Laura Colagrande Portfolio 2014

LAURA COLAGRANDE MASTER OF ARCHITECTURE CANDIDATE COLLECTION OF WORK 2009 - 2014

FALL 2015

THIS COLLECTION OF WORK EXPLORES TWO COMPLEMENTARY ASPECTS OF THE DESIGN DISCIPLINE .

A PHYSICAL MANIFESTATION OF PERSONAL AND COLLECTIVE MEMORIES. A C ATALYS T FOR NE W CULTURAL EXPRESSIONS, BELIEFS AND VALUES.

LAURA COLAGRANDE

TABLE OF CONTENT

A-PER-TURES

01 , 02

NARRATIVE + FORM

L E A R N // D I S C U S S // A R C H I V E

03 - 06

NE W SPA CE S F OR V CU F A SHION DE SIGN - ROOM 421

MIDDLE OF BROAD DESIGN LAB

0 7 - 10

INTERDISCIPLINARY THINK-TANK

EMRICKFLATS D I S C O V E R // W O R K // R E S T // L I V E R V A

11 - 2 2

RETHINKING THE TRAVEL EXPERIENCE

MONUMENT-ALLEY MONUMENTS IN THE CONTEMPORARY URBAN ENVIRONMENT

23 - 26

TABLE OF CONTENT

MUTATIONS

27 - 30

THE DNA OF 20TH CENTURY

ANTELOPE VALLEY RESIDENCE

31 - 34

STACKING LAYERS

INK DRAWINGS SERIES

35 - 38

SKETCHES + 6,000 MARKS INK

CURRICULUM VITAE

39 , 40

EDUCATION, EXPERIENCE, AWARDS, VOLUNTEER + RESEARCH

LEGEND:

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: TEX T EXPLAINING IMAGES OF WORK COMPLETED BY LAURA COLAGRANDE. : TEX T EXPLAINING IMAGES OF WORK COMPLETED IN A TEAM; ROLE AND RESPONSIBILITIES AS LISTED.

01

VCU // 2011

APERTURES NARRATIVE + FORMS

MONUMENT APERTURES AVENUE

A P E R T U R E S // R E D E F I N I N G T H E E D G E

“

Come on, come on. hurry we got to put her on the ambulance - Be careful - See if you can clean the blood off her body, legs, stomach, there are cuts everywhere. Her face her face! be careful - The upper lip is completely open - The front teeth are gone.

No, we could not find them. Disinfect all of the cuts on her face - Shhh!!!

You don’t want to scare her. Shhh! She is opening her eyes..

It’s OK, it’ s OK. How do you feel? PIECES.

”

This exercise investigates how a narrative can articulate forms and interact with light. The drawing above traces the spacial dynamic of the motorbike accident I had in Milan; the wood cube (below) and the axonometric drawings (left page) tell the rest of the story.

A perfect cube was assembled from four bass wood blocks. The solid was then reinterpreted and, through a series of cuts, re-divided into three parts that respond to the narrative of the accident.

A series of apertures define the appearance of the new cube: while its form as a cube remains intact, by taking away some of its volume, new edges and voids establish the relationship between each part. A major hole is carved out to house a small flash light. The new object is both reacting to the natural light it receives, as well as emitting light to reveal its apertures. The project is a reflection on the long term impacts that an accident can have on our life: once the pain is gone, the hardest part is to accept new scars, transition into new forms and redefine your identity.

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PROJECT VCU // NAME 2012 // 2009

LEARN // DISCUSS// ARCHIVE NEW SPACES FOR VCU FASHION DESIGN - ROOM 421

ROOM 421

P R O G R A M // S I T E The brief called for dividing an existing large space, Room-421, in into three units: a classroom space, a conference area and an archive space for the garment collection. The process work (above) explores the relationship between each space and its use; as well as the connection between the room and its site in the Theresa Pollack Design building within the VCU Art campus. Aside from practical space-planning concerns,

this project was an opportunity to question how the environment informs the learning experience in a design/art school context from both a student and a faculty perspective.

Top: Process work, form research and space plan.

Other Page: Site Plan. Room 421 marked in red.

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05

VCU // 2012

L E A R N // D I S C U S S Challenging the notion of the traditional classroom environment (desks and chairs), this space wants to offer the students new learning experiences and enhance a sense of community for the department.

The classroom becomes like an “agora” where students can debate during lectures and gather after class time.

The conference room provides privacy as well as opportunities for collaboration and exchange between the faculty members.

