
University)
The project draws its conceptual roots from the blend of a study pod and the organic form of a leaf, epitomizing a novel approach to learning in nature. The entrance, accessed by a ladder, unfolds into a gracefully curved door frame, providing an open and inviting transition into the cocoon-like space within.
The chair, is pressed against the sturdy trunk of a tree, while the table, strategically positioned to face outward, beckons users to engage with the captivating landscape. String ropes, thoughtfully integrated as a securing element, replace traditional rails, enhancing the inhabitant’s connection to the environment.
The Leaf Pod not only redefines the conventional study space but also serves as an architectural testament to the symbiotic relationship between human design and the natural world.
