1
Co
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Objective
To work in a creative, challenging environment that will help me develope my architectural design skills and general knowledge within the field while producing success for the frim. As a byproduct of helping in the realization of firm goals I hope to be working towards architect licensure.
Obje
To wo develo within As a b to be
Personal Attributes
Developed design skills, built upon my design education received at the University of Florida. Extensive time spent in the field of masonry construction. Successful experience working in teams. Heavy digital and sketching background providing the ability to express ideas quickly. Passion for contextual design fortifying the intricacies of modern urban environments.
Contact cthomas423@gmail.com (904) 669-2003
Corey Thomas
5295 Cedar Rd.
St. Augustine, FL 32080
& Interests
I am constantly gathering info for inspiration to inuence all aspects of design in hopes to contribute to powerful ideas through: Sketching Traveling Music Photography Exercising Networking
Digital Skills Digital Skills
Perso
Develo backg Extens succe design
Educ
90%
Rhino
Univer Univer Univer Saint J
90%
V-Ray
Expe
AutoCAD
90%
85%
Photoshop
70%
Google Sketchup 65%
Revit
65%
InDesign
60%
50%
Form-Z Illustrator
30% Maxwell
DiDon DiDon Adrian Teach Teach Paul T Over 8 my un materi constr
Achie
Univers
Achievements
University of Cincinnati Honors Society University of Cincinnati Deans List University of Florida Deans List AIAS Member Architrave Student Magazine contributor Golden Key Honor Society Member Top Ten UF lower division honors Eagle Scout Award
2013 2011 2010 2009 2009 2009 2008 2005
University of Cincinnati, Masters of Architecture candidate Uinversity of Cincinnati, Historic Preservation Certificate Univeristy of Florida, Bachelor of Design, summa cum laude Saint Johns River State College, Associates of Art Degree
2014 2014 2011 2008
Education
Work Experiance
DiDonato Associates Internship DiDonato Associates Internship Adrian Smith + Gordon Gill Internship Teaching Assistant for Design 4, Stephen Bender Teaching Assistant for Design 1, Rocky Hill Paul Thomas Masonry - Masonry Foreman Over 8 years of experience, teaching me a broad understanding of general building techniques and material knowledge throughhands on work, along with an understanding of the holistic building process.
2013 2012 2012 2011 2010 2008 2007 2006 2005 2004
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Studies Adroad
Paris short-term study, Summer Mexico, Summer Italy, Fall Semester
Personal Travels Brazil Denmark England France Germany Italy Netherlands Spain Sweden Switzerland
2009 2010 2010
2010 2008 2011 2009 2011 2011 2009 2011 2011 2011
01 02 03 04 05 06 07 08 Mexican Chapel
Vertical Exploration
Rome Urban Block
Cranbrook Academy of Science
Encompassing nature
Barcelona Htoel
Malleable Interactions
rban Mold
Desert Intervention
ngaging Horizon
Mexican Pavilion
Natural Hierarchy
Design 7
UC Design
Design 8
Design 8
Design 4
Design 7
Design 4
Advanced Digital
Vertical Orchestration
Grid Distortion
Manipulated Module
Rural Object
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Design Portfolio - Table of Contents |
09 10 11 12 13 14 15 16 17 Natural Intervention
Design 6
Study Abroad
Internship
Visited Buildings
DiDonato Associates
Internship
TRESPA Materials
Adrian Smith + Gordon Gill
Team Submission
Inature Compitition
AIAS Design Compitition
Team Submission
ther works
DDA
ASGG
TRESPA
Inature_2
Team Submission
Reinventing home
Charleston Project
Design 5
Advanced Digital
onstituent Transfer
Liquid Hearth
Patterns
Articulated Luminosity
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“My hand is the extension of the thinking process - the creative process� - Tadao Ando
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01 Rural Object
Hierarchal Volumetrics
| San Martin De Las Canas, Mexico
Internally Organized Space
Constructional Relations
External Caligraphy
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Framing the Extensive Landscape / Engrained into a Dynamic Context There is a tendency to look at a site, feel the site and then build accordingly. The fact that contexts are ever changing is not usually considered in the design process, or at least not as much as it should be. Especially within an urban environment, a building should be made with some open-endedness so that its context will have opportunity to connect smoothly. “This gives you the flexibility and fluidity that is necessary in an urban field that is changing rapidly.� (Zaha Hadid, pg. 5, Landscape as Plan) Projects becoming more open to the public and having more fluidity with the established trajectories of the people help the ideas of diversity and options of expansion mature. When a building organizes programs to facilitate public involvement deep within, you can move freely throughout and not feel as if you are trespassing but rather moving through the city
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Built Site Force Plan Diagram
Natural Site Force Plan Diagram
Naturally Constructed Stratum
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Effect of Vernacular Tradition: Architecture is an encompassing profession that has to account for many different considerations. When designing one must find harmony with the landscape, climate, and tradition. Tradition is an important factor that is sometimes forgotten. In many cases, there is an established method of constructing or a particular solution commonly used within an area. As an architect, these vernacular recommendations need to be understood. “So much emphasis can be put on the individual as maker and perceiver that the external world loses its objective standing; reality ‘out there’ seems to be only a human construct.” (Yi-Fu Tuan) Buildings do not need to share all their characteristics with their surrounding examples. They should also express a new attitude presented by the maker.
