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REFERENCES
602.692.5300 atsosie1@email.arizona.edu 13850 N 19TH AVE APT 115 PHOENIX, AZ 85023
Rick Daugherty - 3rd Story (office) 480.607.3337 rick@3rdstory.com
EDUCATION 2009 - 2014 Bachelor of Architecture (B.Arch) College of Architecture + Planning + Landscape Architecture University of Arizona Tucson, Arizona Thesis project: Think-tank, Institute for Border and Boundaries, Metaphor in Architecture, Deconstructivism, Typology Thesis project archived 2013 Arizona in Italy Summer Study Abroad Program Studio: Piranesi intervention, House for a Penitant Architectural sketchbook ACTIVITIES, AWARDS, AND RECOGNITION 2011 Sustainability Committee: Board member 2012 Sustainability Committee: Vice President 2012 Design Excellence Exhibit: 3rd Year Tectonics Studio 2014 Design Excellence Exhibit: 5th Year Capstone Studio 2014 Capstone Distiguished Project Award: Outside Jury’s Choice 2014 William Kirby Lockard, FAIA and Peggy Hamilton Lockard Scholarship for Design Excellence
Brad Lang, AIA - University of Arizona (mobile) 480.570.5296 bradlang@email.arizona.edu Michael Kothke - HK Associates 520.834.2326 mkothke@email.arizona.edu Robert Miller - Director UA School of Architecture 520.621.6752 millerr@email.arizona.edu PROFESSIONAL EXPERIENCE CADD / Architectural Drafter September 2014 - Present 3rd Story Phoenix, Arizona Currently providing contract services for construction documents Architectural Modeler December 2013 - January 2014 Rick Daugherty Architecture Phoenix, Arizona Worked with another intern to complete physical model
TECHNICAL EXPERIENCE Autocad Vray Adobe Illustrator Hand-rendering Microsoft Office
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3ds Max Rhinoceros 3D Adobe Indesign Sketching Model-making
Revit Adobe Photoshop Hand-drafting Digital Photography Laser-cutting
Intern Architect June 2012 - August 2012 Rick Daugherty Architecture Phoenix, Arizona Responsibilities included processing all digital drawings, renderings, and animations
ENDORSEMENTS “Aaron is one of those individuals who you know will be successful; the only question is how soon and in what way? As a lecturer at the University of Arizona, School of Architecture, I have participated in his education and I have watched Aaron grow as an emerging architect for four years during his architecture education. Now I have the pleasure of staying in touch while he grows as an architect. The two courses that I taught while Aaron was in the class, allowed me to know and appreciate his technical skills and abilities. As a guest in the audience of some of his studio reviews, I know first-hand that his architectural design and presentation skills are first-rate. A particular irony about watching and participating in Aaron’s growth as a student is that he has participated in my growth as a teacher and watched me grow as well. I only wish he could see me now. The director of the school of architecture brought new faculty to my class twice this year to see good characteristics of teaching. Two weeks ago, due to my level of teaching, I became an honorary member of the Golden Key International Honors Society. My current teaching success is, in a significant part, attributed to Aaron taking the time during my first year of teaching to give me some wonderful advice on how to improve my teaching. Thank-you Aaron!” - Ray Barnes, Architect and Lecturer at the University of Arizona, School of Architecture
“Aaron Tsosie is one of the most dedicated, hard working, and capable students to have graduated from the UA in recent years. He set a high standard for his year level; he was well-liked and highly respected by his peers. I am proud to have known Aaron and his work; he will make important contributions to our discipline.” - Robert Miller, Director at the University of Arizona, School of Architecture
“Aaron is passionate about his chosen profession, dedicated to serving people and thirsty for knowledge that will make him a better architect each day. “ - Rick Daugherty, Principle of 3rd Story
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A word before proceeding... This portfolio contains only a small amount of the work I have done in my ďŹ ve years at the University of Arizona, School of Architecture. I spent many days watching the sun set, only to watch it rise again in the hours of the morning. But in most cases, I had a friend or two join me. This portfolio is not only representive of my own work, but the culmination of wisdom from my professors, colleagues, contract-work relationships, friends, historical philosophers and architects, and practicing architects I have met during my time in academia . This is the beginnings of the design philosophy I have come to understand, and hope to continue developing as I transition into the professional realm of Architecture: Design is problem-solving. It is an adaptive and creative experience. Architecture is about ideas, both great and small. It is reective of humanity. Architecture is about people. It enables and connects.
