Architecture Portfolio - 2022 by Caleb Generoso

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Architecture + Design Works by Caleb Generoso

Reflections

| Contents Reflections

Graduate Design

01 02 03 04

Ritual | The Piko Ceremony

4 6

Mapping | Philadelphia

Wunderkammer - The Monolith | Philadelphia

Tall Tale’s Used Books | Singapore

Thesis | Master of Architecture

05a

In Approaching Singularity: The Emotional and Physical Embodied Form

Theatre Installation | Gainesville, FL | b Collaboration w/ Sara Culpepper

iii

Teaching | Design 3 & 4 | Filmic Imaginary

Professional & Personal

06 Rock Bible Church | Fleming Island 07 Woodwork

Resume

i | Graduate Design

What are you studying in school? Architecture Oh, is that what you’re drawing in your sketchpad all the time?

Oh No, not buildings, if that’s what you’re asking. People

I’m drawing people.

_ Great goddess, Madame Pele, From whom Hawai’i was born Of flowing lava - your molten, fiery form. She who walks beneath the tidal moon, Across these mountains, along these shores. Pele-honua-mea, the goddess born From the body of Haumea, Your mother, the Earth Mother, Our shared, maternal core. Within the shallow hollow of this lava, This rock, the gift of your form, Perhaps once flowing from Ka Piko o ka Ho nua, The Navel of the world, your home. We place this child’s piko, the umbilical cord. To strengthen the bonds to not just her mother, But to you, Tutu Pele, and your mother The Earth Mother We share this maternal, now eternal cord.

This conduit of Aloha, Through which we first shared, This moment, joyous affection, breath, life. With Aloha, this child was born.

01 | Ritual | The Piko Ceremony The great majority of Hawaiian history and culture has been passed down through oral tradition and chanting. It is rooted in polytheistic and animistic beliefs which encompass a great number of deities as well as spirits. Some of these deities still exist through myth, legend, and belief through today. Due to the nature of the chants and the interpretative capacity of Hawaiian language, the meanings behind these stories can vary between chanters. Even pacing and breath can change the nuances of meaning. While foundational beliefs may hold consistency, the details or stories in their entirety can differ between islands, regions, and families. Pele, the goddess of volcanoes and fire, is one such deity who is still recognized today. Pele is the goddess of volcanoes and fire and is typically thought of as the creator of the Hawaiian Islands. She herself is a goddess born from the Sky Father and the Earth Mother, Haumea. Haumea is also regarded as the goddess of fertility and childbirth. Some hold the belief that it was Haumea that gave Hawaiian women the ability to give birth. Through the Piko Ceremony, a new born child is connected to the islands and these goddesses at a spiritual level. In short, the Piko Ceremony is a practice where the child’s umbilical cord is placed in a holes within lava rock after it has naturally fallen away from the placenta. The word “piko” means both umbilical cord as well as navel. Pele herself is known to reside in the Navel of the World, Ka Piko o ka Honua, the Halemaumau Crater of Kilauea Volcano, a place of creation.

reflections Should I begin with an admission? I am not Hawaiian. I get kamaaina discounts at the local Safeway grocery stores, but I am not a Kamaʻāina [“Child” (of the) “Land”] proper. Regardless of that, I have great fascination with the question “What does it

mean to be Hawaiian?” It’s almost as though I am asking myself “Who am I?” Or, more perhaps more appropriately, “who am I relative to this work?” In this space, I will reflect on the work.

This project aims to celebrate and share the connective forces of the Piko Ceremony and the underlying culture, in a sense, to embody the deeper meanings of Aloha. Alo; oha; ha – To share in the moment; the joy or joyous affection; life, energy, breath. The design focuses on intimate, lava rock-like spaces embedded within the constructions which separate spaces. A large space allows spectators and participants to gather around these spaces and engage in performances which speak to a story of birth and sharing. A red cord connects these moments, across multiple spaces and down a circulation core which can be used in a thermal stack ventilation system as well as a place to carry sounds from the performance space. On one end, the cord is attached to the elastic floor of one of the lava rock space. When pulled, it would, in theory, create a deep drumming bass sound which would reverberate through the layered assembly of the rock, mimicking the muffled sounds of a mother’s heartbeat to a child in the womb. This sound would, in theory, travel through the other spaces. The cord may also react to any natural ventilation, as well the sound, and move in such a way to indicate forces, that may not be so easily felt. Through these strategies, the project attempts to share an experience and narrative through multiple spaces which would otherwise be wholly separate.

