Aaron Aday Portfolio: 2007-2013 by Aaron Aday

Portfolio:2007-2013

Aaron A. Aday

Portfolio: 2007-2013 aaronaday.com

Contents

03-10

JCCC Galileo Pavilion Studio 804: Fall 2011 - Spring 2012

11-22

New Orleans Community Center for Film KU : Spring 2011

23-32

Quality Hill Forum KU: Fall 2010

33-40

Redux KU : Fall 2009

43-46

Photography and Sketches Italy Studio: Summer 2010

About

AARON ADAY

architect/photographer/designer/fabricator/biker/hoopy frood • www.aaronaday.com • aa.aday@gmail.com • 316-393-6615 Experience Hufft Projects craftsman September 2012 - April 2013 • Kansas City architecture firm that does in-house fabrication work • CNC programing and operation; custom furniture and casework fabrication

March 1988 - Present

Young Architects forum member October 2012 - Present • AIA subset for young professionals • Part of 5 person group that planned and executed a KC First Fridays event that sought a dialogue on transportation in the KC Metro area (Commut.ication)

STUDIO 804 architecture intern August 2011 - June 2012 • Non-profit design/build studio composed of KU graduate students • Site and warehouse manager; main project photographer; 3-D design • Seeking LEED Platinum for project; achieved 600 IDP hours through Community Based Design

The pulse crew lead/ barista August 2009 - May 2011 • Coffee bar that provides specialty drinks of a stimulating variety • Distinctive Employee Service Award - 2009

AUntie Anne’s shift manager/store manager

May 2007 - August 2009

• Store that specializes in some delicious hand rolled soft pretzels Oversaw around 12 employees in make and sale of said pretzels

• Education University of Kansas

master of architecture August 2007 - May 2012 • Undergrad GPA 3.51; Graduate GPA 3.80 • Five year, NAAB-accredited program study abroad June 2010 - July 2010

italy summer studio • program focused on the role the architect has in shaping urban life and culture.

Resume

Proficiency

Design software • Photoshop, Illustrator, InDesign, Bridge, AutoCAD, Sketchup, VRay, Revit, Rhino, Alphacam, Cabinet Vision, Dreamweaver, After Effects, Premiere Pro other • sketching, photography, model-making, wood framing, carpentry, casework, CNC operation/programming, concrete work, landscaping

Recognition School

distinctions • Crimson and Blue University Scholarship (2006-2010) • Kansas Architecture School Ewart Traveling Scholarship (2010) • Research Experience Program Photography competitions • The American Undercover Photography Contest 1 of 25 semifinalists (10000+ entrants) • Photographer’s Forum Best of 2011 College Photography 1 of 85 honorable mentions (15000+ entrants) • Photographer’s Forum Best of 2012 Photography 1 of 1531 finalists (19000+ entrants)

References

Dan Rockhill rockhill@ku.edu 785-393-0747 • J.L. Constant Distinguished Professor of Architecture at KU; Studio 804 Director • Principal, Rockhill and Associates

Bruce Johnson terra@ku.edu 913.940.9801 • KU Architecture Professor

Shannon Criss scriss@ku.edu 785.864.3861 • KU Architecture Professor

Chuck Markano ---- 316-258-2366 • Store Manager at Auntie Anne’s

For my final year at the University of Kansas School of Architecture, Design, and Planning, I was a part of Studio 804. The program involves students in all aspects of the building process, from initial design to finished construction. This makes for an exhaustive 10 month experience that allows students to understand and address in a physical way critical issues of sustainability, energy efficiency, and accessibility The focus of most projects over the past 16 years has dealt with housing in neighborhoods needing urban renewal. More recent projects—specifically the Center for Design Research and 5.4.7 Arts Center—have been in direct response to communities for buildings that support sustainable practices. All of this has led to the project I was a part of for 2011-2012: Galileo’s Pavilion at Johnson County Community College in Overland Park, Kansas. The building is composed of two classrooms and a student lounge that form a courtyard around the pre-exisitng sculpture, Galileo’s Garden. Designed to Passivehouse standards and seeking to be 804’s fifth LEED Platinum project,the building uses many passive and active systems. This provides an inherent contrast to the surrounding buildings, which is key in allowing JCCC to stake its own claim in the field of modern and sustainable design. Participants: Aaron Aday, Megan Carrithers, Chris Claassen, Raymond Dwyer, Jon Hanes, Nate Jarvis, Seamus McGuire, Phil Meyer, Rhett Morgan, Thomas Nguyen, Dan Nordmeyer, Kevin Porter, Liz Pritting, Melissa Schoch, Andy Seemiller, Adam Smith, Stephanie Stone

