College Portfolio

lost in my mind all that find refuge

creation and invention discover the new

In society today, there is a narrow view on what the public and fellow architects think architecture is. Most would probably say, it is the process of designing and constructing buildings. I would argue that it is about creating and telling a story. Communicating a story is by far the oldest form of design and as such everyone in the world has done it. There is a difference though between telling a story and being a storyteller. Anyone can recite a story but those who are storytellers inspire those around them to seek out their own dreams and aspirations.

As a storyteller I communicate my stories not by the written or spoken word but through feelings. I begin by creating an environment that manifests itself into different emotions

that can express themselves through a physical space or object. Architecture has this unique ability to encapsulate and direct emotions of hope, sadness, joy, comfort, safety, etc. to the user without even saying a word. I believe that in order to decide what feelings to express through my stories, one must first analyze the characters in them. A lot of times though, the characters are already defined with backstories, goals, and emotional ties. It is our responsibility to not create an entirely new story for them to fit into but rather create a story in which they already fit in. This is the most crucial step as it determines the mediocre storytellers from the great ones. Many architects do not ask the right types of questions, the questions that define the purpose of architecture and

how it relates to the user. This is where I differ. I ask the questions no one thinks to ponder. I study the people to understand the architecture. By researching the lifestyle, culture, needs, and motivations of the user, one can discover social patterns that inform the story design process.

I then create moments, through sketching, that capture a certain feeling of what my research has deemed essential to express. Hand sketching is how I understand the design process from different viewpoints. It allows me to quickly investigate opportunities from asking key questions while also staying open to new research or information. It is in this back and forth play that I find my story to create and tell.

This is how I tell my story, now let me show you.

design manifesto

_FEELINGS

Awe & Wonderment _Spring 2015 Beauty & Relief _Spring 2015 Empower & Inclusion _ Spring 2016 Community & Devotion _ Fall 2016 Innovative & Free _ Fall 2015 Passions & Diversions _Varied Dates

the following is a glimpse inside my mind, my process, and my world...

Awe & Wonderment // _Milan, Italy

_Team Project - 3 members

_Role - co-designer & conceptual dreamer Expo Milan - Deriving a statement about both fashion and architecture requires a comprehension of shared qualities of each art. Each explore liberated geometries with respect to base framework, materiality to be touched, form to be interacted with, and experiences to be cloaked around oneself.

The endeavor of this project embodies the generation of a hybridized representation of these characteristics as well as how these joint qualities occur across a vast array of instances.

The form cuts and reveals itself to direct visual cues to both internal and external moments, as well as to direct motion through compression and release. Large textile panels drape from the shoulders of the structure, humbled to the human scale at the foot of the site where their materiality can be sensed. The panels’ silhouettes provide a large shaded plaza by the water upon entry to the pavilion.

Visitors rise to an elevated platform runway to pass through bulbous contour voids in the planes, experiencing transitory moments of views and light,

like the brief glimpses of each passing model down the runway. The ethereal nature of the massive volume creates the illusion of a weightless cloud, created by the aesthetic lightness of textiles, array of planar frames, perspective-derived concealment of structure, and controlled distribution of light.

The pavilion stands as an architectural garment on rigid steel bones, a multisensory experience of materiality, weight, light, instance, and movement.

The Ethereal

Longitudinal Section

Steel Substructure

Support Space

Support Space

Fabric Skin

Steel Primary Structure

Cross Section

Track Runway

Central Circulation Track Runway

Runway Level

failure defines us, failure challenges us, failure makes us grow...

Beauty & Relief // _Milan, Italy

_Team Project - 3 members

_Role - designer & builder Paper Garment - The human form is the most beautiful creation in the world and yet it is the hardest to appreciate.

The many discrepancies, caveats, and endless surprises make this form unique enough to alter but common enough to replicate. The goal of this

project is to understand the tectonics of parametrics and how it can be applied to the textile and fashion industry.

Some days I know where I am going and sometimes I don’t...

Linear Procession - Section

The linear procession begins immediately when the user enters the public street as they approach the theatre. They are then guided from the street down a series of meandering ramps which frame an outdoor theatre space and seating area. It is from this point that they are cross the threshold of being an observer to being a performer.

Once inside, they are encouraged to continue their journey through

the lobby gateway to the interior theatre space. It is here that they can experience all of the energy and excitement that is captured from the Paseo District. This energy can be seen by the user as it comes to the perspective point at which an actor stands center stage.