To jump from a very human and spiritual narrative into an architectural narrative required a new approach.

This drawing began with the storyteller atop a single horizontal line; as a starting point, it is also where the project found clarity. From this moment of human representation, the architectural notions were organized and constructed line after line until spaces were formed. As the drawing radiated out, additional figures populated

the spaces with activity, continually suggesting the next architectural move. Unlike all the prior process, this drawing grew outwardly from inner points that focused entirely on human events and was organized as such. The ritual was thus woven into the architectural process.

Working in conjunction with the section drawing, the model speculates into a third dimension. Without human representation present, I have to wonder if the architectural narrative and human narrative are as woven

as I imagine. To what degree does the architecture reflect the original ideas on its own? Upon a more finalized actualization, would the ideas of the ritual and human activity make it through to reality?

02 | Mapping (small group research project) | Philadelphia Founded by William Penn in 1682, Philadelphia has a long and rich history. It is the location of many key events in the creation of the United States, including the signing of the Declaration of Independence and the Constitution. The initial city was laid out in a grid system that stretched from the Delaware River at the east to the Schuylkill River to the west. Broad Street and Market Street are the primary roads and run perpendicular to each other through the center. Where they meet is city hall. The plan also contains four public squares, one at each corner. This area is referred to as Central City. Breaking the grid is Benjamin Franklin Parkways running north west. Today, it stretches from Logan Circle to the Philadelphia Museum of Art and is a cultural corridor featuring museums, the Barnes Foundation, and Free Library of Philadelphia. The mapping to the left explores ideas of edges and boundaries based on ideas of gentrification, transit, abandonment, cultural landmarks and institutions, building heights and densities, demographics, and other exploratory analysis. Group project ; group project! ; GROUP, PROJECT. Group ProjectThe perfect 2 word sentence to describe any student group effort. So much could be said simply in how it is said. Similar to how two simple words can evoke vastly different thoughts, so can the same starting map of

Philadelphia. Through the collaborative effort, you can learn a lot about how another designer perceives, digests, responds, and executes an idea from the same starting point as yourself.

Procession through Stair Core

Monolith - Top Level and Trusses

Hanging Stacks

Atrium and Monolith Public Forum

Entry

North West Corner

(Enlarged images throughout chapter)

03 | Wunderkammer - The Monolith | Philadelphia Behind the existing Free Library of Philadelphia, a facade turned to face Benjamin Franklin Parkway draws the attention of those traversing the cultural avenue. Navigating up the one-way N20th Street, The Monolith presents itself proudly beyond the turned volume. An object of curiosity, its contents and its structure seem to spill into the street at the ground as fragments and in the sky as an open trellis. This structure is the proposed addition to the Free Library of Philadelphia. The program primarily consists of a public forum and informal auditorium, general collections, as well as rare and special collections. The elevation to the right is an early study of the “Monolith.” A modular measure was set up based on the neoclassical features of the existing library. The module also reflects ideas of volumes of collections. 15

North Elevation

South Elevation

East Elevation

A glass box reveals itself, a protective cover for the contents within. The monolith displays itself just proud of the surface. This volume contains the special and rare collections. It is suspended from and nested between the two bookend volumes and back spine of the buildings - a volume protected by volumes.

West Elevation

At the ground floor, a module organizes the ground beneath the Monolith. Surfaces push and pull to form an informal auditorium and public forum. The walls of the intersecting volume act as projection screens. The floor strategy spills out towards the street, to create exterior spaces and entry into the main atrium which surrounds the Monolith. Some units reach upward as free public book exchanges.

On the second floor, a collection of hanging stacks is suspended from the underside of the Monolith, just above the public forum.

Hanging Stacks

Public Forum

The Atrium and Monolith

Full floor height vierendeel trusses span from one bookend volume to the other. It is from these trusses that the hanging volume is suspended.

Longitudinal Section

Cross Section

Red traces the story of the building. It leads patrons in from the street and up to the top most floor, revealing the mysteries of the Monolith in both its contents as well as its structure.