The perforated wall serves as dividing device between each space but also as unifying element allowing natural light to filter through its surface.

Top: Iterations and studies of concept and form. Ink on paper.

Bottom: 1/8” scale model of ROOM 421. Plywood and chip board.

Other page: Rendering of conference room and lecture / “agora” space.

ROOM 421

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VCU // 2012

MIDDLE OF BROAD DESIGN LAB INTERDISCIPLINARY THINK-TANK

MIDDLE OFAVENUE BROAD MONUMENT

DESIGN LAB AS RIBS

“

MoB (Middle of Broad) is a partnership of three design departments of VCUarts, Graphic Design, Fashion Design and Interior Design. These departments operate an experimental design lab that realizes the potential of design to shape the City.

- Camden Whitehead, VCUarts, MoB

”

While the space was still under construction and the program had not yet officially started, professor Camden Whitehead suggested each of us students take the opportunity to create our own proposal for the space.

My proposal is based on the metaphor that a design lab like MoB, is essential to the city of Richmond, VA (RVA) in the same way ribs are crucial in the functioning of human body. Ribs enclose and protect the most important organs, and MoB, as a think-tank which investigates pressing design problems in the community, plays a vital role in the city’s growth and development.

Top: Water color studies to develop space plan.

Each color represents different activities.

Other Page: Sketchbook pages, concept development and site plan.

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VCU // 2012

RIBS + GROWING COMMUNIT Y The ribs metaphor is expressed both in the program, (through the physical articulation of the different spaces/functions), as well as in the architectural forms of the ceiling treatment.

The space responds to the needs of the students by providing both a studio and a meeting space. These two activities involve different degrees of privacy and focus, and each activity has its own sub-categories: - high degree of privacy: space for small meeting + private conversations with clients, faculty or student to student (niches, enclosed spaces, conference room).

- high degree of openness: collective gathering and debate space for the whole studio.

Top: Sketchbook pages with iterations and studies of concept and form.

Bottom: Study models of “ribs�. Plywood and chip board.

Other Page: View of the Entry (top) and Studio Space (bottom). The grey wall in the center defines the space for the students on one side and the space for the general public on the other. The red wall separates the more private areas.

MIDDLE OFAVENUE BROAD MONUMENT

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VCU // 2013

EMRICKFLATS DISCOVER // WORK REST // LIVE RVA RETHINKING THE TRAVEL EXPERIENCE MONROE PARK CABELL LIBRARY & VCU

INSTITUTE FOR CONTEMPORARAY ART

EMRICKFLATS

C U L T U R E A N D S P A C E // E M R I C K F L A T S

“

We set out to create spaces that combine the best of a trusted community, innovation lab, business incubator and the comforts of home. Spaces with all the tools and trimmings needed to grow and develop innovative ventures for the world. But above all, spaces for meaningful encounters, exchange and inspiration, full of diverse people doing amazing things.

”

Hub Westminster Team, London

This quote inspired the research and the development of this project.

Perhaps the more significant aspect of a building consists of its ability to produce and promote new culture, values and behaviors.

This project is a reflection upon the way we travel (for leisure or work) between different metropolitan areas.

As we have become more and more connected, once arriving to a new location, visitors rarely think of themselves as “tourists” but more as active explorers that are going to momentarily join an existing community and participate in the collective urban life.

A new kind of hospitality experience has to be designed to follow this cultural shift. Emrickflats elaborates on the idea of travelling and examines new opportunities of engagement and exchange for both visitors and locals.

RICHMOND VA (RVA) - SITE

HISTORIC JACKSONS WARD

ART DISTRICT

EMRICKFLATS

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VCU // 2013

EMRICKFLATS NEW POSSIBILITIES:

A SPACE THAT PROVIDES:

SPACE TO WORK SOLO OR COLLABORATE

THAT WANT TO BE MORE THAN TOURISTS

FOR VISITORS

THE INTIMACY OF AN ANCIENT MONASTERY

ENGAGE WITH LOCALS

C O N N E C T I O N S // H I D D E N P L A C E S // L A N D M A R K S In a sense, the way we travel today is very similar to the way “pellegrini� would move from one center to another, stopping in Monasteries during the Middle Ages. Aside from their religious significance, Monasteries were places that provided intimacy and privacy but also played a significant social role in the communities of the time. The program was originated from this notion of a place that can host visitors, introduce them to the local milieu and establish new relationships.

Other features of the program came from considering the psychological and emotional aspect of travelling; more specifically that sense of discovery, curiosity, and surprise inherent to the travel experience.