JCCC Galileo Pavilion - Studio 804 - Fall 2011 - Spring 2012

Floor Plan

Galileo Sculpture/Courtyard

2 3

Classroom Mechanical/Storage

Vestibule

Lobby

Coffee Bar/Kitchen

7 8

Bathroom Greenwall

7 3

3 8

6 4

3 8

4 5

05 0

15 10

Construction Photography

Perspective Section

Galileo Garden Sculpture

D Heat Island Effect

Super Insulated Frame

With the limited space available on

Heat islands occur in urban areas as a

Larger engineered lumber framing allows

JCCC’s campus for small classroom

result of exposed surfaces that block

for more insulation, resulting in a higher

buildings, we saw an opportunity to

surface heat from raditaing into the

R-value to meet Passivhaus Standards. In

juxtapose the new building next to

sky. This causes temperatures to be

addition to recycled cellulose insulation

the existing Galileo Garden sculpture.

substantially higher than rural areas,

from newspaper waste blown into

having an adverse influence on the

cavities, the building also utilizes various

utilization of sunlight complements the

surronding microclimate and building

EPS and XPS rigid insulation board. This

importance sunlight has in our design

energy use. To mitigate this problem we

gives the building insulation values over

concept.

use a white roofing membrane, which

4 times conventional levels.

better reflects and radiates the sun’s B

energy.

Restore Habitat

With a building footprint of just over 3200 ft2, a large portion of the exisitng

site is taken over for excavation and

G F

construction materials. As a result, parts of the site area require restoration. In the I

case of the area occupied by the plinth, native tallgrass will complement

the vertical nature of the sculpture. L

Renewable Energy

Through the use of a wind turbine and over sixty 3’x5’ photovoltaic panels we seek to offset the building’s energy costs. Through their use we also hope

E Cross Ventilation

Planted Roof

to recognize and encourage the need

Airflow can be manipulated to exhaust

In addition to providing a unique

for renewable energy systems to reduce

warm air out of the building through

aesthetic, roof bocks planted with

the enviromental and economic impacts

operable skylights running the length of

drought resistant species help insulate

associated with fossil fuel usage.

the building. With built in rain sensors

the building, reduce heat island effect,

they can close atomatically.

detain stormwater, and extend roof life.

I Living Wall

H Heat Flow

J Reclaimed/Recycled Materials

An installation of plants in each of the

Given that windows are the least effective

Helping to conserve natural resources

three spaces improve indoor air quality

heat flow inhibitors of a building’s shell—

and reduce the load on landfills, a variety

and utilizes the rain-water harvested

both in terms of letting heat out in the

of reclaimed/recycled materials have

from the roof top to the cistern. Each of

winter and letting heat in the summer—

been incorporated into the project. The

the walls employ a variety speices, with

no openings are utilized on the sunless

large expanse of floor to ceiling glass

a total of over 5,000 plants used between

north side of the building. To better

comes from the canceled West Edge

the three walls.

reduce air loss, all of the joints between

project off KC’s Country Club Plaza,

materials are caulked, foamed, and taped.

while the slate that clads the rest of the building exterior comes from reclaimed schoolroom chalkboards. K Solar Orientation With the broad use of glass along all of the southern facades, we hope to

employ solar strategies to more passively

heat and cool the building. A system of

B K

set louvers on the exterior face of the windows allow the sun to penetrate in colder winter months, where a thermal storage mass in the form of a concrete floor collects and releases heat throughout the day. In the summer the louvers block out the sun and shade the spaces. M

Water Retention

Water not retained by the planted roof blocks is diverted to an underground 1700 gallon cistern. This greywater supplies the three living walls, as well as water for the toilets.