04 | Tall Tale’s Used Books | Singapore Located within Chinatown, Tall Tale’s Used books celebrates an experience in Singapore that has largely been cropped out of the city’s scale and urban planning. It can be difficult at times to be lost in Singapore, to explore with an uncurated experience, and to engage with the city at a more human scale. Chinatown is a distinct neighborhood in that it still exists largely as structures that do not tower above of the streets which weave between, and it is where the reach of city policies seems somewhat withdrawn. Nested between two existing structures, the project connects a public park that constitutes a partial border of Chinatown with the main street New Bridge Road. Across this divided avenue is the future site of commercial

development and an expanded underground transit hub. The proposed project provides the area with a combined program of rock climbing and used books. It is a place to explore, climb, and discover intimate spaces where one can depart from the city and become immersed in a book. The main structure is composed of a 10’-0” cube module, the repetitive nature of which provides both a consistency as well as some disorientation to be lost in. Layers of 1’-0” cube modules create climbable book walls and provide a structural substrate for rock climbing surfaces. The desire for an adventurous, imaginative exploration within such a structured urban environment is the motive force of this design.

A Development in Detail The project intends to take a conventional steel member, a 1’-0” square HSS tube, and arrange it into a rigid and straight forward network composed of a 10’-0” cube module. As such, the structural diagram is a simple 3-dimensional cube-based grid system. At one perspective, the rigid structural grid may signify the intensity of the planned urban environment. At the same time, it brings the large steel structure down to a module that is approachable at the human scale. With its rounded corners, the steel tube evokes a peculiar approachability to touch, a sense of graspability for daring climbers. It is a corner that could be felt by both the skin and the eyes.

At the exterior, the grid is capable of holding vegetative screens to provide some amount of sunshade to the largely glass envelope. The glass envelope allows the structure to extend outwards and dissolve into the sky. The intended overall spatial quality is the space beneath and within tree canopies. Large building cores are clad in climbable surfaces, evoking a sense of tree trunk. Bookshelves and reading nooks are embedded within these structures, providing visitors with an experience of exploration and intimacy within the built environment as they climb to gather books or find spaces to be lost for a time.

The Underlying Motive Force If my memory is correct, if I have not recrafted the memory into some strange falsehood untrue to the original event, I believe it was Professor Nina Hofer who mentioned to me that when a student asks a question, they are often trying to ask something else. There is a question behaving as a motive force which propels the first question forward. So you might reply, “what is it you’re really asking?” Asking myself that, I answer with questions: 40

What is the role of detail in the conversation between person and architecture? What is the role of the architect in ideas of embodiment, craft, and experience? What is a detail beyond a representation of construction? What role can human representation play in something like a detail drawing?

I concern myself with the edges of not just constructed things, but living things as well. What is it in the space that exists between the surfaces of two people? What are the subconscious tensions or repulsions that constitute the spatial relationships of two or more bodies? In what way does this phenomenon occur with the built environment? 41

A Brief Sensation In “An Engineer Imagines,” engineer Peter Rice recalls at great detail, the design and construction of Centre Pompidou from his structural engineer perspective. Perhaps with his focus on the cast steel gerberette, the title requires a parenthetical – “An Engineer Imagines (himself to be a craftsman).” Perhaps, also, it would not be untrue. A simple enough solution to designing the frame would have been to rely on mass produced steel members. However, Peter Rice and his team understood the design intentions of the project and followed suit with intentions of their own in order to produce a structural solution. The key here, is they pursued their solution, the cast steel member, through what David Pye refers to as the “workmanship of risk” rather than the “workmanship of certainty.” In being worked computationally and physically, the piece was impressed with iterations of testing, failure, testing, and success. I believe that while the piece was engineered, through the very intentional processes around its casting and testing, it was also crafted. It under this notion that Peter Rice’s closing anecdote reflects on the way an old woman physically engages with the detail of the cast steel while engaging with the space. This, to me, begins a conversation on embodiment in architecture, in space and structure both. In “The Tell-The-Tale Detail,” architect Marco Frescari reflects on the form and formation of detailing in Carlo Scarpa’s work. He remarks on Scarpa’s persistent involvement in the detailing process as carrying through from drawing to construction. Scarpa would visit the site at night in order to inspect details with a flashlight. In using a flashlight, he would be able to focus on his eye on fragments, details, in order to perform a sensory verification of craft. In the working drawing, Scarpa approached design and building as the “matching of the construction of a representation with a construction of an edifice.” In other words, both the drawing and the building are constructed. Scarpa was also active with Veneto craftsmanship, working closely with various craftspeople and had built a strong understanding of material qualities and processes.7 Perhaps in these combinations of things, the hand is impressed in the details of Scarpa’s work. While there are explanations given for details such as the ziggurat motif, I do believe they reserve an understated quality. Impressed by the hands that formed it, the ziggurat has a visual tactility that evokes an imaginable felt tactility – embodiment at the scale of detail.