Concept models

Linear Procession - Plan

Section

Empower & Inclusion // _Paseo Arts District, OKC, Oklahoma

_Individual Project

_Comprehensive Design Shakespeare Theatre - A linear progression from the outdoor theatre, lobby, and indoor theatre is protected and organized by a projecting building envelope.

This envelope encapsulates and directs all of the energy from the Paseo district towards a central point. This monumental gesture, relating in scale and form to the traditional Paseo, also expresses a

growing desire towards a modern future through the incorporation of perforated copper panels and seamless glass curtain walls. The copper enclosed building form meets patrons at ground level and guides them through the linear procession, culminating in the final act of the theatre experience.

Significant research is done into the design of the theatre space. A removable thrust stage allows flexibility for the Shakespeare plays as well as a total immersion experience for the audience. Sightlines are carefully crafted and good C values are ensured so that everyone in the audience can participate equally. Multiple tests were done through a program derived in Grasshopper and Rhino to calculate these values every time the design changed thus making these issues a key item in the theatre design.

Interior Theatre Design Research

Skin envelope

Glass curtain wall

Parti Diagram

Roof Plan

Conceptual Sketches

Basement Level Plan

Lobby Experience

Aerial Site Plan

Interior Theatre Normal

Bay Section Model

Interior Theatre Enhanced

Wall Section

Almost all performance theaters are designed for a specific play or are generically flexible to accommodate a wide range of performances. My goal for the interior theatre space is to design an experience that can physically interact with the audience and adapt to the specific play being shown. In the images to the left, one can see a series of illuminated columns and mechanically adjustable scrim screen sheets that can adapt to the theatre’s performance.

The floating scrim screens can move up or down, decreasing or increasing the views and perceived height of the theatre space.

They can also be illuminated with a variety of different colors or patterns enhancing the emotions of what one is watching in the play.

The goal of the exterior approach experience is to inform the passing public of the excitement and energy emanating from the theatre. This is accomplished by providing a copper and wood paneled skin that directs the user’s attention towards the glass lobby space. The skin frames the lobby space, allowing user’s inside the lobby to be actors “on a stage” for people passing by. The skin frame also serves as a billboard for the theatre, in an effort to easily promote to the public the performances occurring.

sometimes I create, sometimes I wait, sometimes I discover...

MASSING CENTERED INTERNALLY

EXTERNAL AND INTERNAL UNIFICATION THROUGH GREEN SPACE

Community & Devotion // _Chicago, Illinois

_Team Project - 4 members

_Role - designer & modeler _Urban Design - historic preservation Old Chicago Post Office - In order to foster innovation and a collective desire to create on this historic but long neglected site, a new type of community life is necessary. The revitalization of this abandoned property will be catalyzed by the reactivation of the street-fronts, the creation of a wide variety of residential options to attract a diverse

population, and the incorporation of working environments into the residential community to engender interaction based on entrepreneurship.

HISTORY EVOLVED

RIVERFRONT TOWER ESTABLISHED

Master Planning & Site Model

“

think before you work The selective degradation of the Old Post Office building and its structure creates voids in between the preserved portions, allowing for the development of outdoor spaces that support the diverse mix of functions within the buildings. Carving pathways through the old building creates prominent termination points that are reimagined independently as park and plaza spaces

APPROACHING THE VERTICAL FORUM FROM THE SOUTHEAST

that cater more to the residents and passersby, respectively.

The internal void created within the old building, inside of the new O block, provides a destination forum space to be utilized by the creative community that inhabits the development for business and for play.

RIVERWALK RELATIONSHIP TO RIVERFRONT PLAZA

Developing Model

UNDER GROUND PARKING

45%

%

10

RETAIL

RETAIL

FOR-SALE RESIDENTIAL FOR-SALE RESIDENTIAL

6%

AFFORDABLE RESIDENTIAL

14%

4%

HOTEL

OFFICE

13%

8%

HOTEL

AFFORDABLE RESIDENTIAL MARKET RATE RESIDENTIAL PARKING

MARKET RATE RESIDENTIAL OFFICE

DESTINATION RETAIL The tower terminates with high-end restaurants and a green roof rentable as event space.

INDOOR/OUTDOOR SPACE Semi-exterior community courtyard spaces break up the live/work floors.

CORPORATE SPACE

OFFICE

Open office floors provide variety and boost the profitability of the tower.

RETAIL PODIUM Shops and restaurants continue all the way to the riverfront.

Vertical Forum

Riverfront Experience

Retail Avenue

HOTEL

RETAIL

Complementary to the atmosphere of residential living, the hotel provides a strong economic backbone for this community while bringing in a market for the tenants.

Integrated retail provides leisurely shopping and entertainment alongside basic community necessities such as groceries.