Stretching to the Horizon:
Buildings can respond to the context with their directionality, linearity, verticality, and horizontality. Some qualities are more important in different cases. Glenn Murcutt uses the analogy of a subatomic particle accelerator and reinvents it as a spatial accelerator. He says: “The more open and horizontal the immediate surroundings, the more the architectural space needs to be speeded up to give it sufficient throw to carry the axis to the horizon.” This statement brings in thoughts of movement into the design and the right of passage for the occupants to feel connected to the land and remain free, all while still being protected within their own dwelling.
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02 Manipulated Module
| UF Campus
By using the forms already present within a site the project develops a unique relationship with it’s context. The formal logics of the module come from the plan of the plaza in which it will occupy.
Each side of the project has a different facade adjacent to it giving the inspiration for multiple sides of the project to have various treatments that correlate with the existing.
In response to the present days lifestyle of multi-tasking and complexities architecture is becoming more complex. Thanks to the development of 3D modeling programs architects are able to push the limits of our present methods of construction.
This project begins to explore the new boundaries of the digital age in design. By acknowledging the grid from the UF FAC building the project is allowed to have a particular relation this its context while still pushing into new formal expressions.
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Distorted Penalization of Contextual Influences
Contextual Paneling In a reaction to juxtaposed grid of the architecture building on the UF campus the construct plays again with it’s own layers of construction and provides a harbour for bicyclists traveling to the college of architecture and it’s neighboring colleges. Construction of a spacial portal allowing people who are passing by to walk through, sit down under a plenum of arrayed patterns that can produce a plethora of shadows, light conditions through out the day. This comes back to the idea of our dynamic lifestyles of the 20th century.
With the play between the different layers of construction the facade on the north side reacts to the pedestrian grid already present in the context. Defining the grid took the of the FA colleges courtyard as a rectangular grid gave the general orientation that the project is placed on the site, moving in relation to that grid as well as the primary circulation routes that move through the area. The primary focus being the grid.
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03 Vertical Orchestration
In the Exploration of vertical space there is a central vertical light well that captures the light at the highest point of the project and then allows it to cascade into the three main spaces that are hung off the sides. These three main spaces rotate around the central armature of light. They are connected by a series of larger scale movements to prevent their isolation and bring a unity to the project. The main program of the tower is to house a great number of people for performing arts and for the viewing of art in galleries that play with light and reflections Between exhibits. The secondary programmatic components include office space for the administration and management of the structure, making it a multi-functional performance construction.
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Natural Hierarchy 04
| Mexico
The Pavilion uses the concepts and examples of natural plant structure or phytotomy to develop a systematic and connected approch to building. By relying on logics presented by trees the edifice begins with the most basic, strong structural system. This gradeint of structure moves outward towards a lighter system, followed by the skin. The outer skin of the project collects most of the sunlight moving to better facilitate the comfort of the occupants within.