I always reference the experience of walking around a small, yet lively, Italian city like Gubbio and feeling both amazed and lost until you turn around and that specific landmark allows you to reorient yourself. Such effect is produced by the juxtaposition between open and enclosed spaces, solids and voids.

Top: Graphic articulation of program: Bottom: Concept development sketches Other page: Top: Pencil sketches of the hand soap models.

Bottom: Block of soaps are hand-carved to explore through form, the meaning of Surprise, Landmarks and Hidden Spaces.

EMRICKFLATS

SURPRISE

LANDMARKS 2D // 3D

HIDDEN SPACES

SURPRISE A block of soap is hand-carved to explore the interaction of solids. The negative space that remains defines the relationship between the masses and creates surprise.

LANDMARKS 2D // 3D A block of soap is hand-carved to explore the potential of the facade in two dimensions. The volumes removed from the whole articulate the form in three-dimensions.

HIDDEN SPACES A block of soap is hand-carved to study how similar geometries at varying heights produce concealed niches resulting in intimate spaces.

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VCU // 2013

KARLEY MARINO, 25 + MARK KAUFMANN, 29 SOCIAL WORKER // BIKE DESIGNER // PHILADELPHIA WHY EMRICKFLATS? We come to RVA for bike races, bike events or to see friends that moved down here.

We stay at EF cause it’s like being home.

BRENT NISHIMOTO, 36 VISITING UCLA PROFESSOR WHY EMRICKFLATS? Teaching sculpture at VCU Art for the semester.

ALISSA CROSS, 21 SUMMER INTERN // D.C. WHY EMRICKFLATS? Currently interning for Martin Agency, downtown RVA

TOMAS MCNALLY, 28 GRAPHIC DESIGNER // NYC WHY EMRICKFLATS? I come to RVA for events, or to be a critic at VCU Art.

G U E S T S // S C E N A R I O // P R O G R A M The program for Emrickflats is developed as a reaction to the typical hospitality program. Using the “scenario based approach”, I created profiles of potential guests and speculated on how these individuals would want to interact with the space.

Guest profiles above are fictional.

Other Page: Axonometric of Emrickflats showing the complete articulation of the program.

MEET + REST (DORMITORY)

REST SPACE

WORK SPACE + REST (PRIVATE ROOM)

TYPICAL HOSPITALITY PROGRAM DIAGRAM

LEISURE SPACE

LEISURE SPACE: MEET + PLAY

PUBLIC SPACE

PUBLIC SPACE OPEN TO THE STREET

EMRICKFLATS PROGRAM DIAGRAM

EMRICKFLATS

5 // ENJOY PUBLIC SPACE AT ROOF TOP

FOR ALL: RESTROOMS E. STAIRS + ELEVATORS

4 // SHARE MEET + SOLO REST (DORMITORIES)

3 // LIVE REST + VIEW OUT REST + VIEW IN WORK

2 // ENGAGE PLAY MEET WORK

Existing exterior walls with carved void to allow new volumes

New glass elevator next to the perforated screen with the RVA map

1 // DISCOVER SIGNAGE + SCREEN INTERIOR FACADE PUBLIC SPACE WORK

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VCU // 2013

VIEW OUT

KIT OF PARTS DIAGRAM The diagram shows all of the niches created throughout the building.

The articulation of each volume is specific to what activity happens in the space.

VIEW IN

PLAY Volumes penetrate the existing exterior walls, creating new forms inside and altering the exterior of the building .

VIEW OUT

VIEW IN Guests can play and enjoy some privacy while still being able to see what activities are occurring on the open space.

VIEW OUT + VIEW IN Each spacial category (Play, Meet etc etc.) offers both enclosed, more intimate pockets, as well as open, public zones. Each area is designed to provide the guests with a view on to the interior space, or on to the city outside.

This decision underscores the idea that travelling allows one to discover new places and people (view out) but also deepens the understanding of one’s own self (view in).

EMRICKFLATS BAR AND OPEN PANTRY

VIEW OUT + HIDDEN SPACE Enclosed and partially hidden space loooking out on to the city.

MEET // PUBLIC MEET // PRIVATE

MEET // STEPS The steps are designed to be a large gathering space for the whole community.

POCKETS Even within the more public space, pockets are cut out to create smaller zones of privacy.

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VCU // 2013 VIEW IN

1 OR 2 PERSON ROOM

REST + VIEW OUT REST + VIEW IN

REST WITH A VIEW Concept of the two views carried throughout the space.