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BROADWAY MARKET 01
6-17
Beyond Borders 02
18-33
Building 40 03
34-41
Brunelleschi 04
42-47
Building 100 05
48-55
Bacio & Trains 06
56-61
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BROADWAY MARKET 01
6-17
Beyon nd Borders 02
18-33
Building 40 03
34-4 34 -41 -4 1
Brunelleschi 04
42-4 42 -4 7
Building 100 05
48-5 48 -55 -5 5
Ba acio & Trains 06
56 5 6-6 6-6 61
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BROADWAY
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Broadway Marketplace and Urban Housing Tucson, Arizona
his project is sited between Downtown Tucson and the Armory Park District; on the intersection of Broadway Boulevard and South 4th Avenue. This area serves as a link between the strong residential communities of Armory Park and the bustling movement and excitement of Downtown Tucson. This transition of private to public space inevitably led to the placement of the building. The steel superstructure establishes a civic presence while also cradling the market, housing, and outdoor public space. This building becomes a link in the chain of activity on Broadway Boulevard while also providing service to the people of Armory Park. 8
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Each component of the program is placed on one of three planes. On the ďŹ rst plane exists the outdoor public space that is created open and free for spontaneous interaction. The next plane is the market which encompasses the public space and is formed similar to the lyceum. The ďŹ nal plane is the housing which is set above the market and outdoor public space. This controls privacy for the residents while allowing for visual interaction.
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W18 steel wide-flange girder connected to W12 steel column 1/2” steel angle plate bolted to wide-flange
This wall section defines the relationship of all three spaces (housing, market, and outdoor public space) through the permeability and operability of the system. The border between the market and public space is defined as a double fold system of shading and glass enclosure. At any time the walls may be opened or closed. The glass serves as a thermal insulator during times when the market needs to be closed due to weather conditions. The outdoor public space is situated on a different grade than the market to express heirarchy and separation, while still remaining connected visually and acoustically.
Hollow stock steel shading structure
Operable shading aperature
4” angled steel capping concrete floor
Form decking
Folding glass system as secondary thermal envelope
Folding shade structure
2” extruded concrete foundation with 1/2” steel base-plate
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Light gauge steel insulated roof Kal-wall paneled wall system (8’ x 4’)
Sliding glass window
Bent steel relief market enclosure
Operable louvered glass system for natural ventilation
Operable louvered steel panels on sliding track attached to counter-weight system
This second wall section defines the relationship between the market, housing, and 4th Avenue. The wall system of the market is composed of a series of operable louvered steel and glass to allow a visual and acoustic connection. The housing utilizes a kal-wall system in conjucture with an exterior, hinged shading structure to allow residents access to the exterior and monitor 4th Avenue. The different planes are also expressed in elevation with the horizontal steel members. Both the steel superstructure and vertical circulation extend across planes, expressing the marriage of the different programs.
1/2” steel plate connecting wide-flange columns to concrete stem-wall Anchor bolts tied into steel reinforcement
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The final section defines the edges between housing and Broadway Boulevard. The housing cantilevers over Broadway using a series of vierendeel trusses to welcome the steel and people of downtown into the marketplace. Here, the bottom of the structure is clad with cor-ten steel panels with aperatures for light. This blends and unifies the spaces below while also providing a cover for acoustic insulation for the housing above
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BRO OADWAY MARKET 01 1
6 17 61
Beyond Borders 02
18-33
Building 40 03
34-41
Brunelleschi 04
42-47
Building 100 05
48-5 48 -55 -5 5
Bacio & Trains 06
56-61
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BEYOND BORDERS
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The Institute for Borders and Boundaries Tucson, Arizona
his thesis intends to engage in an intellectual exercise in defining space, through typology and metaphor, to establish a link between ideas and form. Architecture must not only meet the pragmatic requirements necessary to function, but must also root itself in an intellectual inquiry in form-making. Set within the Tucson Warehouse Arts District, the project errects a series of boundaries to deconstruct the geometric space of the dome and challenge the border of the circle. The project is a think-tank for the Institute of Borders and Boundaries. Metaphor 1: A world defined by borders. Throughout time, borders and boundaries would be created as people defined new territories and began splitting the world amongst themselves. The ultimate form of the building is a metaphor depicting the creation of borders and boundaries by people and the perceived, fractured state of the world. Metaphor 2: Temple of knowledge. Jeffersonian philosophy suggests the only way a person can truly participate in a democracy is to become knowledgeable. Jefferson’s Rotunda (library) expresses the importance of knowledge, formally, through the use of the circle. It recalls the Pantheon (the temple to all gods) and utilizes this form to express the Rotunda at the University of Virginia as the temple of knowledge. The institute builds upon the lineage of architectural typology through the utilization of the circle. The circle as a container, is broken to allow access to the knowledge contained within. This particular think-tank maintains a neutral stance on the definitions of borders and boundaries. It exists to investigate these phenomena rather than take any one politcal stance.