Longitudinal Section
Plan
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Cross Section
West Elevation
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05 Engaging Horizon
| Black Rock Desert, NV
Presence Through Extensions
When the Desert is being traversed the architecture is defined by the markings left behind. The robust matrix orchestrates the construction into a joint between the traveled desert and the unknown.
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Landscape/ Building Holding Occupants By allowing the desert context to bleed up into the covering skin that is cantilevered over the territory of occupancy providing shad from the heat of the sun. This transition from ground to overhead is a seamless connection. Transforming the underside of this overhead into a interesting plethora of shadows and measure.
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Within the desert context the occupants move into the structure for a weeks stay. Needing the correct amount
of space to live and store supplies. Another programmatic influencer was the need for easy access to the exterior.
The desert occupants movedfreely from the constructed to the landscape.
The first design concepts revolved around the structures placement in relation to the environment.
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Urban Mold 06
| Rome, Italy
Museum
Living
Learning
Shopping
47 %
30 %
15 %
8%
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Urban Romes Organizational Speculation Studying the complexities of urban situations all around Europe lead to a design fully integrated into the context of Rome. A proven concept of function and aesthetics pushes the project into its present state. The building has allowed for the urban fabric that surrounds it to mold it into a form specific for its location. The buildings facade features strike a different point of conceptual division by reinforcing and revealing the layers of construction just as the city does. With all the historic layers present in the city, from the Roman times up into the present the sculptural features of the Gypsotecta museum impresses the viewers with a feel of discovery and wealth of information. The punctured faรงade reveals moments of circulation expressing exclusive points where one may travel from one exhibition space into another. By lifting the bottom floor up and over the needed height for a person to occupy, it turns into another animal with generous space giving qualities. The realization of opening the ground allows for a smooth connection between the inner courtyard and the street. The occupants moving through the compounds inner open spaces never lose their connection with the Tiber river orienting them and giving them a sense of place within the city of Rome.
84,000 sqf
Total Interior Construction
28,000 sqf
Total Exterior Construction
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Geo Urban Typologies:
Tokyo
Strasbourg
New York City
Rome
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Design Team: H. Palacios C. Thomas
Malleable Interaction 07
| Barcelona, Spain Public Propinquity
As an investigation of Public space intertwining with the private usages, intervening within the Barcelona beach side, our hotel design focuses on the sociological issue of skateboarding and how if plays a role for the city. The tower becomes an important urban landmark for skaters to orient themselves and come into a more direct contact with tourism. By providing shopping spaces and a terrace nightclub the construct draws in the public aspect of the city of Barcelona. The incorporated skate park then allows for that direct contact between these two different socio-types. As a further analysis of the city’s own solutions to problems such as circulation of traffic we developed a formal logic to redirect the special flow of the building. Programmatically the edifice constitutes of a large Atrium adjoining the two main public spaces on the ground floor. There are three different main occupations of the building: Offices, Hotel, and Hostel. The Hotel partitions are joined by smaller scale connectors allow for moments of peace while passing through the sky. They are separated by clear volumetric forms and joined by a central atrium held up by the building. Functioning as a restaurant and pool area this central space formally encourages the tourists and the locals to interact and remediate.
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Submerged Network
Itenerary: Destionation
MACBA
Social: Festivity
Plaza U.
Punctual Transactions
Sustenance: Nutrition
Beer Banks
Rejuvenate: Recovery
Brothers Banks
Woven Itineraries
Fashion: Style
Roma
Occupation: Career
Parallel
Recovery: Improve
Arc de Triomf
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Relation
Copmosition
Skeleton
Ciculation
Caligraphy
Joints
Jewel
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By bracketing the different spaces in the hotel project into particular zones of interest the large scale becomes more manageable. The bracketed space becomes the main contributor for the development of from and internal organization. 1. Store fronts -The lower bracket facilitates all the commercial needs of the building, keeping the consumption programs on the ground level with the most accessibility. 2. Skate Park - Possibly the most important programatic bracket of the building giving the spark for integrsation of the society of Barcelona. 3. Jewel - These divided series of spaces are ment to be places of retreat for the people living in the hotel and/or apartments.
4. Apartments - for longterm living the project sections off a bracket with the space needed to develope a lifesytle. 5. Restaurant - Centrally located to support all other areas and bringing the public up into the tower. 6. Hotel - Rooms available for short term stays in Barcelona 7. Night Club - open terrace with a view of Barcelona skyline.