The “view in-volumes” penetrate the interior walls, and the “view out-volumes” the exterior ones.

Each opening provides intimate moments while still allowing the guests to maintain visual control on both the interior space and the city.

VIEW OUT

EMRICKFLATS

HIDDEN PRIVACY + SURPRISE OF THE VIEW OUT This is the most intimate space in the entire building, yet because of the view it offers, it keeps a sense of engagement with the city and the community.

DORMITORY

C O L L E C T I V E // S H A R E D // S O L O Emrickflats offers a series of collective moments throughout its space.

Even for the Rest category the guests can choose what option fits them better: 1 or 2 person room (other page) or dormitory room (above) shared with other individuals they may or may not know.

Yet, privacy and moment for personal reflection are extremely necessary for anyone. The “Solo� experience is located at the level with the dormitories room type, to momentarily break the collective experience and enjoy a more quiet space. This pocket of privacy is also aligned with the front of the building allowing for a panoramic view and remarking the relationship of the building and the city outside.

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VCU // 2013

D I S C O V E R // W O R K // R E S T // L I V E R V A Top: View of the entry of the building: the interior public space opens up to the street becoming part of it.

Dashed lines indicate existing exterior walls. Also shown here, interior facade with apertures on each level culminating “solo experience� at the very top.

Other page: Top: View taken from the new elevator. The perforated screen with the RVA map is used as signage for the building. It produces the shadow of the RVA map and reinforces the connection between the city and Emrickflats.

Bottom: First impact with the interior space at Emrickflats after the 1st floor public space. Dashed lines indicate hidden volumes.

EMRICKFLATS

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VCU // MOB // 2013

MONUMENT-ALLEY MONUMENTS IN THE CONTEMPORARY URBAN ENVIROMENT

MONUMENT-ALLEY

M O N U M E N T S // A L L E Y // F O R M Monument Avenue is one of the most controversial streets in Richmond, VA. Its articulation is based on Champs Elysees and its intent was to honor Confederate Soldiers. With a week-long workshop Troy Shaum, visiting professor from Rice University, School of Architecture and Mob students investigated the significance of monumentality in contemporary cities. Differently from Monument Avenue, we decided to celebrate the hidden space that a neighborhood offers: the alley. Monument-Alley was week long performance that activated the side streets and focused on a-contentextual forms.

The project started with a charette: each student explored one form through iterations of 12 sketches and models. After 24 hours, as studio, we voted on what form to use for our monument. The form I developed (sketches above) was selected and further articulated into the monument.

*

Week-long Workshop led by Troy Shaum.

Sketches (above) and Site maps (on left page) created by Laura Colagrande. Left page:Top: Monument Avenue plan and monuments. Bottom : Site plan, Monument-Alley location in pink.

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VCU // MOB // 2013

P R O C E S S // I N S T A L L A T I O N // P E R F O R M A N C E Once the form and the composition were finalized, we dedicated 72 hours to the construction of the pieces.

The students of the Mob studio shared tasks and built the components. The structure was built out of cardboard, and each piece was then covered with fabric sleeves. The sleeves were hand-sewn by our studio.

Two different assemblages of the pieces were performed during the First Friday art walk. In the first one (right page, bottom image) the forms create a sort of gate for the alley to underscore its privacy. The second one (right page, top image) engages the open space defining a new occupancy.

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Week-long Workshop led by Troy Shaum.

Top: Paper models developed by Laura Colagrande; full size carboard model developed by Installation Student Team.

Installation Students Team: Ying Jun Cheng, Lemuel Calliste, Mia Zhou, Sophie Yan, Emily Yankee, Erika Kitamura, Ricardo Hernandez Perez, Hunter Singleton, Tobias Wilbur, Sarah Brown, Liz Belt, Gwen Stinger, Grace Hazelgrove, Laura Colagrande.

Associate Professors: Camden Whitehead - VCU, Interior Design; John Malinoski - VCU, Graphic Design Kristin A. Caskey - VCU, Fashion Design.

MONUMENT ALLEY MONUMENT AVENUE

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VCU // MOB // 2013

EXHIBITION WALL-2

EXHIBITION WALL-4

LOBBY EXHIBITION WALL-4

MON

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BOOK STORE

UME

NT A

VEN

EXHIBITION WALL-1

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HISTORY GALLERY USABLE WALLS FOR EXHIBITION NOT PART OF EXHIBITION SPACE EXHIBITION WALL-4 LOBBY

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MON

NT UME

AV E

NUE

EXHIBITION WALL-5

BOOK STORE

RESEARCH + DESIGN + CURATE As part of Middle of Broad studio I was asked by Assistant Professor Roberto Ventura to curate the content and design the space for the exhibition commissioned by the Virginia Center for Architecture.