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This first image depicts the installation gallery where the Institue debuts a full-scale recreation of the border fence along the U.S.-Mexico border. Visitors are immediately confronted with this political border in physical form and must traverse the fence whilst a predator drone hangs from the arch above.
This second image is of a transition space between the the first gallery and the library. The concrete walls are covered in trellises, and though the arch above provides shade, it does not enclose the space. Those who visit must thus traverse the exterior boundry to continue their journey.
This third image shows the last gallery and installation space. As the first gallery makes a statement about political boundaries, the Institute creates a statment about breaking boundaries. The Institue crafts a full scale replica of the moon lander and hangs Leonardo da Vinci’s flying machine from the ceiling (seen in section), conveying the history of immagination.
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BROADWAY MARKET 01
6-17
Beyond Borders s 02
18-3 18 -33 33
Building 40 03
34-41
Brunelleschi 04
42 2-4 - 7
Building 100 05
48-5 48-5 48 55
Bacio & Trains 06
56 6-6 - 1
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BUILDING 40
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Timber in the City Redhook, New York
his next series of drawings is from a competition for a wood highrise in Redhook, New York called Timber in the City. Wood serves as the primary instigator for creating community space from the hyperrational glulam structrual system to the raw proliferation of the tree. The apartments are placed above the wood production facility, digital fabrication shop, and the bike shop to allow for: an elevated position in the community, provide views to Manhattan and waterfront, and allow for unobstructed loading and unloading of material. The southestern area of the building is dedicated to a large public plinth with a staircase and integrated ramp system and terraced space. The staircase is cast-in-place concrete with wood steps and a planter with a cherry-blossom tree. Each column is composed of a system of four individual columns bound together in a grid and braced horizontally to create large, open spans. Columns become more narrow due to a reduction in the overall load of the building as height is gained. Only in the lobby space does the column forest become dense to transmit force induced by the studios above.
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change in column thickness
neutral axis
Residences are terraced on the southwestern edge to allow maximum light to enter. Each terrace overlooks the public space but maintains enough privacy so as not to become uncomfortable.
The column system is embedded into a concrete pier to receive the building load. The pier becomes narrow to allow space for underground parking. Major glulam beams intersect and connect at columns. wood column to concrete pier
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The northeastern and southeastern edges are stacked vertically. The ďŹ rst two residential oors are within range to maintain overwatch for the community while still providing opportunity to view Manhattan. The wood production facility utilizes an open plan and glass facade to allow constant vigilance on the loading areas and community streets.
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BROADW WAY MARKET 01
6-17
Beyond d Borders 02
18-33
Building 40 03
34-41
Brunelleschi 04
42-47
Building 100 05
48-55
Bacio & Trains 06
56-61
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BRUNELLESCHI
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Santa Maria del Fiore Florence, Italy
his project is an exercise in communication of theory through hand drawings. The class Drawing as a Way of Thinking was taught by Professor Brian Andrews in the Beaux Arts style of drawing. Brunelleschi’s work on designing and constructing the dome of Santa Maria del Fiore became my primary inquiry. The elevation of the Duomo renders only the dome to signify Brunelleschi’s contribution to what is nicknames the “mountain of Florence.” The section of the lantern highlights the inner complexity of detail rendered by Brunelleschi in his design of the dome. The plan is rendered in areas Brunelleschi must have considered in his design of the dome. The last drawing is of the Battistero di San Giovanni. This is where Brunelleschi discovered the means of composing true perspective and revolutionalized both Art and Architecture. Consideration was also given in the design of the display contraption. A wooden frame was built for each of the drawings, which in turn was suspended from a scaled down crane designed by Brunelleschi. The design was slightly modifed to hold the frames rather than hoist large boulders, and the gear system powered by oxen was modified to allow a hand crank. When rotated, the crank spins the gears and the frames shift past each other.