Finish Photography

Wall Sections 3 A504

1 A504

2"x6" WD STUD

PARAPET 14' - 0"

TAPERED INSULATION 3/4" T&G OSB SHEATHING

METAL PARAPET CAP CONCEALED DOWNSPOUT TOP OF JOIST 12' - 9 1/4"

VAPOR BARRIER 1/2" OSB SHEATHING

WD RIM BOARD, SEE STRUCTURAL

TJI WITH CELLULOSE INSULATION, SEE STRUCTURAL

WD TJI, SEE STRUCTURAL 2x4 WOOD NAILER PLATE

INT. FIN. CEILING 11' - 1 1/4"

ST PRESSURE PLATE GLAZING ATTACHMENT ASSEMBLY 2"x4" STEEL TUBE

WD TOP PLATE, SEE STRUCTURAL

2"x4" WD STUD @16" O.C. 5"x8" GYP. BD.

3/8" SLATE VENEER Z-FLASHING 3 5/8" MTL STUDS 3" RIGID INSULATION

3" INSULATED GLASS

VAPOR BARRIER

3/8" GLASS LOUVER @ 6" O.C.

1/2" OSB SHEATHING

1"X3" STEEL TUBE

WD TJI WITH CELLULOSE INSULATION 5"x8" GYP. BD.

3 1/2" CONCRETE SLAB DAMP PROOF MEMBRANE OSB SUBFLOOR 2"x4" STEEL TUBE STEEL PRESSURE PLATE GLAZING ATTACHMENT ASSEMBLY WD BOTTOM PLATE, FIRST FLOOR SEE STRUCTURAL 0' - 0" 1 1/2"x16" RIM BOARD TJI, SEE STRUCTURAL WD TJI, SEE STRUCTURAL

P.T. SILL PLATE, SEE STRUCTURAL

WD RIM BOARD, SEE STRUCTURAL

FOUNDATION LEDGE -1' - 5 5/8"

DRAINAGE MAT & WATERPROOFING MEMBRANE

P.T. SILL PLATE, SEE STRUCTURAL 2 A504

4 A504

FOUNDATION WALL, SEE STRUCTURAL 15 MIL VAPOR BARRIER 9" EPS INSULATION

5 A504

Sim

5 A504

DRAINAGE MAT & WATERPROOFING MEMBRANE FOUNDATION WALL, SEE STRUCTURAL 15 MIL VAPOR BARRIER 10" EPS INSULATION

3.5" CONCRETE SLAB BASEMENT -5' - 3 5/8"

2" CONCRETE SLAB 6" EPS INSULATION

6" EPS INSULATION TOP OF FOOTING -6' - 0 5/8" 15 MIL VAPOR BARRIER

CONC. FOOTING, SEE STRUCTURAL

7 1/4" x 20" CONC. FOOTING 15 MIL VAPOR BARRIER

WALL SECTION - CLASS NORTH WALL 3/4" = 1'-0"

WALL SECTION - CLASS SOUTH WALL 3/4" = 1'-0"

The New Orleans Community Center for Film is a non-profit organization seeking to offer a location of lifelong learning to underrepresented individuals and communities, by providing a diverse program for the average citizen and professional alike to teach, screen, research, and meet. The site chosen for the Center lies within the Marigny Neighborhood on the higher elevations along the Mississippi River. At around 183,000ft2, the majority of this large site was preserved for outdoor park and public spaces by restricting the 30000ft2 program to a 12000ft2 linear footprint along its northern border. The final layout of the program utilized the geometry and positioning of the surrounding shotgun houses and warehouse buildings for configurations. This resulted in a series of raised exterior patios placed at the corners/middle of the building–in combination with multiple ramps and stairs that run parallel to the street— that facilitate a connection to the residential houses to the north and the large amount of pedestrian traffic that runs from east to west along Decatur. Vertical circulation points become the transition points between programs: the eastern core does so between the café/lobby (ground floor), theatre (second floor) and the multiuse classrooms/exhibition spaces (ground floor), editing (second floor), library/archive (third floor) spaces that occur along the main breakout corridor; meanwhile, the western core provides connection and acoustical separation between the mechanical room, soundstage and the rest of the building. Overhangs are utilized throughout the building, providing for ample shade and a cohesive language. The program is further unified on the exterior through the use of reused brick with a coating of colored lime mortar applied and partially troweled off. The subdued nature of this material— along with sandblasted concrete elements and operable wood shutters—allows the building to fit within the host of different textures and colors that comprise the historic neighborhood.

