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TABLE OF CONTENTS Ash Park | page 1

Cemetery | New Orleans, LA.

Contortion | page 15

Skyscraper | Chicago, IL.

Vertical Horizons | page 21

Navy Pier Redesign | Chicago, IL.

Split | page 31

Library | Chicago, IL.

Tensegrity | page 37 Group Installation

Cottage | page 43


Models | page 51

Cottage | Vertical Horizons | Ash Park

Artwork | page 59 Paintings | Drawings

Fall 2013


The faceted and torquing geometry lends itself to a graphic hatching pattern, which creates depth. The hatching is then deployed across corners to create an illusion about a 3D object, obscuring Professor: Grant Gibson, Arch 465 XLITIVGITXMSRSJXLI½KYVIW8LIXVMERKYPEXIH forms created are nested into one another to proProject Awards: Selected for exhibition, 2013 Year End Show, HYGIE½IPHJSVEGIQIXIV]8LIYTTIVTSVXMSRSJ UIC School of Architecture the form creates a canopy overhead and the 1 | Rundown | Ash Park

legs remain thin and create a more interactive space underneath. Directly beneath the forms, the viewer is able to see the interior of each form. The soft interior contrasts the hard edges of the exterior and delivers a different experience each time ZMI[IH8LI½KYVIWEVIGVIEXIHSYXSJLYQEREWL ERHGIQIRXERHTVSHYGIEGSRXMRYSYW½IPH

Ash Park | View of Site | 2

Sketch Diagrams

3 | Diagrams | Ash Park

Sketch Diagrams

Ash Park | Diagrams | 4

-Each Figure is 20’ tall and has a volume of 115 cu. ft. -Each Figure is constructed of poured in place concrete, requiring 50 gallons of water, 300 PFWSJGIQIRXPFWSJ½RI aggregate (sand and human ash). 3RILYQERGSVTWITVSHYGIW½ZI pounds of ash when cremated 9WMRKXLILYQEREWLEWXLI½RI EKKVIKEXI)EGL½KYVIGSRXEMRWXLI remains of sixty humans -150,000 people die in New Orleans each year on average -208 Figures could be expected to be built each month. -2,500 Figures, consuming 10 acres could be expected each year.

5 | Statistics | Ash Park

Soft Interior

Ash Park | Section | 6

7 | View Under Figure | Ash Park

View Looking Up

Ash Park | Interior Detail | 8

8LIWMXIMR2I[3VPIERWWTIGM½GEPP] Old Algiers, was once home to a plantation in which a wealthy family also owned slaves. It was here on Old Algiers point that slaves would enter from Africa. Not all would cross the river to the heart of the city. Slaves were buried in corners of TPERXEXMSRW[MXLRSHI½RMRKLIEHWXSRIW Unlike the treatment of the slaves, this cemetery serves to call out the dead and force the city to interact with it.

Ash Park | Elevation | 10

11 | Plans | Ash Park

Ash Park | Plans | 12

13 | View of Field | Ash Park

Ash Park | View of Field | 14

Fall 2010

CONTORTION Professor: .MQIRI^0EM%VGL  | Rundown | Contor-

Relationship exploration begins with the juxtaposition of spaces in this tower. The contortion, or shifting of the atypical modules creates an interplay of interior and exterior. The immediate interior, atop the modules, is public space; the private spaces are inside those modules. The idea was to create a

public atmosphere that fosters various interactions between all users through the contortion. The cantilevers, or museums, twist around and lie next XSXLISJ½GIERHVIWMHIRXMEPEVIEW%W[IPPEWWLMJXMR form, placement of program further enhances the experience of the user, forcing interaction.