Centre Pompidou Source: Peter Rice, “An Engineer Imagines” (Sylvia Rice, 1994), 46.

The analytiques attempt to explore the aforementioned spatial qualities and balance them with the technicalities of the detail. The human figure is constructed along side the built environment. Beyond simply fulfilling the purpose of understanding scale, the figures present a dialogue of both touch and movement within the proposed structure. Their motions carry an experience through space in perspective. Perspective was chosen as a format of drawing in order to approximate some amount of the human perception of space. While a single point perspective is not true to how two eyes work to produce an understanding of depth, it attempts to capture an experience in a way that a flattened section may not be able to. The drawings vary in scale up to 1:1. The 1:1 study of hand and feet engaging with the 12” x 12” HSS square tube profile allow for an understanding of how a person may grasp or balance on the primary steel members of the structure. In short, the analytiques are intended to explore, study, and approach an idea of embodiment in both the architectural design process as well as the built construction.

ii | Thesis | Master of Architecture

From the age of 6 I had a mania for drawing the shapes of things. When I was 50 I had published a universe of designs. But all I have done before the age of 70 is not worth bothering with. At 75 I’ll have learned something of the pattern of nature, of animals, of plants, of trees, birds, fish and insects. When I am 80 you will see real progress. At 90 I shall have cut my way deeply into the mystery of life itself. At 100, I shall be a marvelous artist. At 110, everything I create; a dot, a line, will jump to life as never before.

- Hokusai Katsushika

05a | In Approaching Singularity: The Emotional and Physical Embodied Form What a performance it is to design a building. For hours on end, I drew, and I drew. I contemplated every line as a marking of material and space. I contemplated its construction and relationship to people, but I found myself at odds. For all my contemplation of space for people, so rarely did I draw a person. Sure, I had my library of standardized human forms, but rarely did I draw a person. And after some years I questioned, “has the 48

human form been commodified to act in service of the architectural image?” I wondered how I might draw in a way that embodies the notion of architecture in service to the human. I wondered on the construction of the human image, the many emotional and physical nuances of its varied gestures, and the relationships between person and place. And so I set off on a quest to understand people.

What a performance it is to chase the human. For hours on end, I draw, and I draw. I contemplate every line as a marking of form and space. I contemplate its construction and relationship to people, and I find myself in an odd Giacomettian search for the essence of human form. Always at a distance, yet seemingly closer with every mark and every drag of every line - every line a trace of the subconscious intimacy in the space between. 49

The original base image of this animation was constructed from recrafting memories. re-imagining crafting imagining again It is in-situ in the way that mind-body-world is entangled, and to conjure forth these drawings from memory is an act that engages with all three at once. 52

There are two versions of this animation. The first is only with the human gesture. The second includes spatial speculations drawn in 3 ways - surface by way of wash, linework by way of lines reaching out from the figures to form space, and lasty, surface by way of the shadow they cast. Ideally, the version with only the human gestures is watched first multiple times. Discussions on Alberto Giacometti and the Chinese landscape paintings have found a place in this animation. These figures, with their

Video link for animation v1: https://youtu.be/kWHt_g8c9vA Video link for animation v2: https://youtu.be/thd_Gr0ufeg

simple gestural quality and their shifting arrangements, provoke imagination. As each arrangement changes and their relationships vertically create distance, spatial layers may begin to emerge. Spatial narratives form. And as each gesture shifts and settles into new arrangements, the gestures as they relate to each other begin to formulate social narratives. The version which materializes the spatial possibilities is a product of my own imagination. It may be what I saw, but not necessarily what others imagine. 53

The Palace at 4 A.M. by Alberto Giacometti (1950).