My first responsibility was to select students from Graphic and Fashion design and create a team.

Throughout the course of the semester, under the direction of Roberto Ventura, we defined the focus

of the exhibition, collected and researched material, designed the exhibition space as well as developed an identity system for the show.

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Top:Exhibition space diagrams created by Laura Colagrande Other page: Identity System and Banner created by Laura Colagrande, Ying Jun Cheng, Liz Belt, Mia Zhou, Sarah Brown, Llewellyn Hensley.

MUTATIONS

MUTATIONS THE DNA OF 20TH CENTURY DESIGN

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VCU // MOB // 2013

MUTATIONS INTERACTIVE SKETCHBOOKS

The work of the 28 designers was illustrated by large scale images with text and interactive sketchbooks each filled in with diagrams that we generated to explain the work.

DIAGRAMS

Diagram developed to explain the Le Corbusier Villa Savoye’s organization and Five Points. Diagram created by Laura Colagrande.

PANELS+TIME LINE

Arranged in chronological order, the exhibition presented the work of 28 designers. The time line at the bottom of the panels underscores the interaction between specific socio-political events and the development of certain attitudes in Design.

MUTATIONS, THE DNA OF TWENTIETH CENTURY “The DNA of Twentieth Century Design features the work of 28 iconic designers and demonstrates the physical and philosophical connections between the disciplines (Architecture, Graphic, Fashion Design).

Through an examination of the work of 28 of the twentieth century’s notable designers — including Frank Lloyd Wright, Christian Dior, Walter Gropius, Saul Bass, and Yves Saint Laurent — the exhibition explores how evolutions in technology allowed designers to build upon a collective heredity.

Often misstated as “survival of the fittest,” evolution depends on the genetic mutations that best provide the

ability to adapt and thrive in an environment.

Accordingly, great design evolves not out of the desire to generically appeal for universal acceptance, but from an astute reading of and capitalization on the passions, needs, and aspirations of an era.” (Abstract from the exhibition.)

*

Top: Villa Savoye diagram created by Laura Colagrande Other page: Exhibition photos credit: Eric Saylor Content, exhibition design and display, identity system: Laura Colagrande, Ying Jun Cheng, Liz Belt, Mia Zhou, Sarah Brown, Llewellyn Hensley with Roberto Ventura.

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WARREN TECHENTIN ARCHITECTURE // 2012

ANTELOPE VALLEY RESIDENCE STACKING LAYERS

AVENUE ANTELOPEMONUMENT VALLEY RESIDENCE

STACKING LAYERS “Research on sectional stacking from earlier projects is revisited in this still-in-progress design for a small unit poised above a garage and tucked into the side of a forested, north facing slope. Materials common to the region – each evoking a specific set of fond memories and sensations for the client – define the levels of the stack of plateaux. Grouped by dimension and programmatic requirements, multiple stacks comprise each story of the structure.” (Abstract of project description from Warren Techentin Architecture.)

AIA Award NEXT LA 2012, Category: Merit.

Building concept and text developed by Warren Techentin.

My responsibility consisted of developing a visual language to explain the articulation of volumes of the residence.

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Top: Illustration concept and rendering developed by Brent Nishimoto and Laura Colagrande.

Other page: Section Perspective created by Laura Colagrande

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WARREN TECHENTIN ARCHITECTURE // 2012

DRAWERS TRUNDLE BED CABINETRY

LIVING SPACE

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Illustration Concept developed by Warren Techentin and Laura Colagrande; axonometric drawing created by Laura Colagrande.

AIA Award NEXT LA 2012, Category: Merit.

ANTELOPE VALLEY RESIDENCE

DRAWERS TRUNDLE BED CABINETRY

RESTING SPACE

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Illustration Concept developed by Warren Techentin and Laura Colagrande; axonometric drawing created by Laura Colagrande.

AIA Award NEXT LA 2012, Category: Merit.