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Encompassing Nature 08
| Cranbrook Academy of Arts, MI
The Overall organization of the program is a bifocal attitude towards the separation between the more formal aspects of the program that are seen as more accessible to the general public of the campus like the library/cafĂŠ, and the more intimate aspects of the program such as the pool/housing pieces. Move- 37 ment through the building follows through with the general scheme of a large central ramp and a backdoor stairway leading from the dressing rooms. The ramp serves the Library, CafĂŠ, studio, and housing. With not all of these programs being public the housing and studio spaces have been brought into a more interstitial relationship between the public library and CafĂŠ with the simple intention of creating some form of interaction between the two different worlds. The initial procession into the deeper parts of the building to access the individual rooms and dance studio allows for them to be viewed as still private.
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39 Serviceable Wall
Uncommon Convergence
Contextual Joinery
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LEVEL 1
Advantageous
Integral
Throughout the non-linear design process movement through the project has been of most concern. After experiencing the circulation of the cranbrook campus, it becomes clear that circulation should not be directed into one set path but rather a series of choices that then lead you to your final destination. While the building is not a large serial one, there is still a important intersection that brings the discission making process into play with multiple options presented at once.
While learning about different passive stratigies the building becomes more intertwined with its own systems having unifyed goals of providing comfort at a reduced environmental coast. The center wall houses most of the active systems, feeding the remaining spaces as needed. This wall because the literal spin of the mechanical systems seperating it from the public space.
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Bay Model
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Longitudinal Section Study Models
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Ground Detail | Building Assembly When developing the buildings attitude towards detail, the main considerations taken into affect were relating to the projects relationship to the site and it’s interaction with the inner workings of program. The project is primarily built upon a plinth made of the left over soil used to dig out the sunken parking area on site. By allowing the context to affect particular/ significant walls in the project the brick material enters the building and as it moves deeper into the building begins to mold it’s self around the multiple programmatic zones. As the brick meets the ground, they begin to move around the structural columns to message a feeling of acknowledgment and respect for the construction methods of the building and it’s neighbors into the users of the building. The assembly of other moments in the building begin to express structure in a different methodology dependant on the program it supports. The Housing components to the project are meant to be seen as the most intimate spaces where the user can be completely alone and at ease. The envelope of these boxes are clad with a wood skin and constructed over the void of program below to differentiate them from the rest of the building. In the Begin of these explorations many different possible solutions became apparent but with the contextual, program, and experience forces combined the most appropriate method changes drastically from one side of the building to the next. This dynamic relationship gave a eclectic combination of spaces separated by large contextual walls and a origin point of intersection placed between all these zones of private and public, wet and dry, and of course site|body|hand.
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Articulated Luminosity 09
| UF Campus
Focused in on the Patterens displayed on the ground from the Light passing through tree canopies the project is uses Repitition and specific patterns to define it’s own shadow. Trees all have there own leaf type casting a specific shadow so when underneath it’s Canopy you get a sense of the type or origin of the tree. While moving through campus there are many Moments where these experiences take place. This construction may not look as if it fits in but the connection is there through the light and Shadows projected from it’s canopy. The ground is Pulled Upward to meet the beams of light that are formed above. The fluctuating ground construction allows for multiple uses from just passing through to taking a nap. There are seats for visitors to take a rest and Acknowledge the connecting they Experience.
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Scaler shifts in the construction of the project allow for a stronger connection with the formal qualities of a tree allowing the project to branch out and connect with the context on a respectful way. With it’s delicate canopy brushing up against the neighboring facades the project still has the clear hierarchy of structure with the primary supporting columns holding the canopy.
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Liquid Hearth 10
| Lake Newnan, FL
The creek provides an inner hearth that makes the public gathering space more dynamic and fluid. While inside the inner courtyard there is an inward focus of attention that is intermediately broken by framed views of the natural context provided by the occupiable openings in the out stretched walls that originate from the buildings primary compositions to envelope the . The constructions respond to the creek by developing a material gradient with the use of concrete becoming less substantial the closer to the water it creeps. This gradient is not only inspired by the creeks gravitational pull on the site but also relates back to the program of photography gallery. Photographers utilize gradients as a way to measure and base their professional eye.