05b | Theatre Installation | Gainesville, FL | Collaboration w/ Sara Culpepper The Palace at 4 A.M. by Alberto Giacometti presents itself with the frailty of a dream. A moment that seems to capture the memories constructed in the relationship between two people and houses those memories in the space between them. It is sure in its framework and lines, yet paradoxically weak at the same time that it is certain. In his commentary of it, Giacometti presents us with the notion of its periodical collapse and its periodical reconstruction. 54

This highlights an important temporal quality of the work. Like his sculptures of human gesture, it is inert in nature, but it embodies the ever changing motions of life. In light of that, I imagine that the moment it captures, the one this sculpture embodies most, is the moment and act of its own creation. Like his other work, it leaves space for the dream and the imagination to come forth with possibilities.

Margaret Sobrino Almánzar (friend and fellow thesis student) preparing to model her own thesis work (Wearable Architecture: Cloth as Shelter) within the theatre project.

The theatre project is the brainchild of Sara Culpepper and constructed by the two of us in collaboration. It exists in the vomitorium of the Florida Theater in Gainesville, Florida. As described by Sara, it exists within a liminal space, within a building in a liminal stage of its life between occupants. It is an installation which has generated many conversations, many discussions, and many ideas pertinent to and advancing our individual researches. As such, I will include

excerpts from various conversations. Henceforth, statements made by Sara will be attributed to “SC.” However, a more complete understanding of the project is offered in reading Sara’s thesis book Terra Incognita: Navigating Space, Time and Memory in tandem with my own reflections as our findings intersect, disperse, and reconvene at various points of interest. By no means do my reflections alone fully capture the project.

This installation offers the user a chance to edit mental maps and to envision new possibilities in the built environment. By altering perspective, light and transparency this study aims to induce sensations of being lost, the first step of any new journey. -SC

We constructed a fantastical canvas in the theatre, a very fragile canvas of surface and light; at the least movement the entire atmosphere of the space would collapse into new dimensions, into something unknown; we would always begin it all over again.

The first step was to neutralize the space. To almost white it out and start with a fresh canvas so that we could build that theatrical set differently every time. -SC To achieve neutrality, we brought it down to its bare geometry with as few lines as possible. The geometry produces a forced perspective. It embodies a visual illusion. However in its form, it also embodies a tactile illusion. In inhabiting the space, one feels as 58

much disorientation from the visual qualities as the felt qualities. The relationship between person and place changes drastically at any point within the space as an understanding of scale shifts dramatically throughout. Sound vibrates the surfaces. To close one’s eyes only heightens the shifting qualities of space felt in the legs and the shifting auditory pressures on the ears and the skin. We set out to take advantage of its illusory qualities and alter the space through projected drawings.

This process shows a combination... of designing, and drawing, and capturing in the space with the light available, with the tools available, with the time available. And testing in that way made it very much... of the site. -SC

The original intention here was to have people limited to a certain area of space and have them experience the changes, but in capturing that [space from spectator’s perspective] we found that it was harder to understand the qualities of space without there being a human in it. -SC

Such an observation became critical to my own research. The necessity of human representation became paramount to understanding a space. However, how might a person inhabiting the space not only alter the image of it, but how might different people respond to the space itself and bring out other qualities in real time? How might the space bring out qualities of the people? Would they impress unto each other, a mood? 61

Everybody brings their own memories to the table. So even in the theater, the idea is that no matter how neutral of a space we make, there are certain cues that we cannot eliminate... even [within] that entirely disorienting space of the white box... there are still cues and memories that will trigger for everybody. And that’s part of it. I don’t want to eliminate that. That’s the point about putting all of the different cues and factors back in. 62

They are, like we talked about, nebulous enough so that people can find themselves within it, but they are ambiguous enough so that they’re not a specific place or a specific thing. So it’s an opportunity to restructure your own memories. But they are so bizarre and unexpected that you reconfigure memories that you already have into a new configuration. And this, my friend, is my argument for what creativity is. -SC

I do agree that creativity, when talking about imagination, is tied explicitly to memory. And it is by and large a recrafting of the things that you’ve carefully crafted and put away in your mind. Each person who visited the space reacted in their own earnest way. I would argue that each reaction can be thought of as each person’s own creative performance in first making sense of the space, followed by enjoying the space in their own way.