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VCU // 2009 - 2013

MIL AN, ITALY

SAN FRANCISCO, CA

RICHMOND, VA

INK ON PAPER

RICHMOND, VA

NEW YORK, NY

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VCU // 2009

6,000 INK MARKS DRAWINGS

6,000 INK MARKS DRAWINGS

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CURRICULUM VITAE

EDUCATION 2014 - 2015

UCLA EXTENSION LOS ANGELES, CALIFORNIA Business Certificate Program, Marketing and Branding concentration

2009 - 2013

VIRGINIA COMMONWEALTH UNIVERSITY RICHMOND, VIRGINIA

Bachelor of Fine Arts, Interior Design - Magna Cum Laude

SUM M ER 2008

CENTRAL SAINT MARTIN COLLEGE OF ART AND DESIGN LONDON, UNITED KINGDOM

Summer Drawing Studio

EXPERIENCE 2013 - 2014

WOLCOTT ARCHITECTURE INTERIORS // DESIGNER LOS ANGELES, CALIFORNIA Worked from concept development through construction administration of 50,000+ sq. ft. interior projects for Sunkist Headquarters, Newmark Grubb Knight Frank, First Pacific Advisors.

Developed 3D model and drawings for renovation of exterior plaza and interior lobby of Kennedy Wilson.

Concept Development Team for Redbull Headquarters and Campus. Assisted with competition proposals for Oprah Winfrey Network interior space (short listed, second place).

W INTER 2013

3 NORTH // DESIGN INTERN RICHMOND, VIRGINIA Worked on concepts and presentations for Grove Park Inn Hotel and Washington Redskins Training Facility. Produced construction documents and assisted with finishes.

SUM M ER 2012

WARREN TECHENTIN ARCHITECTURE // DESIGN INTERN LOS ANGELES, CALIFORNIA Created renderings and presentations for Hollywood Hills Residence and Antelope Valley; worked on design for Rengas Taivaalla competition entry for Campus 2015 Aalto University.

W INT ER 2012

BASKERVILL // DESIGN INTERN RICHMOND, VIRGINIA Developed 3D models and presentations for Marriott Hotels and Resorts, Chicago and Nashville. Worked on identity development for Sheraton Hotels and Resorts, New York City.

CURRICULUM VITAE

AWARDS 04 / / 2 0 1 3

OUTSTANDING DESIGN STUDENT AWARD VIRGINIA COMMONWEALTH UNIVERSIT Y Recipient of Outstanding Design Student Award in the VCU Interior Design department. The work was exhibited at the Anderson Gallery, Richmond, VA.

10 / / 2 0 1 2

AIA // NEXT LA AWARD // CATEGORY : MERIT WARREN TECHENTIN ARCHITECTURE Created drawings, diagrams and renderings for Antelope Valley Residence.

06 / / 2 0 1 2

ASID // LEGACY SCHOLARSHIP NATIONAL COMPETITION Recipient of Legacy Scholarship for Undergraduate Outstanding Portfolio Work.

04 / / 2 0 1 0

ART FOUNDATION (AFO) SHOW // JURIED EXHIBITION VIRGINIA COMMONWEALTH UNIVERSIT Y Drawings were exhibited at AFO Show - Group exhibition showcasing selected projects.

VOLUNTEER + RESEARCH 2014 - P R E S E N T

HABITAT FOR HUMANITY // CONSTRUCTION VOLUNTEER LOS ANGELES, CALIFORNIA Working as a volunteer on the construction of several housing projects.

J U NE 2 0 1 3

A NEW SCULPTURALISM, MOCA // FABRICATION VOLUNTEER LOS ANGELES, CALIFORNIA Worked with fabrication team; assisted Anne Marie Burke with installation of each piece.

2012 - 2 1 0 3

MIDDLE OF BROAD // RESEARCH + DESIGN RICHMOND, VIRGINIA Middle of broad is an experimental interdisciplinary design lab. Worked on bike rack prototypes; led community workshops and explored strategies to enhance the life quality of under-served areas of the city. Assisted Professor Roberto Ventura to research, curate and design “Mutations” - exhibition featuring 20th Century Design - for the Virginia Center for Architecture.

2010 - 2 0 1 1

TEACHING ASSISTANT, VIRGINIA COMMONWEALTH UNIVERSITY RICHMOND, VIRGINIA Fall 2011: Undergraduate Teaching Assistant for interior design Graphics and Studio sophomore level course. Instructor: Chris Arias.

Fall 2010 - Spring 2011: Undergraduate Teaching Assistant for history and critical thinking class “Focused Inquiry”, freshman and sophomore level course.

Instructor: Joan Kalyan-Curtis.

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MONUMENT AVENUE

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THANK YOU!