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BROADWAY MARKET T 01
6-17
Beyond Bo orders 02
18-33
Building 40 03
34-41
Brune elleschi 04
42-47
Building 100 05
48-55
Bacio & Trains 06
56-61
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BUILDING 100
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UA Center for Information and Collaboration Tucson, Arizona
his project is sited in the parking lot of the College of Architecture, Planning, and Landscape Architecture (CAPLA) at the University of Arizona. It is an integration of CAPLA and the College of Fine Arts that includes a library, meeting, study, and work spaces. With the backdrop of humanities and visual arts, the goal is the creation of a place to foster collaboration between the colleges of: Agriculture and Life Sciences, Eller, Engineering, Fine Arts, Humanities, CALA, and the general public. There is also an auditorium for lectures, rehearsals, and performances. Building 100 is the designation for this new academic building on the UA campus. It has four floors with the fourth floor a double-height space with a mezzanine, complete with three floors of underground parking.
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Below grade is the parking space for the building. It is sloped with a spiral ramp for travelling from the bottom floor to the top floor of the parking.The ramp then transitions to a staircase that leads up to the ground floor. The staircase is adjoined to the lobby space, which itself is connected to an atrium.The central atrium extends througout the entire height of the building and unifies the spaces. The first floor also contains a cafe accessible to the general public, and a gallery for fine arts.
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The second floor is composed of office spaces for administration and storage, as well as access to an auditorium on the north end which extends two floors. The third floor houses study and work spaces, both open and private, as well as conference rooms, study carrels, and a dance space. The fourth and final floor is a doubleheight library space complete with works from the humanities and visual arts libraries. This space is utlized primarily for research and reading, with a mezzanine of books.
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The overall ordering of the plan allows for easy systems integration. The floors are concrete, with the exception of the top floor that utlizes a raised wood floor with systems located underneath. Most of the spaces are open and expose the systems, with a few that have dropped ceilings. The walls are a double layerd brick infill system rather than a brick veneer. It was important to utlize brick not only as an envelope, but be true to the compressive nature. In this way, the building ties into the origins of the UA as a brick-constructed entity rather than simply trying to “fit into the context.”
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BROADWAY MARKET 01
6-17 617
Beyond Borders 02
18 8-3 -33 33
Building 40 03
34 4-4 41
Brunelleschi 04
4 -4 42 -4 7
Building 100 05
48-5 48 -55 55
Bacio & Trains 06
56-61
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Bacio & Trains
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House for a Penitant and Travel Sketches Orvieto, Italy
his series of hand drawings were done as part of a study abroad program called Arizona in Italy. The drawing titled The House for a Penitant was done in a studio in Orvieto, Italy. The project entails choosing a house promoted by ICARCH and inserting it into one of Piranesi’s etchings from his “Views of Rome” series. The House for a Penitant is inserted into the Baths of Diocletian and are linked through water and cleansing. The physical production of the drawing started with designing and constructing the house in perspective. Once the house is designed, it was then scanned and overlayed in photoshop. The profile of the house was then removed from the Piranesi view, and the resulting image was printed on vellum in Orvieto. Finally, the house was then reconstructed in ink on the printed vellum sheet. The entire process from designing to final production was done over a three week period, in 5 studio days. The House is designed as a steel enclosure, meant for those who seek penitence for their sins. The interior is completely dark, forcing those who dwell within to sit in silence to meditate and confront the darkness within themselves. On the exterior, statues of biblical figures that repented for their sins sit atop the house, identifying the purpose of the structure. Each of the figures kneel in the face of Jesus Christ upon the crucifix. Christ is raised above all others and hangs above a pool of water, as if to signal the final step in redemption: baptism. At the bottom of the drawing is the penitent who currently resides in the structure, praying to Christ.
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Over a period of six weeks in Italy, I kept a sketchbook of my travels to various locations across Italy. The first drawing on the left is the facade of the duomo in Orvieto, the town in which we stayed. Most of our time was spent travelling across Italy via train, but Orvieto was home. The significance and presence of the duomo commands great respect and awe, and thus was only natural to be the first entry in the sketchbook. The elevation of the duomo is magnificent in design and intricate in detail. Many evenings were spent eating gelato and strolling the piazza of the duomo, specifically bacio gelato. Upon viewing the duomo, my facination with facades began to manifest in my sketches. I would sit and translate real world perspective into my sketchbook as pure elevations. Among these elevations included: the Foundling Hospital in Florence, Il Gesu in Rome, and San Andrea in Mantua
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Mantua. Sculptures became my secondary inquiry. As our studio travelled and explored, I noticed the importance of sculpture within Italian culture, often used to denote important spaces and places. The sculpture, in many instances, became the focal point and the architecture, the backdrop. With this in mind, I began capturing various sculptures in my sketchbook, including: Aphrodite in the Naples National Archeological Museum, a soldier at Hadrian’s Villa, the Nile from the Fountain of the Four Rivers in Rome, and Oceanus from the Trevi Fountain in Rome.
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