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An architectural portfolio is at its base simply a collection of graphic work, loosely contained within a folder or

$ " ' purpose of a means of presenting projects to prospective employers or universities seams to pass up a unique opportunity to broaden oneâ&#x20AC;&#x2122;s understanding of design. Since the organization and critical selection of works is inherent to the portfolio making process, this undertaking can function not only as a chance to express oneself visually, but as a tool of

( " ' within the wide spectrum of architectural ideas.

This portfolio therefore seeks to go beyond the mere chronological organization of my work from the last four years, and to instead serve as an introspective guide to understanding what intrigues me about design and architec-

ture. In doing so, I hope to identify some of the conceptual relationships apparent in my projects, showing them not as insular events which dot a timeline, but as manifestations of architectural ideas present throughout my academic career in my design consciousness. It is the elements of each project that form the evidence of these ideas, whether they be models, drawings, diagrams, photographs, sketches, or renderings; and the conceptual mapping of this evidence which allows the relationships to be understood.

Yet this thought map functions not only graphically

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interests not discernible visually. While this writing is made available to the viewer, it is as much a personal exercise, aimed at bringing to focus the various principles of my thinking and the design methodology which characterizes my work. Through the portfolio, I will reexamine three realms of architectural thought which have most intrigued me during $ ( " "

( $ sign and architecture. I hope through careful observation and critique to come to a better understanding of my own talents and strengths, using that knowledge to direct my

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opposites attract

Architecture thrives on contrast. It is with contrast – a collision of opposites – that experience is formed and evaluated through an understanding of one with respect to another. These include the juxtaposition of the past and present, form and space, interior and exterior, opacity and transparency, repetition and exception, above and below, man and nature, order and chaos, and perhaps the most powerful of contrasts, that which renders architecture, light and darkness.

With light, we know, comes darkness. Darkness is not the absence of light. Rather, it is a product of light, an active, opposing presence created by it. Without light we would not think of darkness as we do…The struggles between light and darkness set the ground-tone of our human condition. – Woods. 3

As Lebbeus Woods elevates to a metaphorical level, contrasts inhabit a fundamental place within our human experiences. Architecture’s ability to draw upon and utilize these experiences allows the practice to trigger powerful emotional responses to space and place making, transcending the active and rational consciousness.

Seeking to employ this phenomenon, both the roma reborn and mining interpretive center projects establish contrast through a variety of highly sensorial and metaphorical experiences. Integral to these experiences are the connection with sky space and the connection with earth space: the realm of above and the realm of below. Both projects segregate the past and present about the ground plane. The past, represented in a geological sense, occupies the subterranean. Here information is concealed among the strata, and only through excavation does it become exposed. The realm of sky, of surface dwellers, is of one layer, the present, simultaneously exposed and ignored, lacking in critical investigation. The passage from one realm to the other becomes the mechanism which brings into focus the characteristics of each.

Utilizing these domains, a dichotomy is constructed which both reinforces, and at times reinterprets our preconceived notions of environment, and space. Like the work of James Turrell which relies on the shaping of earth to capture the sky, establishing a relationship between the two, these projects require that I examine architecture as a tool which reveals through contrast the condition of our experiences.

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As I became more comfortable with the formal aspects of space making, the notion of architecture as a social # $ (# $ & ') & $) $ " ' ' 5 " % $) ' ) %$ soon appealed heavily to my curiosity. This participation was examined on two scales, that of the building and that of the city. In the butte community center project, the building contained within itself the generator of social interaction. ! ) $)( % ') 5 " $) "" $ + "%& . gan University professor John H. Holland, the building sought to utilize adaptive systems capable of evolving and producing emergent behavior, responsive to the needs of the occupants. While the project perhaps never reached the level of complexity necessary to fully test these ideas, the investigation into this realm of science challenged my ability to abstract intricate conceptual elements into an architecture, while satisfying a personal fascination with emergent systems.

For the urban growers association project, rather than containing the instruments which directed social and economic relationships, the building itself became an agent , ) $ ) " ' ' 5 " % $) ' ) %$ 1 ) ). $ (( . $

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1

Interview from Satolas TGV by Santiago Calatrava 3, video available at http://www.youtube.com/watch?v=WerbLOsdwzg

2

Vidler, Anthony. “The Idea of Type: Transformation of the Academic Ideal, 17501830,” Oppositions 8 (Spring 1977): 95-115.

3

Woods, Lebbeus. “The Light, the Dark,” 8 November 2008. Retrieved from http://lebbeuswoods.wordpress.com/2009/

11/08/the-light-and-the-dark 4

Koolhaas, Rem. Delirious new york: A Retroactive Manifesto for Manhattan.

New York: Oxford University Press, 1978, The Monacelli Press, 1994.