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Main entrance eating up visitors while merging into the surroundings.
The natural creek becomes th ecentrla focus of the project, the Hearth.
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11 Constituent Transfer
| 150 East Bay Street, Charleston SC
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Tucked into Charleston, South Carolinas Historic context the Atheneum Bridges the Gap between the more private or residential side of town to the more public business oriented side. By stretching from Street to Street the project allows for the public to move freely within the city, through blocks. Moving through tight ally and passages is a familiar occurrence in Charleston. While walking through the city there are many different opportunities to find punctures in the urban fabric to be Immersed in, reintroducing the city of Charleston every exit. Unveiling and rediscovering a different perspective of the City.
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Amalgamating Function Charleston is one of the 5th largest cities, and its also known as the holy city because of its prominence of churches. Charleston was one of the few cities that belong to the 13 colonies and was also known for the expansion of different religions. The grid influences the infrastructural circulation within this historic precedence. The scaled clusters are orchestrated by the different itineraries. Commercial vs residential can be experienced through the main axis which origin was at the intersection of meeting st and broad st, also known as the four corners of judgment. the density of the city becomes larger along meeting street being more commercial than residential.
Residential
Linking Alleys
Commercial
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Residential
Commercial
Interior Cushion
Judicial Center of Charleston
Commercial
Residential
Main Circulation Artery
Defining Exoskeleton
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Concrete
Material Spectrum
Wood
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LEVEL 1 01
02 05
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Charleston Athenaeum Programing:
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01. Reasturant - 1,200 sf 02. Food preperation and storage areas = 800 sf 03. Meeting rooms = 2,400 sf
LEVEL 3
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04. Offices = 800 sf
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05. Bathrooms = 400 sf 12
06. Theatre = 1,000 sf 07. Periodical collection = 400 sf 08. Main Collection = 2,500 sf 09. Study Rooms = 750 sf 10. Prefunction gathering areas = 1,800 sf 11. Archive = 2,000 sf 12. Archival office = 400 sf
LEVEL 2
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13. Outdoor terrace = 600 sf
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Design Team: C. Fernandez C. Thomas
Reinventing HOME 12
| Bandon, OR
Empowerment, therapy, and support each related to different necessary aspects of retirement are changing the generally negative perception of retirement communities for the better. In the effort of mixing such drastically different lifestyles as 20% youth, 40% retirees, and 40% assisted living occupants this vibrant urban district is created along the relatively hospitable environment along the Oregon Pacific Coast. Accommodating to residents of different capacities and needs the workspace needs an enhancement. After distributing a short questionnaire to health technicians in a retirement community results showed that the most prized space for workers was there break room which lead us to the provide a relaxing view onto the Pacific horizon. The accommodation of varying resident capacities, taken to the next level of accommodation to not only the retirees or transient elderly, but also for the youth as a constant reminder of life, strength, and a sense of familiarity. By bringing in new energy of surrounding communities and relatives the workplace becomes a less negative place which it is most commonly perceived as. Through research we discovered the values and Issues of the next generation to be utilizing retirement communities, the boomers. The qualities associated to the main issues of work, live, and play can be itemized as design characteristics of the programed spaces as follows:
LEVEL 1 • ACTIVITY
LEVEL 2 • ROOMS
Merging Objectives
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Work: Creative, interactive, sociable, invigorating, connective, inspiring, stimulating, communal, work space. Live: Technological, Cultivatable, Naturalistic, Serviceable, Logical, Comfortable, Safe, Hearthable, Nostalgic, Housing Units Play: Walkable, Naturalistic, Serviceable, Healthy, Cultivatable, Public, Boulevard. 12
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LEVEL 0 • NURSING
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VALUES
RETIREMENT COMMUNITY
RECREATION
ENTITLEMENT
FAMILY
STATUS
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SELFRELIANCE
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HOME
EMOTIONS
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INDEPENDENCE
EXPERIENCE
SENIORITY
INTERACTION
PERCEPTION
REMINISCE
SELF-CARE
WANDERING
HOARDING
ISOLATION
RESISTIVE TO APPROACH
NOSTALGIA 7
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DESIGN
FACTS
DIAGRAMS
BEHAVIOR
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The elderly want to be able to take care of themselves without depending on others.