VERTICAL FORUM

LIVE/WORK

Surrounded by the spaces for life, work, and play, a centralized void provides the community a forum for expression and entrepreneurship.

Living spaces are integrated with private or communal studio and maker spaces, fostering a mutually-responsible creative community.

Final Section Model

Do you ever just stop and think? Like truly contemplate why you were put on this Earth?

Sometimes I do and I still haven’t found my answer...

Conceptual Sketch

Parti Diagram

Traditional Approach

Floor Plan Exploration

Interdisciplinary Approach

Innovative & Free // _Phoenix, Arizona

_Individual Project

_Focus on Integration

Massing Process

STEAM Academy - The site is located between a series of residential neighborhoods to the north and the Wonder Rift Mountains to the south. After doing some thorough research, the conclusion that most STEM and STEAM academies follow the traditional design layout approach of separating the different disciplines from each other was drawn. The best way to blur the idea of rigid instruction (the classrooms) with the flexible instruction (the maker, studio, and lab spaces) is to centralize them into individualized nodes

that orient themselves around central social garden spaces. It was this effort that led me to believe that creating flexible module classroom buildings is the best solution to accompany the school’s goal of expanding their facilities in the future. One of the design goals in this project is to incorporate the architecture with the landscape and environment.

This is accomplished by designing all circulation between buildings to be outdoors, embracing the user with the natural beauty of Phoenix all while being shaded by an overarching roof system.

PHOENIX S.T.E.A.M ACADEMY

The centralized atrium space encourages crossdiscipline communication and facilitates both planned and impromptu gatherings. The circulation system can be easily segmented and closed off to provide for maximum security and safety.

and allow for future expansion and evolution of the programs.

Walkways around the atrium and social gathering spaces allow for maximum interaction between the two levels.

The social garden spaces are module pods that can be used to create flexible, multizone teaching spaces First Floor

North Elevation

PHOENIX S.T.E.A.M ACADEMY

first level 0’

25’

second level 0’

25’

N

Second Floor

Academy Axon

East Elevation

PHOENIX S.T.E.A.M ACADEMY

Passions & Diversions // _Napkin sketches

_Photography

_Watercolors

_Mixed Media

It is through my artwork that I communicate my own personal story. I work in a variety of different mediums in an effort to hopefully learn a new perspective in what I am trying to understand. It is through the process of trying to capture the essence of what I want to convey in my art, that I gain new knowledge and

purpose. Every line or stroke I make has a specific meaning.

Please take the time to view the many values, lines, and hidden interpretations that convey my story to you.

45 From noon until three in the afternoon darkness came over all the land. 46 About 45 until three in the threeFrom in thenoon afternoon Jesus criedafternoon out in a darkness all lema the land.

46 About loud voice,came “Eli,overEli, sabachthani47 three in the afternoon Jesus cried in a When some of those standing thereoutheard loud voice, “Eli,“He’s Eli, lema this, they said, callingsabachthani47 Elijah.”

When some of those standing there heard this, they said, “He’s Elijah.”

48 Immediately one ofcalling them ran and got a sponge. He filled it with wine vinegar, put of them and got it48onImmediately a staff, andoneoffered it toranJesus to a sponge.49He filled with“Now wine vinegar, drink.

The restitsaid, leave himput italone. on aLet’s staff,seeandif offered to Jesus Elijah itcomes to saveto drink. him.” 49 The rest said, “Now leave him alone. Let’s see if Elijah comes to save him.”

50 And when Jesus had cried out again in a loud voice, he gave up his spirit.

50 And when Jesus had cried out again in51 aAtloudthat voice,moment he gave his spirit. theupcurtain of the

temple was torn in two from top to bottom.

51 Atearth that shook, momentthetherocks curtain The splitof52the and the temple broke was torn two from bottom. tombs open.in The bodiestopoftomany holy The shook, splitto52life. and53the people earth who had diedthewererocks raised tombs bodiesafter of many holy They broke came open. out ofThe the tombs Jesus’ people who had 53 resurrection and died went were into raised the holyto life. city and They came out ofpeople. the tombs after Jesus’ appeared to many resurrection and went into the holy city and appeared people.and those with him 54 Whentothemany centurion

who were guarding Jesus saw the 54 When the with him earthquake andcenturion all that and had those happened, they who were guarding Jesus saw“Surely the he was were terrified, and exclaimed, earthquake all that had happened, they the Son of and God!” were terrified, and exclaimed, “Surely he was the Son of God!”

DOGGO ALWAYS SAVES DUNGEONS AND DRAGONS 2016

thank you