New Orleans Community Center for Film - University of Kansas - Spring 2011

Site Plan

building

park space

Mississippi R

iver

20 0

60 40

Park View

3-D Section

1 Classroom 2 Exhibition 3 Editing 4

Hyrdoponic System

Viewing Deck

Meeting Room

7 Library/Archive

Floor Plans

02 02 02 02 02 02

Third Floor 01 Exterior Patio 03 Archive/Library 05 Server Room 02 Administrative Offices 04 Meeting Rooms 06 Restrooms 05

07 Theatre 08 Projector Room

DN UP DN

04 01 01 01 01 01 01

01 01 01 01 01 01

Second Floor 01 Editing Rooms 03 Restrooms 05 Wetland Roof System 02 Breakout/Connection Space 04 Theatre UP

UP UP

04 11

10 Ground Floor 01 Mechanical Room 02 Sound/Prep Room 03 Stoundstage

0 04 Outdoor Patio 05 Exhibition Spaces 06 Storage

30 20

07 Classrooms 10 Restrooms 08 Breakout/Connection 11 Lobby 09 Equipment Storage/Checkout 12 Cafe

Program / Accessibility

1st Floor Mechanical/Support Spaces Soundstage Exhibition Spaces Classrooms Equipment Storage/Checkout Lobby Cafe 2nd Floor Mechanical/Support Spaces Soundstage Editing Rooms Theatre Planted Roof 3rd Floor Mechanical/Support Spaces Archive/Library Meeting Rooms Theatre Administrative

Worst Case Scenario

Exit Access Fire Rated Enclosure Exit Discharge Elevator ADA Ramps

A B C Common Path 20’ 20’ 18’ Path I

110’ 117’ 30’

Path II

72’

70’

45’

North Elevation/Section

MECHANICAL

THEATRE

MECHANICAL CAFE

LOBBY

MECHANICAL

ADMINISTRATION

ARCHIVES

EDITING

ADMINISTRATION EDITING

EXHIBITION

SOUNDSTAGE

Library View

Mechanical / Structure

Mechanical Room

Return Air

70 tons

32000 CFM

Supply Cooling capacity

Cooling air volume

800 ft

Fan room area

450 ft2

Boiler room area

80 ft

Cooling tower area

35ft2

Main duct area

25ft

Branch duct area

100 ft2

80 ft

Fresh air louvers area Exhaust air louvers area

Foundation

The foundation consists of a

series of 34 pile groups driven to a depth 04

of 100 feet. 03

Primary Structure

The primary structure of the

building uses a steel beam and column system. 03 02

Secondary Structure

The secondary system consists

of rigid open web steel joists. 04

Floor

The floor system consists of 3â&#x20AC;?

corrugated steel decking on top of which 01

is poured 3â&#x20AC;? of concrete.

01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 23 24 25

Planted roof system 7” sandblasted precast concrete capping element Gravel drainage catch EPDM roof membrane 4” site cast concrete slab on 2” corrugated steel decking 4“ reclaimed brick in English bond; outer surface slurried and raked with 1/4” lime mortar 1 1/2” air cavity 2 1/2” PU thermal insulation 4” CMU block with steel tiebacks to outer wall 6” x 6” steel beam 6” x 10” steel beam 2’ rigid open web steel joist 1/2” plasterboard with white skim-coat finish Finished ceiling 6” x 4” steel C-channel 3/4” birch on suspended aluminium soffit 3’ x 5’ 6” horizontal pivot window Hydroponic wetland roof system 0“ - 2” variable water level 2” - 4” sloped soil substrate Soil filter 1” - 2” sloped drainage mat Root barrier Indirect lighting system 12” x 6” steel beam Multi-sliding pocket door system: Six 9’ x 3’ doors along 17’ opening Wood frame with frosted glass center Sliding window shutter system: Three 10’ x 6’ frames along 18’ opening 3“ steel frame with 2” x 2” vertical inserts 1/4” + 1/2” + 1/4” d.g. in 2” aluminium profiles Finished floor 6” concrete slab 2 1/2’ polystyrene waffle pod system

26 27

2‘ concrete cap on concrete filled contiguous flight auger (CFA) piles Vertical ground geothermal pump system: 3/4” PE-HD piping routed in concrete piles Integrated with wetland roof system