Early signs of demintia, the most common decease amoung the elderly, include searching with no reason.
Ghost nurses with technology.
Nature trails.
A prominent side effect of aging diseases is connected to owning objects.
Current communities do not promote interaction.
Baby bombers have a negative perception and see visiting as a duty.
Elderly people want to remember their past.
Providing customizable living conditions.
Veriety of activities and transportation.
Making the project a destination.
Developed clusters of commonality.
LEVEL -2 • POOL
LEVEL -1 • NURSING
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Design Team: R. Ahmadi T. Walter C. Thomas
13 INATURE Competition WATERSHED PATTERNS
| San Diego, CA
CLUSTER RELATIONSHIPS
SITE CIRCULATION
PROGRAM ORGANIZATION
Tidepool Interpretation Centre at Cabrillo National Monument
The tidepools present a diverse community of sea creature and plant life at the intersection of land and sea, connecting us to some of the rarities of Earths largest body of water, the Pacific Ocean. The coastline at Cabrillo National Monument displays a narrative in which a slowly eroding coastline creates fragile microenvironments of sea life. Occupying only a small portion of California’s coastline, tidepools occur in the intertidal zone between the high and low tide limits. Due to seasonal tidal swings make the view of tidepools drastically different depending on the time of year visited. The continuing changes within the site orients the eye towards the pools and the ever changing California coast line. In response to the site’s dematerializing edge condition, the design approach stitches the delicate coastline together with the programmatic spaces of the nature centre. By locating the centre slightly uphill from the cliff edge, the natural habitat of the tidepools is preserved while maintaining a clear connection for the visitors to the site. The visible strata of the site can be followed into the forms of the building to fortify the connection between the natural and built forms. The gestural approach of the building forms are drawn from the slanted rock formations that protrude dynamically from the cliffs. The programmatic functions are then discovered under the portions of the raised landscape as the visitors journey from the entry area to the tidepools. In this way, the project affords an experience akin to inhabiting portions of the coastline landscape at a human scale (alluding to the sea creatures occupying tiny crevasses in the rocky pools below).
SAN DIEGO, CA CABRILLO NATIONAL MONUMENT
PACIFIC OCEAN
CABRILLO NATIONAL MONUMENT CLIFF EDGE
Coronado
PROJECT SITE
032°40’23”N - 117°14’19”W
PACIFIC OCEAN
ROCKS / SPLASH ZONE
HIGH TIDE ZONE LOW TIDE ZONE
INTERTIDAL REGION
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Tidal Experiance While the visitors move through the tidal pools, in search of sea creators and any possibly never seen before locations they are pushed from rock to rock. As one moves through the ever changing rock field that makes up the tidal pool area there are often particular locations popularly used to get an understanding of where to move next. The route is not always forward. Some viewpoints offer a more reasonable route around/ through the tidal pools that force a back track towards your origin. These moments of discovery towards a more important route of travel are expressed within the design of the built Learning Centre by providing these dead-end look outs. This gives the visitors the opportunity to acquire a better realization of what they are about to see, preparing them for the adventure to come. The benefit of the Centre is furthered through offering educational services and informational exhibits to guests as well as overnight stay accommodations for school groups. Since the tidepools are only fully accessible in the winter, the year round exhibit provides regular opportunities to educate the public about the tidepool environments.