Contortion | View of Tower | 16


17 | Diagrams | Contortion



Office and Residential


Museum Parking




Program Placement

Contortion | Diagrams | 18



Section and Plan 7GEPI²!´

19 | 7IGXMSRERH4PER | Contortion

Cantilever Detail 7GEPI²!´

Contortion | 7IGXMSR(IXEMP`

Fall 2011


Distinct identity plays a major role in the re design of this pier. Three different stacks are organized vertically and contrast the horizontal organization of the ground level. Upon entry to the pier, pedestrians circulate over the hill, around the bike path that runs along the south IHKIEHNEGIRXXSXLIXVEJ½GPERIWEW[IPP

%PSRKXLIKVSYRH¾SSVWQEPPIVWYFWIXWSJTVSgram facilitate snaking circulation and foster a social atmosphere. Three different plazas under each stack contribute further to the separate MHIRXMXMIW8LIKVSYRH¾SSVLIPTWWITEVEXIXLI WXEGOWEW[IPPEWGVIEXIWEGSLIWMZI[LSPIEPSRK the entire pier.

Vertical Horizons | View under Shopping | 22



-Quick movement through entry

-Large open, shifted boxes %PPS[WPMKLXMR[LIVIRIGIWWEV]

 | Diagrams | Vertical Horizons

Shopping & Dining

Ferry Terminal

-&YW]JSWXIVWWPS[IVGMVGYPEXMSR -Holds parking in the center

-Smaller and fosters quicker circulation -Roof is inhabitable for users remaining

Vertical Horizons | Diagrams | 24

Bus 'SQQYXIVW Tourists/Other Bike 'EV


 | Diagrams | Vertical Horizons

Tourists 'SQQYXIVW


Vertical Horizons | Diagrams`

Typical Plan 7GEPI²!´

Roof Plan a


27 | Plans & Sections | Vertical Horizons



Section a

Section b

Section c




Shopping Plan Detail

Ferry Plan Detail

Scale: 1”= 128’

Scale: 1”= 128’

Vertical Horizons | Plans | 28

29 | Axon | Vertical Horizons

Vertical Horizons | View of Pier`

Spring 2012


Four masses break away from on another, implying circulation. They are comprised of book stacks, pubPMGEVIEWGSQQIVGMEPSJ½GIERHEHQMRMWXVEXMSREVIEW and split into their own separate tube. They meet Professor: Chris Frye, Arch 366 at the center to join the most public areas of each program and these meeting areas are also the Project Awards: Selected for exhibition, 2012 Year End Show, UIC School of Architecture 31 | Rundown | Split

XVERWJIV¾SSVW8LI¾SSVWWTPMXERHGVIEXIGMVGYPEtion vertically and horizontally. The stacks are orderly whereas the reading areas split apart and are HI½RIHF]XLIGMVGYPEXMSR8LIXIGLRMUYISJWTPMXXMRK also carries to the skin to adjust to certain amounts of light helping certain areas.

Split | View of Site | 32

33 | Diagrams | Split



Level 1 A

Level 1 a

Scale: 1”=64’

Scale: 1”=64’ Split | Plan & Section | 34

135| Rundown | Split | Split | View of Lounge

Split | Section | 36

Spring 2011

UNINTENSIONAL Professor: Thomas Kelley, Arch 206 Project Awards: Selected for exhibition, 2011 Year End Show, UIC School of Architecture 37 | Rundown | Unintensional

In order to create a stage for the play Rhinoceros, our group began with a deformable reactive surface made of catenaries held up by four nine foot high tensegrities. This surface expands and retracts, forcing the catenaries to expand and retract along with it. Due to the high density of catenaries, the tensegrities are shrouded and begin to fade away, allowing to surface and catenaVMIWXSETTIEVEWXLSYKLXLI]EVI他SEXMRK-R

addition, the catenaries also create a moire effect, adding interesting patterns. The curves allow users to interact with them through sitting and climbing. The idea of the installation is to create a dense jungle-like environment that changes as humans move through it. For example, when the actors interact with the curves or the tensegrities, they must push through the curves or open pathways, allowing for variations of stages in one.