North Wall Section

2 6 7 8 9

10 13

15 16

18 19

20 21

22 23

26 27

The Quality Hill Neighborhood is one of the many historic areas of downtown Kansas City that were greatly affected by the metropolitan area’s sprawl and exodus to the suburbs in the mid to late 20th century. Largely residential in the past, it has seen a recent influx of businesses and organizations to the area. Seeking to add to the growing culture of the downtown area, our studio endeavored to design a cultural institution dedicated to the elevation of philosophical discourse in the social realm. The mission of the Quality Hill Forum (QHF) - a rare books library and public forum - was directed towards contemplation, discourse, and social engagement. The project focused on the relationship between society and the book as physical artifact; pairing the rare books library and public forum to explore the relationship between such ‘archaic’ forms of knowledge and more contemporary venues for sharing it. This was no easy task with the selected site, which is located on the western fringe of downtown Kansas City. Through subsequent design charettes, I began to develop my design in terms of creating an equal presence for the largest parts of the program: the rare books library (5000ft2), the forum (3000ft2), and the exterior park space (6000ft2). This was not so easy to do with a site of roughly 12000ft2 and resulted in the use of an atrium and forum that peel up from the undulating landscape. From this swoop the entrance announces its presence on the corner, yet does not overpower the required park space that occurs above. These subterranean forms, clad in heavy masonry brick walls similar to those seen in the area, stand in contrast to the light glass and steel structure of the library that rises above. A southern double skin facade, utilizing a system of louvers and overhangs, allows for a certain amount more passive light and thermal control; this system also creates a clear and connected view to the park space below, as well as making legible the building’s function and presence in the neighborhood.

Quality Hill Forum - Core Studio IV - Fall 2010

Park View

Site Plan

ft 0

Floor Plans

2nd Floor 01 Park Space 02 Library Reception 03 Restrooms 04 Administrative 05 Display Space

03 03

Ground Floor 01 Lobby 02 Bookstore/Cafe 03 Forum 04 Exhibition 05 Mechanical/Storage 06 Restrooms

01 DN UP

Circulation Path

Library

Floor Plans

04 04

02 01

03 02 02 01

04 04

4th Floor 01 Double Wall Cavity 02 Reading Room 03 Archive 04 Restrooms

Section Detail

A B C D E F G H I J K L M N O P

Moisture/vapor barrier 4” rigid insulation 6” site cast concrete slab Corrugated steel decking Suspended ceiling Exhaust vent with operable louvers Steel flashing Aluminium mullions Exterior double pane glazing Structural steel frame Operable aluminium louvers Interior triple pane glazing Aluminium sun shade canopy Structural steel ladder frame Tubular steel maintenance catwalk 10” intensive green roof system vegetation, soil filter, drainage mat, root barrier, roof membrane

Q 30” Precast curved concrete R Finished wood flooring S 12” reinforced brick wall T Intake trench with operable louvers U 12” concrete slab foundation V Compacted gravel base

A B C D E

G H I

F G

J K L

M N J

O G R

U C A V

S T

P Q

Perspective Section

The project was a studio-wide exercise in using reclaimed/ brought back materials that would in all likelihood find their way into landfills. Our precedents included products available from companies such as Modern Cabana, Kithaus, and Modern Shed–all prefabricated kits/spaces designed for the backyard. All of these examples were expandable out-buildings linked to the primary structure by walkways and other landscape features. With this in mind, we used the reclaimed materials as a basis for a series of flat and L-shaped components (floor, roof and walls) that were used by each studio member to design different prototypes. While the constructed version of these prototypes was built and presented in a KU campus warehouse, it was designed to be located behind Marcel Breuer’s 1954 Snower House in Kansas City. This example of Fifties Modernism was chosen over typical suburban homes as a means of focusing on the abstract patterning that is apparent in its use of patterned concrete block, wood siding, and De Stijl based window infill conditions. At just over 100 square feet, the prototype used the idea of pattern as a way to fit together the found materials, which often required overlap and stagger to function as structure or skin. Further precedence was found in the work of Louis Nevelson, who used black paint to transform random discarded fragments into a singular and powerful piece of artwork. Our prototype operates on a simple variation of this theme, as the black paint used renders the “patterned” reverse mounted vinyl siding and modulated wood trim into a mostly autonomous box. All this is then fractured by a transformational west wall and an interior patterning of modular panels and skylights. The prototype was then disassembled for reuse by the following design/build Core III Studio.