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Design Team: -D. A. Yadkouri -S. Williams -K. Altman -C. Thomas
14 TRESPA Compition
| Miami, FL
AIAS Competition Entry
Our proposal calls for an entertainment center located in Miami Beach, Florida. The site will be adjacent to the famed Lincoln Road Mall which is an outdoor, high traffic pedestrian mall that was designed by Morris Lapidus in the 1950’s. Lincoln Road re-invented South Beach. Its pavilion like follies, outdoor al-fresco restaurants and friendly human scale make it a popular tourist attraction rich with diversity. Recently, the likes of Herzog & De Meuron, Carlos Zapata and Frank Gehry have been summoned to intervene with anchor buildings of their own cradling Lincoln Road. These buildings hint at a jump in scale from the old horizontal pedestrian scale, to the new contemporary high rise. Inspired by Lapidus and considering the traditions and diverse culture of SoBe, we propose a building that originates from the SoBe planning grid. The mix of the old history together with the new, create an opportunity to echo the memory of this grid in form. The transition from intervention to context becomes negotiated in a culturally sound way that relates to the city at a foundational level. TRESPA Materials are well suited for façade elements and will be showcased in the entertainment center accenting the South Beach lifestyle. The materials consist of vibrant, reflective colors that hint towards the trendy neon art deco pastel feel of Ocean Drive. Pastel colors + TRESPA metal panels create the contemporary, upscale and sophisticated modern SoBe atmosphere.
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Form Study
Entry Study
Light Study
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15 Adrian Smith + Gordon Gill Wuhan Tower I had the privilage of working on the ASGG Wuhan Tower team in Chicago during the winter of 2012. The Internship Brought to light a simplistic way to design and control form. The tower had some strong ideas integrated within of sustainability with its wind deks. My involvment was only in the FLS drawings and front desk design but I fully support the design team as issues arrise.
| Chicago, IL
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16 DiDonato Associates
| San Diego, CA
Hyde Gallery, Addition Grossmont Community College
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Also at DDA I had the opurtunity to work on a number of tella communications sites. Organizing and drawing for mutiple projects, some of which needed constant care and attention. I have noticed that in the architectural working environmnet the necessity for organization is real and keeping track of everything you do is a vital part of success.
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3939 FIRST AVENUE · SUITE 100 · SAN DIEGO · CA 92103 619.299.4210 · 619.299.4250 FAX · DDAMAIL@AOL.COM
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At DiDonato Associates (DDA) I was given the oportunity to enrich my professional drawing skills and significantly increase my confidence while dealing with clients. The position put me in many diffrent situations that each tested my ability to help clients solve problems. I handled the construction Doucuments for a local community college in San Diego who asked for a easy addition to house their artwork using two 40’ storage containers. Since my main contribution was the fence articulation, the main learning facting of the project was more about the process of reviews and submittals from the concept to an approved set of CDs. Disifering all the hoops that to be passed through inGATE order to TYP. FENCE POSTneed PLAN DETAIL TYP. ATTACHMENT DETAIL 1 get to the finish line was the main challenge.
ER WORK EXCEPT BY AGREEMENT WITH DDA.THERE SHALL BE NO CHANGES OR DEVIATION WITHOUT THE CONSENT OF DDA. WRITTEN DIMENSIONS SHALL BE VERIFIED ON THE JOB SITE. ANY DISCREPANCY SHALL BE BROUGHT TO THE NOTICE OF THE DDA PRIOR TO THE COMMENCEMENT OF ANY WORK.
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FLOOR PLAN ERIFIED ON THE JOB SITE. ANY DISCREPANCY SHALL BE BROUGHT TO THE NOTICE OF THE DDA PRIOR TO THE COMMENCEMENT OF ANY WORK.
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3939 FIRST AVENUE · SUITE 100 · SAN DIEGO · CA 92103 619.299.4210 · 619.299.4250 FAX · DDAMAIL@AOL.COM
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DI DONATO ASSOCIATES ARCHITECTURE + GRAPHICS
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PROJECT # 1223 E PLOT C SCALE T 1 : 1 (24x36 'D' SIZE)
FLOOR PLAN
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R E V I S I O N S
I N F O R M A T I O N
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17 Other Works
| Publication | Travel Sketches | Other Designs
Andres Palladio - Vicenza, Italy
Tadao Ando - Vitra Campus, Germany
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Norman Garage - Gainsville, FL | Territory Interpretor OMA - Berlin, Germany
Chapel - Barcelona, Spain Lake Newnan Pavilion - Gainsville, FL | Constructed Symbiosis
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Thanks to: Thank you for all your help and support through out my education God The Family Mom & Dad All my friends and architecture peers
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Contact: -cthomas423@gmail.com -904.669.2003 -5295 Cedar Rd. -St. Augustine, FL 32080 -http://issuu.com/cthomas423/docs/portfolio
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