As they perform, they reshape the space, in turn shaping how others view it, potentially inhabit it. I find the two photos above particularly resonant of the shifting quality of space as impacted by the person. In one, the space is shrunken in the dynamic play of a child, in the other it is suddenly large against her stillness. In my own intimate familiarity with the space, I know that it is neither as small or as large as the images present. Yet as my own perspective shifts, so do I also imagine new possibilities. 63

a twist in the global human fable These interactions highlight the reciprocal relationship between person and place. I can only speculate for now on what may have been gleaned had a group of people been able to visit, rather than one at a time, a result of the state of the Covid-19 pandemic at the time of constructing this installation and the time of writing this reflection. However, I do not regret the situation because it has provided new questions on the human condition, the phenomena of social spaces 64

(non-virtual and virtual), and the mandated “fixed distance” for all persons to re-know each other. However, I will leave those musings here to be saved for exploration another time as there is plenty to reflect on in what was achieved. It’s a lot. -SC It is a lot.

a curiosity There had always been a lasting question in my drawings and my animations underwent, it was a mind, “What would happen when my animations were fascinating prospect to project them into a 3-D. Bring projected into space?” The architectural process requires in the additional dimensions of time and mood, and a constant cycle of shifting perspectives between two certainly there would be something to mine. dimensions and three dimensions. I mean this in both I was not sure at first how to react once it occurred. mental and tangible imagery. After all, the profession It was truly remarkable for the linework of speculated asks us to conceptualize the 3-D spaces of imagination space and people to inhabit reality in such a fragile and and translate them into the 2-D of drawing. Coupled with ephemeral quality, but I was not sure yet what to make of the liberation from diminishing perspective that my it. And so we continued testing, conversing, and thinking. 65

An early interest of mine was the use of scrim and atmospheric layers in space... Margaret did it very nicely for us and [showed] how the space and depth changes when fabric or some other material catches between. -SC

When we invited our friend and fellow thesis student Margaret Sobrino Almánzar, we asked her to bring a piece of her own work (Wearable Architecture: Cloth as Shelter) to model in the space.

Margaret’s visit was critical to bringing new thoughts to the discussion on different ways of seeing, new perspectives, and reinvigorated the question of what occurs in the shifts between 2-D and 3-D by charging it with an emerging possibility.

As she danced with the space, with the drawings, as contours and gestures fell to the contours of her own gestures, I found myself confronted with the unknown. Depth and color shifted, light reflected with incredible dimension, and I witnessed a series of moments which now only exist in the dream, the imagination.

iii | Teaching | Design 3 & 4 | Filmic Imaginary

The real voyage of discovery consists not in seeking new landscapes, but in having new eyes.

-Marcel Proust

Student: Amixadai Miranda-Hernandez

Project Text by Amixadai Miranda-Hernandez Memory is malleable; it can bend and break just as easily as it is formed. The memories of a person, or a place, or even an idea. All of these are vulnerable to the tests of time, that which is responsible for not just the destruction of memory, but the alteration of it as well. In the film Millennium Actress by Satoshi Kon, we are witness to the evaluation and adjustment of memories of the past from a distant position in the present. As Chiyoko, the main character of the film, works to resurface memories of her youth, we notice that there are jumps between the various moments of her life. Memory can be incohesive, and Chiyoko’s sporadic depiction of her life demonstrates the fragility of memory, and how recollection can sometimes take the user to unexpected points in the past. One of the motifs of the film was that of the train, and how it offered Chiyoko not only the chance to escape a life she didn’t want to confront, but it also offered her the chance to move towards a different, more unpredictable way of living. I believe that memory works similarly to the idea of a train station, though the journey to a memory often comes without signs. The case of Onagawa, Japan, offers unique insight into this idea of memory as temporal. The city was leveled following a tsunami that struck in 2011, and the remnants of the buildings and homes that once populated the area could only be considered memories of a former civilization. Memory in this case may be approached in the way it is in Millennium Actress. Applying themes from the film to a site study of the ruins of Onagawa led to the designation of three central concepts as they relate to memory: A Shifting Plaza, Implied Progression, and Threaded Crossroads. All three of these ideas are critical to the notion of memory being malleable and taking one to different places. 70

Student: Christopher Fettes

Coinciding with my thesis research, the design 3 and design 4 studio courses incorporated the use of film in design. While it is not uncommon to analyze film in the design studio process, we specifically focused on an aspect of engage with film as collage in order to uncover meaning between relationships.