Redux - Core Studio III - Fall 2010

Perspectives

northwest corner

southwest corner

southeast corner

northeast corner

Floor Plan/Section

Materials

Reclaimed - 1x4s- 2; 2x2s- 50; 2x4s- 60; 2x8s- 12; 2x10s- 1.5; 4x4s- 5 - Heavy Timber Moving Blocks- 8 - I-Joists- 8 - Vinyl Billboard Sheeting- 2 - OSB- 250 ft2; Plywood- 400 ft2; Particle Board - 1 large sheet - Roofing Felt - 2 Rolls - Exotic Hardwood - 100 ft2 - Hollow Core Doors- 5 - Windows- 2 - Vinyl Siding- 330 ft2 - Skylights - 2 - Electrical Conduit- 30 ft - Overhead Track- 12 ft - Cinder Blocks - 8 - Full Length Mirror - 1 - Screws/Washers - Hinges- 5 sets - Door Hardware Purchased - Door

$40

- Sealant/Paint

$90

- Lighting $82 - Fasteners

Total

$120

$332 $3.32 ft2

Construction

Components

W.11 - Display boards

W.14 - Modulated screen system

R.03 - Ceiling screen

W.09 - Operable slatted wall

W.15 - Windows

W.07 - Vinyl cladding / W.08 - Wood trim

W.12 - Door / W.13 - Ladder

D.03 - Deck flooring

F.07 - Supporting timbers

Components Detail

R.09 W.10

R.08 R.07b

W.08

R.07a W.07

R.06 W.13

W.06

R.05 W.12

W.08

R.05

W.07 W.06

W.11 W.05

R.04

W.11

W.05

W.04

R.03

W.04

W.03 R.02

W.03

R.01 W.02

W.01 W.10

W.04

W.01

W.03

W.06 W.07

W.02

W.06 F.02

W.08 F.03 W.09

W.14 F.04

D.01 D.02 D.03 D.04 F.06

W.04 W.05

F.01

W.05

W.03

F.05

W.07 W.08 W.15

W.01 W.02 W.03 W.04 W.05 W.06 W.07 W.08 W.09 W.10 W.11 W.12 W.13 W.14 W.15

Floor trim Interior sheeting Studs Exterior sheeting Vapor shield Primary trim Vinyl cladding Secondary trim Operable slatted wall Cross bracing Display boards Door Ladder Screen system Windows

F.01 F.02 F.03 F.04 F.05 F.06 F.07

Screen wall threshold Floor modulation pattern OSB flooring strips Sheathing Structural joists Intermediate stair Supporting timbers

D.01 D.02 D.03 D.04

Exterior sheathing Deck trim Deck flooring Structural porch members

R.01 R.02 R.03 R.04 R.05 R.06 R.07 R.08 R.09

Track lights Skylight baffles Ceiling screen Roof joists Exterior plywood sheathing Felt membrane Skylights a.36”x20” b.53”x36” Corrugated plastic roofing Roof deck

F.07

Growing up in rural Kansas, my experience of

architecture more often than not was that of a small group of buildings on a sprawling landscape. These simple forms—often constructed, maintained, and utilized by generations of the same family—showcase the beauty of design that responds specifically to local conditions and needs. Yet many of these forms have slowly disappeared. Seen at first through a slow process of abandonment, as more and more people have sought opportunities in urban areas, the surrounding farmland, pastureland, and open spaces adjacent to metropolitan areas have fallen to make way for homes, businesses, and industries. This lifelong experience of ever-expanding sprawl was one that I never questioned until architecture school; one that I largely avoided living in Lawrence where classes, entertainment, and friends were suddenly within walking and biking distance. All of this of course is a result of the University of Kansas, which has allowed Lawrence to develop an identity that is a part of Kansas culture, yet proudly seen as its own. This is much the same in a way with the cities I visited in Italy. Thousands of years of culture have produced cities upon cities, uses upon uses. This constant interaction between old and new ideas is clearly seen in the Renaissance, where a re-interest in the ideas of classical antiquity fueled a European cultural movement spanning hundreds of years. Indeed, most of this association is simply a façade added to the skin of the building. Yet a desire to preserve everything in hopes of promoting tourism has led to a stagnation of sorts in the process of evolution that has given Italy’s cities their character. This character represents new ideas molded with that which was already there. This creates a collage of distinct orders that automatically generates a tension between them; for me, it is this tension between layers of the Italian city that truly gives it the inexplicable magic that continues to blur the boundary between past and present.

Study Abroad - Italy - Summer 2010

Photography

Sketches

Photography