Team: Cherin Al-Hayek, Timothy Baldwin, Marko Dumlija, Daniel Fazcek, Jose Garcia, Kristian Gehl, Ryan Odom, Kevin Pazik, Jeisler Salunga, Erick Sanchez, Aqsa Tahir, Shuya Washido, Yuen Yeung

Drawings were a collaboration of: Timothy Baldwin, Marko Dumlija, Daniel Fazcek, Jose Garcia, Ryan Hernandez, Kevin Pazik, and Jeisler Salunga Photograph taken by: Jeisler Salunga

Unintensional | Model 1:1 | 38

39 | How-To | Unintensional

Unintensional | How-To | 40

Natural State

State of Use

User Interaction

41 | How to Use | Unintensional

Natural State

Version 1

Version 2

Version 3

Version 4

Axon View

Top View

Elevation Unintensional | Versions | 42

Spring 2013


Awkward architecture, produced with a certain precision, causes the user to feel a certain level of discomfort. The elements appear haphazard and ignored and the design seems to lack a certain Professor: Paul Preissner, Arch 466 amount of skill; however, these decisions are purposeful. The aggregation of cylinders turned Project Awards: Selected for exhibition, 2013 Year End into cottages combines them in a clumsy yet Show, UIC School of Architecture 43 | Rundown | Cottage

specific way; they are slightly leaned against one another in a careless fashion. A few of the variations have a cylinder hanging overhead so the user approaches the cottage with trepidation. Each cottage has its own arrangement, interior, color, and window placement; however, one is not more correct than another, all creating a colony of cottages.

Cottage | View of Site | 44

Plan Variations Round interior rooms echoe the exterior redundantly. Using square rooms, proved to be too uptight and constricting Using a minimal amount of walls creates a deliberEXISTIR他SSVTPER[MXLSYXETTIEVMRKXSSHIPMFIVEXI 45 | Diagrams | Cottage

Section Variations 8LISTIR他SSVTPERMWJYVXLIVIRLERGIHXLVSYKLXLIKVIEXLIMKLX*VSQXLI exterior, the square footage appears endless, however; the cottage offers only one 他SSV[LMGLGVIEXIWQSQIRXWSJE[O[EVHRIWW[MXLXLILIMKLXSJXLIGIMPMRKW Cottage | Diagrams | 46

Color Variations Exterior paint pattern is a seemingly bad aerosol spray, which separates the cylinders in two, horizontally, and contrasts the vertical singular interior. 47 | Color Variations | Cottage

Roof Plan Scale: 1”=32’



Scale: 1”=32’

Scale: 1”=16’ Cottage | Plans and Section | 48

49 | Site Plan | Cottage

Cottage | View of Site | 50


Professors: Paul Preissner, Arch 466; Andrew Corrigan, Arch 365; Grant Gibson, Arch 465 Project Awards: Selected for exhibition, 2012 & 2013 Year )RH7LS[9-'7GLSSPSJ%VGLMXIGXYVI 51 | Rundown | Models

Regarding the cottage models, due to the nature of the awkward designs, the models were made XSFIEW他E[PIWWEWTSWWMFPI-RSVHIVXSFIPMIZI the slightly skewed decisions were intentional, GVEJXTPE]IHEQENSVVSPI*SV:IVXMGEP,SVM^SRW The height of each stack enhances each identity

ERHXLIGSRXVEWX[MXLXLIKVSYRH他SSV8LIGLMTboard contrasts with the mat board on the KVSYRH他SSVGEPPMRKSYXXLIWTEGIW-R%WL4EVO the solid white mat board calls out the faceted KISQIXV]

Section Model ,IMKLX²

Cottage | Model | 52

53 | Site Model | Cottage

Wooden Site Models ,IMKLX²²

Wooden Site Models


Cottage | Site Models | 54

Site Model 55 | Site Model | Vertical Horizons



Vertical Horizons | Model | 56

Site Model 57 | Site Model | Ash Park



Ash Park | Model Details`

ARTWORK 59 | Rundown | Artwork







61 | Painting | Artwork


Artwork | Drawing | 62

Oil on Canvas 18” x 24” 63 | Drawing | Artwork


Artwork | Drawing | 64

Ryan Hernandez  
Ryan Hernandez