The students engaged not only in film analysis and the subsequent collage, but in creating filmic collages. These filmic collages found roots in philosophical ideas of memory and creativity. They were utilized to help students engage in the world around them, and to begin seeing their daily surroundings with new eyes and new modes of synthesis and creation.

Student: Melos Shtaloja

Student: Hayley Gillette

Below: Stills from filmic collages used to generate speculative paper collages (left) for the vertical datum project (right).

Student: Aaron Gaines

Student: Stephanie Dutan

Student: Amy Albandoz

Site: Salar de Uyuni

Student: Sarah Pilley

Student: Sarah Gurevitch

Student: Grace Lambert

Student: Sarah Pilley

iv | Professional & Personal

Eventually everything connects ...

-Charles Eames

06 | Rock Bible Church | Fleming Island The project is a renovation of an existing church with an expanded childcare and early education component. The building has seen a number of additions and renovations in its history which ultimately resulted in claustrophobic spaces, a lack of entry space beyond the side door (main entrance), and issues in programmatic layout and security. While the project boasts no grand innovation, it is a valuable study in place-making.

Pre-renovation, the main building entrance was located at the side, at a small covered entry patio. The original entrance is located at the end of the main sanctuary space, typical to traditional church design, but is no longer used. The side entry led immediately to a narrow hallway with a low ceiling. Even with signage, the entrance would be confusing for anyone not familiar with the space. It is also jarring as a person moves from a large and open exterior, to a narrow corridor. Due to a lack of an immediate interior gathering space, it is also an issue of security for the childcare component. The new design scales up the side entrance with a covered patio large enough to convey its use as the actual entry to the building. The patio features a large cross which in addition to its symbolic significance, also supports the roof. This design is a reinterpretation of the typical church vernacular which places a cross above the entry door. However, by utilizing the cross to help define space in its position as a threshold, it welcomes visitors to gather beneath a roof built for the practice of shared beliefs.

Inside, the space is now open. It leads to the sanctuary to the right, as well as an open check-in space beyond at the childcare area. This open and layered entry invites guests and provides security.

07 | Woodwork

step stool by mentee

Thank you for your consideration

Contact generosoc@gmail.com (904) 540-7118

Education University of Florida, Gainesville, FL Master of Science in Architectural Studies - Pedagogy

Master of Architecture Bachelor of Design in Architecture

2021 2020 2013

Architectural Practice Architectural Designer at Kasper Architects + Assoc. - Jacksonville, FL Architectural Designer at Ferraro Choi and Associates - Honolulu, HI Including projects located in Antarctica Contracted Drawings for Andy Kaplan Architect - Gainesville, FL Intern at Mandese White Construction - Gainesville, FL Intern at MW Bender Architecture and - Gainesville, FL

Sept ‘16 - July ‘18 Oct ‘14 - May ‘16 Feb ‘14 - April ‘14 Aug ‘13 - April ‘14 Aug ‘13 - Jan ‘14

Woodwork Assistant and Evening Supervisor at UF School of Architecture Model Shop Personal Woodwork

Fall ‘21 2016 - lifetime

Teaching Instructor Architecture Design 3 (Online) Architecture Design 4 (Hybrid)

Fall ‘21 Spring ‘21

Co-Instructor Architecture Design 1 (Online) Architecture Design 2 (Online)

Summer ‘20

Graduate Teaching Assistant Architecture Theory 1 Materials and Methods 2 Architectural History 1 Places and Spaces (In-Person moved to Online) What is a City? (In-Person moved to Online)

Fall ‘18 Spring ‘19 Fall ‘19 Spring ‘20 Spring ‘20

Recognition

Graduate Award for Excellence in Teaching Accepted into National Conference on the Beginning Design Student 37

Fall ‘18 and Spring ‘19 2022

References Professor Nina Hofer | (352) 317-8140 UF School of Architecture Thesis Chair for both MA and MSAS Teaching Supervisor Architect Brad Beach | (904)521-3470 Project Manager at Kasper Architects + Assoc. (former)

Owner of New Day Design (current)